This feature is derived from KNKX's Tree of Jazz, a weekly deep dive into artists, albums, and instruments from the roots of jazz to it's new budding leaves.
70 years ago, Miles Davis recorded two marathon sessions for Prestige Records, in May and October 1956. The 25 songs from these sessions would become a part of four monumental releases for Miles Davis: Cookin’, Relaxin’, Workin’, and Steamin’ with Miles Davis.
The beginning of the ‘50s was turbulent for Davis. But by 1955, he captured the world’s attention with his Newport Jazz Festival performance.
According to Downbeat Magazine, Davis played “thrillingly” and “indicated that his comeback is in full stride." But the applause and the accolades from this festival appearance didn’t do anything for Miles; he coolly dismissed them.
“I always play like that,” he said.
His Newport festival performance became the catalyst for Davis’ signing to Columbia Records. It also led him to fulfill his contract obligations with Prestige Records, resulting in the ‘56 sessions and these four iconic records.
Cookin’ great music
Of the ‘56 sessions, Miles Davis said it best: “[We] came in and cooked.” And, sure enough, many of the tracks recorded are uniquely driving and expansive.
On Workin’ With Miles Davis, the band swings hard on Miles’ classics like “Four,” the lyrical and intense standard.
The ’56 sessions also featured the delicate and airy song, “My Funny Valentine." This marked his first time recording this 1937 Rodgers and Hart standard, which would Davis would play regularly throughout the years.
On Relaxin’, a now-famous Miles Davis quote opens the record: “I’ll play it and tell you what it is later.” The quote illustrates the ever-changing explorations of Davis.
The sessions capture pianist Ahmad Jamal's influence on Davis, too. Jamal and Davis, both known for being masters of jazz, usexd silence as much as they used notes in their playing.
Davis once acknowledged the influence of Jamal in that era.
"All my inspiration today comes from the Chicago pianist Ahmad Jamal," he said.
A lasting impact
These Prestige sessions help to cement Davis’ legacy as one of the greatest jazz musicians to touch an instrument. In an interview with KNKX, Seattle-based trumpeter and jazz advocate Thomas Marriott, reflected on what makes Davis so influential to this day.
“It reflects a certain kind of vulnerability, that it's not flashy, and that it doesn't have to be about that, and that the music is really not about the notes, it's how you play them,” said Marriott.
The '56 sessions also offered a big break to the young players in this first great quintet. Saxophonist John Coltrane had just recently arrived in New York City from Philadelphia. He joined a young bassist Paul Chambers, pianist Red Garland and Philly Joe Jones. All four would go on to have successful careers and shape the music in their own right.
Ultimately, in the trajectory of Davis, these sessions mark the beginning of a new Miles Davis era. They capture the rawness and newness of his working live band at the time, and his comeback era after that Newport Jazz Festival performance. They also mark the end of his time on Prestige Records, and his rise to becoming a household name with Columbia Records.
Even Davis himself noted the gravity of these sessions in his 1989 autobiography, Miles.
“That was some great music we made at both those sessions, and I’m really proud of it today,” he said.
The ‘56 sessions are being re-released in an upcoming compilation marking the centennial of Miles Davis. Expect to find Miles ’56 in June.
Select tracks from the '56 session are featured on the May 17th, 2026 edition of The Tree of Jazz. Listen to the past two weeks of Tree of Jazz On-Demand, and hear deep dives like this each week on air and online every Sunday from 3-6 p.m. PT.
