Given that 'Round About Midnight was Miles Davis' debut Columbia recording, it was both a beginning and an ending. Certainly the beginning of his recording career with the label that issued most if not all of his important recordings; and the recording debut of an exciting new band that had within its ranks Philly Joe Jones, Paul Chambers, pianist Red Garland, and an all but unknown tenor player named John Coltrane. The title track was chosen because of its unique rendition with a muted trumpet, and debuted at the Newport Jazz Festival the summer before to a thunderous reception.

All Mornin' Long is a jazz album by pianist Red Garland and his quintet. It was originally issued in 1958 on the Prestige label and catalogued as PRLP 7130. It features only three pieces, which belong to the hard bop subgenre and distinguish themselves by being fast-paced and bluesy. Critic Ira Gitler found the album satisfactory and said that the eponymous first piece was a "many-splendored, deep-dish demonstration of feeling, mood and melody".

John Coltrane with the Red Garland Trio is the third studio album by jazz musician John Coltrane, issued in 1958 on Prestige Records, catalogue 7123. It was recorded at the studio of Rudy Van Gelder in Hackensack, New Jersey. In 1961 it was reissued as Traneing In, Prestige catalogue 7651, and given a different cover photo, as pictured. Analogue Productions' reissue mastered by Kevin Gray.

Standard Coltrane consists of tracks recorded in 1958 but only released in 1962 to capitalize on Coltrane's growing popularity throughout the 60s. The material on the album consists of well known music from Broadway or films, mostly ballads, recorded with the bulk of the Miles Davis band of the day: Wilbur Harden on trumpet and flugelhorn, Red Garland on piano, bassist Paul Chambers and drummer Jimmy Cobb. This is a prime example of Coltrane in the middle of his signature "sheets of sound" period.

In the summer of 1955, after Davis performed at the Newport Jazz Festival, he was approached by Columbia Records executive George Avakian, who offered him a contract if he could form a regular band. Davis assembled his first regular quintet to meet a commitment at the Café Bohemia in July with Sonny Rollins on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. By the autumn, Rollins had left to deal with his heroin addiction, and later in the year joined the hard bop quintet led by Clifford Brown and Max Roach.

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.

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.

Soultrane is one of the essential albums in John Coltrane’s career. Recorded during the first year of his Prestige contract, between his critical service in Thelonious Monk’s quartet and his return to the band of Miles Davis, it finds the tenor saxophonist displaying a new level of both technical and conceptual refinement, dispensing torrents of notes that annotator Ira Gitler famously dubbed "sheets of sound".

Lush Life is an album credited to jazz musician John Coltrane, released in 1961 on Prestige Records, catalogue 7188. It is assembled from unissued results of three separate recording sessions at Van Gelder Studio in Hackensack, New Jersey in 1957 and 1958. As Coltrane's fame grew during the 1960s long after he had stopped recording for the label, Prestige used unissued recordings to create new marketable albums without Coltrane's input or approval.

After being very active on records and in clubs from 1955-62, pianist Red Garland went back to his native Texas. He did not return to records until 1971, when he cut "Auf Wiedersehen" and this particular LP, which has not yet been reissued on CD; except for a couple of Japanese dates in 1974, it would be another six years before Garland began making a real comeback. Teamed up with Jimmy Heath (who doubles on tenor and soprano), bassist Peck Morrison and drummer Lenny McBrowne, Garland plays in the same distinctive style he had in the 1950s, not showing any decline or loss of chops. The quartet performs four jazz standards, the title cut (a Heath original), and Leroy Vinnegar's "For Carl".

This album was the first to be released showcasing Miles Davis and his new quintet. However it was not the first that Davis recorded with this quintet: before Davis could leave Prestige for his new record label, Columbia, he had to fulfill the remainder of his contract.

"Standard Coltrane" consists of tracks recorded in 1958 but only released in 1962 to capitalize on Coltrane's growing popularity throughout the 60s. The material on the album consists of well known music from Broadway or films, mostly ballads, recorded with the bulk of the Miles Davis band of the day: Wilbur Harden on trumpet and flugelhorn, Red Garland on piano, bassist Paul Chambers and drummer Jimmy Cobb. This is a prime example of Coltrane in the middle of his signature "sheets of sound" period.

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.

With a veritable All-Star lineup in tow, pianist Red Garland turns in a relaxed session that highlights his deft, tasteful touch. 'Soul Junction' features tenor saxophonist John Coltrane in fine form joined by trumpeter Donald Byrd, bassist George Joyner and drummer Art Taylor. Highlights include Garland's 15-minute blues workout on the title cut and Coltrane's masterful "sheets of sound" soloing on the bouncy, breezy "Woody'n You".

When Red Garland released this in 1957 he was riding high as a member of Miles Davis’s "first great quintet," but the pianist was also starting to attract an audience with his own albums. This set, only his second as leader, is comprised entirely of standards plus an extended reading of Percy Mayfield’s R&B classic Please Send Me Someone To Love. Garland is accompanied here, as he often was on sessions of the era, by bassist and Miles Davis bandmate Paul Chambers and drummer Art Taylor, known later as the Red Garland Trio.