When John Coltrane entered Miles Davis’ band in late 1955, Davis was reluctant to let him join saying, “we didn’t get along at first because Trane liked to ask all these mother f---ing questions back then about what we should or shouldn’t play.” Afterwards Davis was overjoyed at how well Coltrane could play and was happy about his joining the band. Coltrane’s style was like no other, “Trane was the loudest, fastest saxophone player I’ve ever heard. He could play real fast and real loud at the same time and that’s very difficult to do.” (Davis 222). Coltrane’s attitude can be stated in one word, dedication. Davis was in awe of Coltrane’s approach towards his mu

Kind of Blue was Davis and Coltrane’s most popular album together. It launched the "modal revolution," a style in which the complex chord substitutions of hard bop were replaced by extended soloing based on one or two scales or modes. Miles Davis did not write any of the music down, every song was improvised. Eric Nisenson, Miles biographer, said, “one of the most important, as well as sublimely beautiful albums in the history of jazz.” Kind of Blue influenced not only jazz musicians but rock as well, Duane Allman said, when commended by a fellow musician about his guitar skills, “You know, that kind of playing comes from Miles and Coltrane and particularly Kind of Blue. I’ve listened to that album so many times that for the past couple of years, I haven’t hardly listened to anything else.” (Kind 9). The influence of Kind of Blue has been so widespread and long lasting, it’s doubtful that anyone has yet grasped its crucial scale.

sic, “He was always practicin’, after shows we’d just go hang out or look for a few ladies but not Trane.” (Miles). Coltrane himself simply said:

Despite his religious convictions drugs were a major power over Coltrane—he would start “nodding out” on stage due to all the

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