One cannot go wrong studying the music of Miles Davis in great depth. Â It is a road into the heart of modern jazz. Â I say this for a couple reasons. Â First, because Miles had a long and productive career. Â His work covers the genre from bebop (Miles played in Charlie Parker's band) to fusion (which, arguably, Miles created) and beyond. Second, almost every great jazz player of his time can be heard on Miles Davis recordings. Â He played with them all - Gerry Mulligan, Kenny Clarke, Philly Joe Jones, Gil Evans, Horace Silver, Paul Chambers, John Coltrane, Cannonball Adderly, Bill Evans, Herbie Hancock, Ron Carter, Wayne Shorter, Tony Williams, Chick Corea, John McLaughlin, Joe Zawinul ... I'm running out of breath and just getting started. Â In a couple weeks, I'll be hearing alto saxophonist Kenny Garrett in New York, with Pharoah Sanders. Â Mr. Garrett was in Miles's last band. Â So, my point is, the recordings of Miles Davis lead one to the work of so many other outstanding artists. Miles bragged that he had "changed music" numerous times, and it's true. Â He did that not with just with his trumpet, but as a band leader who never was content to stand still. Â Always Miles was questing for new sounds and he was an unequalled judge of talent in others. Â When he would hear a hot new player his first thought was - "How would that guy sound with that other new guy I heard?" Â And soon both of them would be in his band. Oh yeah, I dig Miles the most. Â By the way, his autobiography, dictated to Sidney Troupe, is fascinating and hilarious. Â Nobody used the words mo^%er fu*&er more often, or more creatively, than Mile Davis.