Bright Mississippi "A contrafact of "Sweet Georgia Brown" that Monk developed during the European tour in 1961, where the melody consists of staccato notes that outline the harmony. It was first recorded on November 1, 1962, for Monk's Dream. Live versions also appear from the albums recorded at the It Club and the Jazz Workshop."

Yesterday "There was a constant churn of collaborators through the early 60s but, with the recruitment of long-time target Wayne Shorter as the eventual replacement for Coltrane on sax in September 1964, Davis finally had what many have described as the greatest group in jazz history. That appraisal may do the “second great quintet” – Davis, Shorter, bassist Ron Carter, drummer Tony Williams and pianist Herbie Hancock – an injustice: they’re clearly one of the finest bands ever assembled, in any genre of music. By the end of 1965, the new quintet were more than familiar with their leader’s counter-intuitive mindset, and keen to take him out of the comfort zone of a live repertoire that stuck to standards and ignored the adventurous new material they had been recording. Before a December residency at the Plugged Nickel in Chicago, and behind Davis’s back, Williams – barely out of his teens – suggested to Carter, Shorter and Hancock that from the first note of the first set they should play the opposite of what tradition, convention and their leader’s improvisations implied. The four musicians agreed, and didn’t waver even when, on arrival at the venue, they found out that the shows were being recorded by Columbia. The first night wasn’t taped – Davis was arguing with the label – but seven sets from the next two nights were. Over the course of these performances, released in full in the mid-1990s as the box set The Complete Live at the Plugged Nickel, you can hear the band as they work out ways to become even greater than the considerable sum of their parts. It’s hard to pick a single moment to represent the combination of genius and madness all five were channelling, but by the third night, when Davis has begun to understand what was going on, the group found a way of combining the outre adventurousness of Ornette Coleman’s and Coltrane’s bands of the time with the sharp-suited cool Davis had made a visual and audible trademark. An unexpected roll through Jerome Kern’s Yesterdays from the last set finds the group in total command of this new way of working." https://www.theguardian.com/music/musicblog/2017/apr/12/miles-davis-10-of-the-best