Billboard : 02/04/1956
Score of 75

Some rewarding, sometimes dazzling post-bop jazz featuring three musicians musicians – Davis, Rollins and drummer Art Blakey. Set has drawbacks, including some drum-heavy balances, too much echo occasionally in the remastering (these were recorded in ’51 and out previously on 10-inch), and Rollins’ squeaky reed. Nevertheless, dyed-in-the-wool modernists will buy them. Demonstrates Davis’ up-tempo work on Denial, and, despite the band sound on Dig, which actually is Sweet Georgia Brown.

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Wichita Falls Times – Wichita Falls, TX
Bob Herdien – 07/29/1956

Recorded in 1951, Miles Davis‘ sextet produces some swinging rhythm in Dig – Prestige LP 7012. Davis, a mighty trumpet man, has teamed with tenor man Sonny Rollins on other sides, but is at this best this time. Emotions jut out of all the solos, particularly on It’s Only a Paper Moon.

The rhythm features the explosive drive of drummer Art Blakey, the subtle power of bassist Tommy Potter, and great solo work by ivory artist Walter Bishop, one of the business’ most underrated.

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Liner Notes by Ira Gitler

These are some of the first “longer playing” recordings made possible by the advent of the LP. Recorded October 5, 1951, this entire session has been remastered by top engineer Rudy Van Gelder. (The two remaining selections from this date, Conception and My Old Flame are included in Conception, PRLP 7013).

Miles Davis and Tenor Sax : Sonny Rollins form one of the most empathetic and powerfully moving duos in jazz. Although they had recorded together before (Morpheus, Whispering, Blue Room) this was their first chance to “stretch out” together on records.

These recordings have much warmth. The emotions jut out of all the solos. On Paper Moon and Bluing this is especially true but it is in evidence on the upper tempos too. Dig is fluid. The chord changes lend themselves to the long melodic lines that the soloists employ. There is also a continuity of feeling from one soloist to another which points up the aforementioned empathy.

The group is made a sextet by altoman Jackie McLean on all numbers but Paper Moon. Jackie, in his teens when these recordings were made, was then a disciple of Charlie Parker. The Bird influence is still with him but the light of it is partly directed through the prism of Sonny Rollins.

Incidentally, Bird was present for part of this record sot of visiting with his children; Miles, who gained his greatest experience and has his largest pleasures playing with him; Jackie, the young disciple; and Sonny, the reed voice who has become the foremost standard bearer and advancer of the Parker tradition.

The swinging rhythm here features the explosive drive of Art Blakey, the subtle power of Tommy Potter and the sensitive accompaniment of the unduly underrated Walter Bishop.