The modal manifesto: 16 bars of D Dorian, 8 of E♭ Dorian, 8 more of D — two chords where bebop would have used thirty. Chambers's bass states the theme, the horns answer "so what," Cobb's cymbal crash opens the door, and Miles delivers one of the most transcribed solos in history. It became Davis's set-opener for years.

A relaxed twelve-bar blues with a twist in the final bars, named for a Philadelphia bartender and hanger-on in Miles's orbit. The only track with Wynton Kelly on piano — and Kelly solos first, a graceful gesture from Davis to the pianist who'd been displaced for the rest of the album.

A circular ten-bar ballad of astonishing intimacy — no Cannonball, just muted trumpet, tenor, and the trio. Authorship was disputed for decades: the label credited Davis alone, but Evans maintained he wrote most or all of it, and most scholars now credit them jointly. Evans recorded it again on his own Portrait in Jazz.

A hypnotic 6/8 blues in G that rolls like slow water — the piano trill and muted horns creating a haze the solos rise out of. The longest track on the record, and along with "So What" the one that most escaped into the wider world: covered, sampled, and taught in every jazz program on earth.

Perhaps the purest expression of the album's idea: no melody at all — just a series of five scales, each played "as long as the soloist wishes," including a Phrygian passage that gives the piece its Spanish shadow. Built from an idea Evans had explored in his solo "Peace Piece." Captured complete on the first take; the alternate take is the only full outtake from the sessions.