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In his jazz piano book Mark Levine does not realy tell what is going on in modal playing.

As the ionian and the aeolian are modes also dorian is a possibility to have different cadencial behavior between his different degrees.
We are not anymore speaking about authentic and plagal movement like in ionian and aeolian, but just about cadencial chords and the tonic chord. In modal playing tonic chord is allways only the chord on the I degree. There are no subs like in ionian or aeolian.
Cadencial chords in the dorian mode are those who contain the typical dorian scale degree which is the dorian sixth.
These cadential chords you'll find on the bVIIMA7 and the II-7 degree in dorian.
The VI degree which of course allso contains the dorian sixth as the root, does not work, because it's chord structure is a diminished triad which tends to resolve towards the relativ ionian, a behavior which is not desired when playing modal.

So it is not just a ONE chord playing on "So What". You allways think in cadences. in dorian cadences.

By the way, the typical "So What" chord in the theme has pentatonic origen. It would be a good thing to understand his structure and where it comes from to form more of this kind of chords!

In a more general sense, modal jazz can be said to be based on a single "sound" or "mood". Other than lacking a chord progression, it can be accomplished through a bass ostinato, a repeated phrase/lick, and many other things.

Modal jazz, when trying to define it, is a tune based on a single "mode". In the case of "So What", the Dorian mode (first the D dorian scale, then Eb). This is different than, say, bebop, where the chord progression moves you through different tonalities (dorian, mixolydian, etc.) and much more often than not - different keys.

Maybe it will help to listen to Modal music in other context.. a lot of folk music are based on modes, a lot of spanish flamenco music are based on phyrigian modes.Remember, The major/minor scale are modes too

Like scotpgot says, every mode has it's own mood/aesthetics. I think you just have to let go of your pre-conception of music (which may be more based on tonality), and spend some time listening to modal music. I think you'll start to appreciate for what it is once you do that.

In his jazz piano book Mark Levine does not realy tell what is going on in modal playing.

I think this is probably the crucial thing. I just never feel like it's getting anywhere. It starts, continues, then eventually stops.

When yo say D dorian scale, Do you mean a dorian scale that begins with D, or a dorian scale with a key signature of D maj.?

The difference between Old MacDonald (or Twinkle Twinkle Little Star) using a single scale in the melody, and it actually being a "modal" song, is that the chords accompanying the melody change (i.e. have a progression). If you were to "blow"/improvise over the changes to Twinkle Twinkle Little Star, you'd start on I, move to IV, etc... (actually I suppose it'd be better to reharmonize that IV to a ii7. What was I saying? Oh yeah...)

In most popular pieces, there is a chord progression. Think of that word literally, if it helps.

THIS: is correct, generally. It is then up to the improviser to provide a shape to the solo outside any chord changes would provide. Then at THAT point, you begin to add what Cudo was talking about. Cadences, deceptive cadences, chord substitutions, and all that good stuff.

Take that chord progression away, and you get modal jazz, right? If I'm wrong, just tell me.

If you take the chord progression away, then I don't see the point of talking about chord substitution. Because why not just play any chord? A cadence is a chord progression, so that's out too. As for a deceptive cadence, why should I trust it anyway?

Ten,

The beauty of tunes like So What is that in fact, you have a lot of options.
Miles came up with the concept of the "so what" voicing (played by Bill). It's stack fourths with a 3rd on top. You can let your LH play any 3 notes separated by the interval of a 4th, and instead of thinking of it as a chord, think of it as playing those notes within the scale.

Assuming you play So What in the common key, it starts with D dorian, so you can play any 4ths on the white keys. What becomes clear after messing with it a bit, is that all those 7 chords that you will play work, in some way.
So instead of outlying a chord, like D minor, you're really saying these things:
* The root is D, and I'm going to let you know. Because either I have a bass player falling on D on most first beats, or every so often, I'm going to go low on the piano and play D - A, which clearly indicates we are in D. Every 8 measures, it might be a good idea to play that voicing D-A in the bass.
* Sure I'm in D, but I'm going to mess with my chords by playing any open voicing using only white key. So it's going to be very open that way. And there is no mistaking it for any thing else, you are playing D dorian.

An easy way to solo on this is to simply play D dorian scale, essentially C major. Even better would be a D minor pentatonic. Pentatonic scales work really great.

Modal tunes are often recognized because they have whacked out chords that you may not be used to. Naima is one, Nardis is another. Even though they have nice chord changes, it is played within scales, rather than chords. Look for tunes by Herbie Hancock, Miles, Coltrane or Wayne shorter. Coltrane took My favorite things and made it a modal tune.

I can think of easier tunes to start soloing on ...

Here you got some modal music, it's very old. http://www.youtube.com/watch?v=EQJxDhuFiBU
And here http://www.youtube.com/watch?v=xERitvFYpAk&feature=related