Conception

In 1958, Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering creativity.^[8] Five years earlier, in 1953, pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation based on chords.^[9] Abandoning the traditional major and minor key relationships of classical music, Russell developed a new formulation using scales or a series of scales for improvisations.^[9] His approach to improvisation came to be known as modal in jazz.^[9] Davis saw Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled "thick".^[10] Modal composition, with its reliance on scales and modes, represented, as Davis put it,^[8] "a return to melody".^[11] In a 1958 interview with Nat Hentoff of The Jazz Review, Davis remarked on the modal approach:

When Gil wrote the arrangement of "I Loves You, Porgy," he only wrote a scale for me. No chords... gives you a lot more freedom and space to hear things... there will be fewer chords but infinite possibilities as to what to do with them. Classical composers have been writing this way for years, but jazz musicians seldom have.^[12]

— Miles Davis

In early 1958, Davis began using this approach with his sextet.^[13] Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of his 1958 album Milestones, which was based on two modes, recorded in April of that year.^[14] Instead of soloing in the straight, conventional, melodic way, Davis’s new style of improvisation featured rapid mode and scale changes played against sparse chord changes.^[15][9] Davis' second collaboration with Gil Evans on Porgy and Bess gave him more room for experimentation with Russell's concept and with third stream playing, as Evans' compositions for Davis featured this modal approach.^[8]

Adaptation

The musical, commercial and critical success of 1957's Miles Ahead helped make future Davis/Evans ventures possible, as it impressed Columbia Records enough for them to bestow further artistic control upon Davis and Evans. At that period, Davis' girlfriend Frances Taylor was in the New York City Center's production of the George Gershwin/DuBose Heyward/Ira Gershwin opera Porgy and Bess,^[16] and the Samuel Goldwyn film adaptation was in production, set for release in June 1959. The advance publicity for the film was considerable, and with the late-1950s vogue for recorded "jazz versions of...", a number of Porgy and Bess jazz interpretations were released. These ranged from an all-star big band version arranged and conducted by Bill Potts to one by Bob Crosby and the Bobcats. Following the first collaboration with Evans, Davis followed up on these efforts with much interest in symphonic readings, which, at the time, jazzmen were not known for, and neither were some classically trained musicians known for interpreting jazz scores. Nevertheless, Davis enlisted members of his sextet, including Cannonball Adderley and Paul Chambers.

Side one

Side two

Bonus tracks

Bonus cuts featured on the 1997 compact disc reissue.

Musicians

• Miles Davis – trumpet, flugelhorn
• Ernie Royal, Bernie Glow, Johnny Coles and Louis Mucci – trumpet
• Dick Hixon, Frank Rehak, Jimmy Cleveland and Joe Bennett – trombone
• Willie Ruff, Julius Watkins and Gunther Schuller – horn
• Bill Barber – tuba
• Phil Bodner, Jerome Richardson and Romeo Penque – flute, alto flute, clarinet
• Cannonball Adderley – alto saxophone
• Danny Bank – alto flute, bass flute, bass clarinet
• Paul Chambers – bass
• Philly Joe Jones – drums (except tracks 2, 8, 10 & 11)
• Jimmy Cobb – drums (tracks 2, 8, 10 & 11)
• Gil Evans – arranger, conductor

Production

• Cal Lampley – production
• Frank Laico – recording engineering
• Roy DeCarava – cover photography