Miles Davis
Sketches Of Spain

Columbia / Legacy    CK 65142  (1960)

Jazz
CD, 8   Tracks, 60:40  Length
01 Concierto De Aranjuez (Adagio) Joaquín Rodrigo 16:23
02 Will O' The Wisp Manuel De Falla 03:49
03 The Pan Piper Gil Evans 03:54
04 Saeta Gil Evans 05:08
05 Solea Gil Evans 12:20
06 Song Of Our Country Gil Evans 03:28
07 Concierto De Aranjuez (Part One) Joaquín Rodrigo 12:05
08 Concierto De Aranjuez (Part Two Ending) Joaquín Rodrigo 03:33
Music Details
Product Details
Packaging Jewel Case
Spars DDD
Sound Stereo
Musicians  &  Credits
Trumpet Miles Davis
Conductor Gil Evans
Clarinet Danny Bank
Tuba Billy Barber
French Horn John Barrows
Flute Block, Al
Drums Jimmy Cobb
Bass Paul Chambers
Clarinet Harold Feldman
Trumpet Bernie Glow
Trombone Dick Hixon
Trumpet Taft Jordan
Percussion Jose Mangual
Tuba Jimmy McAllister
French Horn Tony Miranda
Trumpet Louis Mucci
Oboe Romeo Penque
Harp Janet Putnam
Trombone Frank Rehak
Trumpet Ernie Royal
French Horn Joe Singer
Producer Teo Macero
Engineer Fred Plaut; Tom "Curly" Ruff
Personal Details
Index # 837
Owner Dave
Tags Contemporary Jazz, Modal
User Defined
Purchased New
Notes
Along with Kind of Blue, In a Silent Way, and Round About Midnight, Sketches of Spain is one of Miles Davis' most enduring and innovative achievements. Recorded between November 1959 and March 1960 -- after Coltrane and Cannonball Adderley had left the band -- Davis teamed with Canadian arranger Gil Evans for the third time. Davis brought Evans the album's signature piece, "Concierto de Aranjuez," after hearing a classical version of it at bassist Joe Mondragon's house. Evans was as taken with it as Davis was, and set about to create an entire album of material around it. The result is a masterpiece of modern art. On the "Concierto," Evans' arrangement provided an orchestra and jazz band -- Paul Chambers, Jimmy Cobb, and Elvin Jones -- the opportunity to record a classical work as it was. The piece, with its stunning colors and intricate yet transcendent adagio, played by Davis on a flügelhorn with a Harmon mute, is one of the most memorable works to come from popular culture in the 20th century. Davis' control over his instrument is singular, and Evans' conducting is flawless. Also notable are "Saeta," with one of the most amazing technical solos of Davis' career, and the album's closer, "Solea," which is conceptually a narrative piece, based on an Andalusian folk song, about a woman who encounters the procession taking Christ to Calvary. She sings the narrative of his passion and the procession -- or parade -- with full brass accompaniment moving along. Cobb and Jones, with flamenco-flavored percussion, are particularly wonderful here, as they allow the orchestra to indulge in the lushly passionate arrangement Evans provided to accompany Davis, who was clearly at his most challenged here, though he delivers with grace and verve. Sketches of Spain is the most luxuriant and stridently romantic recording Davis ever made. To listen to it in the 21st century is still a spine-tingling experience, as one encounters a multitude of timbres, tonalities, and harmonic structures seldom found in the music called jazz. -- Thom Jurek (allmusic.com)