Miles Davis and the Modern Jazz Giants from the same sessions by Davis's new quintet in 1956 which resulted in "Steamin' with the Miles Davis Quintet" (PRLP 7200) and three other albums to fulfill Davis's contract with Prestige. The 1954 session is essentially Davis accompanied by the Modern Jazz Quartet, with Monk in place of John Lewis. Notable as the only time Thelonious Monk made a studio recording with Davis – the two men did not get on well, as Davis felt Monk ought to be "laying out" (refraining from playing) during the trumpeter's solos. Ira Gitler, who was present at the session and wrote the sleevenotes
Jazz include Jackie McLean, and two of the musicians who had also played on "Kind of Blue": John Coltrane and Bill Evans. By the 1950s, Afro-Cuban jazz had been using modes for at least a decade, as much of it borrowed from Cuban popular dance forms which are structured around multiple ostinatos with only a few chords. A case in point is Mario Bauza's "Tanga" (1943), the first Afro-Cuban jazz piece. Machito's Afro-Cubans recorded modal tunes in the 1940s, featuring jazz soloists such as Howard McGhee, Brew Moore, Charlie Parker, and Flip Phillips. However, there is no evidence that Davis or