Porgy and Bess is a studio album by jazz musician Miles Davis, originally released on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin's 1935 opera of the same name. It is the second collaboration between Davis and Evans and has garnered much critical acclaim since its release, being acknowledged by music critics as the best of their collaborations. Jazz critics have regarded the album as historic.

Milestones is a studio album by American jazz trumpeter and composer Miles Davis, recorded with his "first great quintet" augmented as a sextet. It was released in 1958 by Columbia Records. Tenor saxophonist John Coltrane's return to Davis' group in 1958 coincided with the "modal phase" albums: Milestones and Kind of Blue (1959) are both considered essential examples of 1950s modern jazz. Davis at this point was experimenting with modes – scale patterns other than major and minor.

"The Cooker" was recorded on September 29, 1957 and released in 1958 on Blue Note Records. Produced by Alfred Lion, it features classic tunes such as "A Night in Tunisia" and "Lover Man".

ESOTERIC proudly introduces a new series of re-master collection - A great Jazz collection. This newly remastered box set, titled as "Great 5" features the five albums recorded by Miles Davis for Columbia label. Includes the follow titles: 'Round About Midnight (Mono); Milestones (Mono); Porgy And Bess; Sketches Of Spain; Miles Smiles. These new audio versions feature ESOTERIC's proprietary re-mastering process to achieve the highest level of sound quality.

Jackie's Pal is a studio album by saxophonist Jackie McLean, his third issued recording for Prestige Records. It was recorded in 1956 and first released as PRLP 7068. In 1963, the album was reissued on the Prestige subsidiary label New Jazz Records, as NJ 8290, with a different cover and retitled "Steeplechase". The album features McLean in a quintet with trumpeter Bill Hardman, bassist Paul Chambers and drummer Philly Joe Jones.

Workout is an album by jazz tenor saxophonist Hank Mobley released on the Blue Note label in 1962. It features performances by Mobley, Wynton Kelly, Paul Chambers, Grant Green and Philly Joe Jones. The album was identified by Scott Yanow in his Allmusic essay "Hard Bop" as one of 17 Essential Hard Bop Recordings.

When Wes Montgomery made his first amazing impact on the New York jazz scene at the end of the 1950s, a great many established stars actively sought to record with him. Milt Jackson was one of the few for whom the guitarist felt an equal affinity. For one thing, they shared a strong love for the blues; and Wes had learned, through years of playing with his brother Buddy, to value the vibes/guitar sound. To support this memorable meeting of thoroughly compatible jazz masters, Riverside assembled one of the most cohesive recording rhythm sections of its day: Wynton Kelly, Sam Jones, and Philly Joe Jones.

Album notes don't always tell the whole story. Contemporary president Les Koenig, who rightly felt that Art had yet to record with musicians who were his equal, wanted to take advantage of Miles Davis' quintet being in L.A. But Pepper hadn't been playing for several months, and his horn was in a state of disrepair. To minimize anxiety, the session was kept secret from Art until the last minute. But Pepper always rose to a challenge: he taped to his dried-out cork, arrived for the date, and proceeded to record an album widely considered the most important of his career. This is an all tube recording from the microphones to the tape machine.

Whims of Chambers is a jazz album by the bassist Paul Chambers released on the Blue Note label circa January 1957. The album features performances by Chambers with trumpeter Donald Byrd, tenor saxophonist John Coltrane, guitarist Kenny Burrell, pianist Horace Silver and drummer ”Philly” Joe Jones.

This is one of four highly-acclaimed albums Miles Davis made during two days of marathon sessions in May and October 1956 to fulfill a contractual obligation. Davis recorded 26 tracks over the two days, all live off the floor and all first takes, with his superb first great quintet that includes John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums.

Steamin' with the Miles Davis Quintet is an album by Miles Davis, recorded in 1956 but not released until 1961 as PRLP 7200. Two sessions on May 11, 1956 and October 26 in the same year resulted in four albums: this one, Relaxin' with The Miles Davis Quintet, Workin' with The Miles Davis Quintet and Cookin' with the Miles Davis Quintet.

Art Pepper’s The Way it Was! was recorded for Contemporary between 1956-60, these seven tracks sat dormant in the label's vault until 1972. The album is built around four previously un-released tunes pairing Pepper with the tenor of Warne Marsh. Filling out the program are three incredible tracks from Pepper's masterpieces; Gettin' Together and Intensity (both 1960) plus Meets the Rhythm Section (1957), all of which were left off due to the timing limitations of vinyl. Supported by the likes of Paul Chambers, Philly Joe Jones, Wynton Kelly, Jimmy Cobb and Red Garland, their workouts on the standards “The Man I Love,” “Autumn Leaves” and especially “The Way You Look Tonight” establish a brilliant east-coast meets west-coast summit. Art's creamy alto more than holds it's own with some of New York's bop-elite, resulting in a masterpiece in its own right.

Trumpeter Miles Davis led several sessions for Prestige Records between November 1955 and October 1956 with his legendary "first" quintet, featuring tenor saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and drummer Philly Joe Jones. The sessions represent an incomparable musical legacy. Impeccably engineered by Rudy Van Gelder, the music was released on five albums that provide a unique glimpse at how five brilliant instrumentalists coalesced into one of the most extraordinary ensembles in modern jazz. Workin' presents an easygoing program that balances ballads with the blues and includes quintet performances of originals by Davis ("Four"), Coltrane ("Trane's Blues"), and Dave Brubeck ("In Your Own Sweet Way"); an interpretation of the standard "It Never Entered My Mind" without saxophone; and a piano-trio version of Ahmad Jamal's "Ahmad's Blues." Coltrane's melancholy solo on Brubeck's tune and Garland's spry excursion on Coltrane's are two of this classic's many highlights.

By the time Miles Davis recorded "The Musings Of Miles", he'd expanded and refined his approach to the bop idiom which had nurtured him, and the cool approach - which he'd championed. He learned to refine and edit his line, discovered what aspects of his style were derivative and which were truly his own, and, most importantly, zeroed in on his own signature sound and style of phrasing.

Ike Quebec's timeless, big-toned tenor was a frequent visitor to Rudy Van Gelder's studio in the early sixties. But this album from December 1961 with spare, soulful backing from Grant Green, Paul Chambers and Philly Joe Jones is his masterpiece. The leaner setting works perfectly, evoking an aura of relaxation and monumentality, with the deepest blue of accents.