The saxophonists trade choruses and come off sounding like mirrored images of one another in the slower, post-bop blues that is "Sid's Ahead." With a slippery melody line that quotes two harmonic lines from early New Orleans-styled blues, Davis drives the band into the rhythm section's garage. It's Cannonballfirst with his stuttered, angular lines, hiccuping halfway through the interval before continuing on with a squeak here and the slightest squawk there. Next up is Davis, blowing fluid and straightened lines, ribbons through the rhythm section's center as Red Garlandlays out and leaves it to Paul Chambersand Philly Joe Jonesto provide the earnest, time-keeping 4/4 that Davis sidles to in the tune. When Coltranesolos, all best are off as he plays as pure a blues as he was capable at the time. Nonetheless, there are the long lines of slurred notes, smattered against Garland's harmonies and he slips into quoting "Skip to my Lou" before knotting it back down to the basics and even then not for long. Coltranewas already exploring the edges of mode and harmony; he used an intervallic invention in the choruses to juxtapose his solo against the rhythm section and it worked -- but it must have made Davis raise an eyebrow. Chambers' solo is as tasteful and as breezy and free as only he could be. His contrapuntal soloing rides the rhythm out, Garlandstriding along quietly until the tune returns
