At its best, though, the collaboration between Miles and the orchestrations produces some wonderful music. The masterpiece is "Summertime", which reconstructs the famous operatic lullaby using a gospel-style 'call and response' structure. Over a perfectly judged slow walking pace set by bass and drums, the orchestra plays a repeated six-note 'response' phrase which Evans subtly varies with changes of voicing and instrumentation. Above this, on muted trumpet, Miles floats a series of inspired, though essentially simple, variations on the melody. The opening statement of Gershwin's theme uses fragments of the well-known melody in a hint of a declamatory style, as if Miles is giving the 'call' to which the orchestra 'responds'. If that sounds at all complicated, the effect is actually very simple, and as direct in its appeal as any piece of music can be. But for me part of that appeal lies in the emotional ambiguity of the performance - the way in which it seems to hover between plaintive lament and optimistic joy.

My other favourites are the more obviously plaintive "Gone, Gone, Gone", the up-tempo variation on it - "Gone" - which has a superb solo from Miles accompanied only by Paul Chambers' driving bass and Philly Jo Jones's excitable, intense drumming, "The Buzzard Song" with Miles's rich-toned flugelhorn floating above some equally rich brass scoring, the beautifully arranged fragment "Here Come de Honey Man", and a joyous, spontaneous-sounding "There's a Boat That's Leaving Soon for New York".

A classic album. But I hope that one day it will be possible for remastering technology to eliminate that ghostly pre-echo which has so far haunted every version on LP, tape and CD.

There is a feeling of the intricate arrangement by Evans with the raw and instinctual feel of a group that is feeding off each other, reading new music, and exploring new relationships.

The solo work of Davis (and other orchestra members, really) is exquisite, and you hear him exploring the upper reaches of his range - all the while striking a balance between a beautifully piercing high-register and the familiar mellow, airy, and smooth tone of the Miles we all know and love.

For the aspiring musician, this is a perfect album with which to single out one instrument or musician, and to learn how one horn player can be an essential part of a bigger team.

Melancholy at times, goosebump inducingly dramatic at others, wrapped up with the peppy and 'happy' "There's a boat leaving soon for New York," this album will have you listening over and over.