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The calibre of personnel Miles Davis enlisted for his Sextet was the very best. Davis knew he couldn't keep this unit together for long. It was obvious to him that each was developing into a sensation. This was 1958, and history was being made with the emergence of Davis' modal sound. His sweet, open trumpet tone reflects what Davis stood for and explains why he's still the top vote getter in jazz polls around the world. The way he, Cannonball Adderley, Red Garland, and John Coltrane weave melodic lines together has set a standard for those who have followed. The pianist demonstrates his well-developed bebop chops on "Billy Boy," a popular folk tune that Davis included to let the rhythm section shine. Paul Chambers' arco bass and Philly Joe Jones' proud fours lend credence to the theory that this album represents the very peak of bebop. There are three alternate takes on this reissue. Each possesses a full, rich sound quality. It's interesting to compare, as the solo order changes from track to track. Typically, Coltrane starts it off, Davis bares his intended aim, and Adderley draws inspiration from both. For this milestone album, Davis used no mutes, no electronics, and no echo. Milestones is a seminal album that helped shape jazz history.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.