Apart from six Blue Note sides that were recorded just a few days earlier than the first session here, this 70th anniversary set represents all Miles Davis’ studio recordings from 1954. It’s a good year to celebrate, as these Prestige dates marked a gradual resurgence in Davis’ career, after a low point in his history of narcotic addiction.

The first session here is by the same quartet as for Blue Note – Davis, Silver, Heath and Blakey – and Horace told me that as Davis returned to form, his lip was still weak, so he limited himself to no more than two takes of three or four numbers.

That weakness isn’t apparent here and Paul Blakemore’s excellent remastering captures Miles’ beautiful open horn tone on tracks such as ‘Four’ and ‘Old Devil Moon’. His characteristic muted sound returns on the second session, with ‘Solar’, Clarke taking over the drums from Blakey. April saw the creation of a masterpiece as Miles was joined by Johnson and Thompson to produce ‘Walkin’’. Lasting 13 minutes, it has two great solos from Miles, and an extended solo from Lucky. Producer Bob Weinstock told me he waved his stopwatch at Thompson, who ignored him and went on blowing. ‘We got one of the greatest tenor solos in history,’ Bob reflected, after keeping the tapes rolling.

Miles then committed to tape much of the repertoire he would play with his working band after Sonny Rollins joined him for the 29 June date, which produced ‘Airegin’ and ‘Oleo’.

For the final Christmas Eve session, Monk comes in on piano and Milt Jackson on vibes. Monk sits out for much of the first take of ‘Bags’ Groove’ so it’s Miles plus three of the MJQ, and there are touches of humour in his phrasing. Monk’s jerky lead playing on ‘Bemsha Swing’ is quite a startling contrast to Silver’s easy swing, but the band digs in and rounds off the year with another fine session on Miles’ road to real stardom.