Steve Silberman at The Believer:
It was supposed to be the best day of Richard “Blue” Mitchell’s life, but June 30, 1958, turned out to be one of the worst. The trumpeter had been summoned to New York City from Miami for a recording session with Julian “Cannonball” Adderley, an old friend who was being hailed as the hottest alto sax player since Charlie Parker.
But things started going wrong even before Mitchell arrived at Reeves Sound Studios on East Forty-Fourth Street. First, his luggage went astray en route from Florida. Then there was a surprise waiting for him in the control room: Miles Davis, one of his musical heroes, who had taken the extraordinary step of composing a new melody as a gift to Cannonball. Mitchell was supposed to play Miles’s part.
That wasn’t going to be easy, because the tune, called “Nardis,” was anything but a standard workout on blues-based changes. The melody had a haunting, angular, exotic quality, like the “Gypsy jazz” that guitarist Django Reinhardt played with the Hot Club de France in the 1930s.