Changes

His development of [[Cool Jazz]], a relaxed antidote to the frenetic pace of Bebop, was influential, but arguably he found his voice following his encounter with the works of theorist [[George Russell]]. Beginning with the album [[Milestones]] in 1957, he began to explore [[Modal Jazz]], a new approach to the idiom in which the chord structures were vastly simplified, allowing the soloist ample time to explore melodic ideas.

His development of [[Cool Jazz]], a relaxed antidote to the frenetic pace of Bebop, was influential, but arguably he found his voice following his encounter with the works of theorist [[George Russell]]. Beginning with the album [[Milestones]] in 1957, he began to explore [[Modal Jazz]], a new approach to the idiom in which the chord structures were vastly simplified, allowing the soloist ample time to explore melodic ideas.

The apotheosis of this period came with [[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).

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).