Jazz harmony has during the jazz history mainly been functionally based on principles of tonality derived from classical and romantic periods of the 18th and 19th centuries. By means of computer based evolutionary principles we introduce a function-less harmony system that somewhat changes the musical feeling in jazz compositions to more imitate the harmonic feeling of early experiments made in the 1950’s by advanced and new-thinking jazz musicians like Ornette Coleman, Cecil Taylor, Don Cherry and others. Experiments have also been made during the 60’s and 70’s by e.g. Herbie Hancock, Miles Davies and fusion musicians Brecker Brothers. Not to mention all experiments in the classical music domain during the entire 20th century from Schoenberg and onwards. However, from the last quarter of the 20th century a stagnation of the harmonic development in jazz has ensued, and nothing harmonically essential has occurred. The Evolutionary Jazz Improvisation project is an attempt to break the ice and open new dimensions to harmonic thinking. In addition to new types of harmonies, the new harmony system also forms the basis for scale construction to be used by the jazz musician when performing a solo. This new harmony and scale system has proved to be a musically interesting platform at exploration of new harmonic areas. The main features of this system are chords not built on any specific base note, chords that should be regarded as harmonic spectrums, and scales of a new kind based on the harmonic spectrums.