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The apotheosis of this period came with 1959's ''[[Kind Of Blue]]'', on which he, with pianist [[Bill Evans]] and tenor [[saxophone]] player [[John Coltrane]], among others, created a haunting masterpiece. Most of the tracks are still popular at jazz jam sessions to this day.
The apotheosis of this period came with 1959's ''[[Kind Of Blue]]'', on which he, with pianist [[Bill Evans]] and tenor [[saxophone]] player [[John Coltrane]], among others, created a haunting masterpiece. Most of the tracks are still popular at jazz jam sessions to this day.
For the next few years, he concentrated, in the studio at least, on albums with an orchestral backdrop provided by [[Gil Evans]] - an unfortunate corollary of this is that his work with Bill Evans' replacement [[Wynton Kelly]] is only documented on one studio album (''Someday My Prince Will Come'')<ref>Though he also appears for one track ("Freddie Freeloader") on ''Kind of Blue''.</ref>.
For the next few years, he concentrated, in the studio at least, on albums with an orchestral backdrop provided by [[Gil Evans]] - an unfortunate corollary of this is that his work with Bill Evans' replacement [[Wynton Kelly]] is only documented on one studio album (''Someday My Prince Will Come'').<ref>Though he also appears for one track ("Freddie Freeloader") on ''Kind of Blue''.</ref>
In the early sixties the personnel of his group changed significantly - the young [[Herbie Hancock]], [[Wayne Shorter]], [[Ron Carter]] and [[Tony Williams]] (just 17 years of age on his first Davis album), developed the music into highly complex and virtuosic forms of expression, which, perhaps ironically, was far more technically complex than the bebop that Davis originally rebelled against.
In the early sixties the personnel of his group changed significantly - the young [[Herbie Hancock]], [[Wayne Shorter]], [[Ron Carter]] and [[Tony Williams]] (just 17 years of age on his first Davis album), developed the music into highly complex and virtuosic forms of expression, which, perhaps ironically, was far more technically complex than the bebop that Davis originally rebelled against.