Editing John Coltrane (section)

===1958: Davis and Coltrane===
Coltrane rejoined Davis in December 1957 after quitting his heroin addiction.<ref>{{Cite web |title=Miles Davis and John Coltrane: Yin and Yang |url=https://www.jazzwise.com/features/article/miles-davis-and-john-coltrane-yin-and-yang |access-date=2024-05-27 |website=Jazzwise |language=en}}</ref> In October of that year, jazz critic [[Ira Gitler]] coined the term "[[sheets of sound]]"<ref>{{Cite web|url=https://news.allaboutjazz.com/john-coltrane-sheets-of-sound.php|title=Jazz news: John Coltrane: Sheets of Sound|website=News.allaboutjazz.com|date=June 19, 2009|access-date=October 15, 2019|archive-date=June 20, 2019|archive-url=https://web.archive.org/web/20190620064049/https://news.allaboutjazz.com/john-coltrane-sheets-of-sound.php|url-status=live|url-access=registration}}</ref> to describe the style Coltrane developed with Monk and was perfecting in Davis's group, now a sextet. His playing was compressed, with rapid runs cascading in very many notes per minute. Coltrane recalled: "I found that there were a certain number of chord progressions to play in a given time, and sometimes what I played didn't work out in eighth notes, sixteenth notes, or triplets. I had to put the notes in uneven groups like fives and sevens in order to get them all in."<ref>{{cite journal |last1=Coltrane |first1=John |last2=DeMicheal |first2=Don |date=September 29, 1960 |title=Coltrane on Coltrane |journal=[[DownBeat]] |pages=27 }}</ref>

Coltrane stayed with Davis until April 1960, working with alto saxophonist [[Cannonball Adderley]]; pianists [[Red Garland]], [[Bill Evans]], and [[Wynton Kelly]]; bassist [[Paul Chambers]]; and drummers [[Philly Joe Jones]] and [[Jimmy Cobb]]. During this time he participated in the Davis sessions ''[[Milestones (Miles Davis album)|Milestones]]'' and ''[[Kind of Blue]]'', and the concert recordings ''[[Miles & Monk at Newport]]'' (1963) and ''[[Jazz at the Plaza Vol. I|Jazz at the Plaza]] (1958)''.