ACQUIRED FROM JAZZ COLLECTOR'S PERSONAL ARCHIVE, THIS MILES DAVIS MASTERPIECE IS SUPER NMINTY CLEAN, BORDERING ON MINT. I ALMOST GRADED IT MINT, BUT I THOUGHT WOULD PLAY IT SAFE BUT YES, ITS THAT CLEAN. HARD TO FIND IN THIS EXCELLENT CONDITION. COMES IN ORIGINAL ROUND-BACK PLASTIC INNER SLEEVE (SEE PICS) COVER IS NMINT w MINOR SEAM WEAR BUT NO SPLITS YET (SEE PICS). SPINE IS NICE AND VISIBLE (SEE PICS), FACE OF COVER IS GORGEOUS w NO RING WEAR, ODD BECAUSE THIS ONE ALWAYS TURNS UP TRASHED.  NO RESERVE BUT I'M NOT GIVING THIS ONE AWAY. YOU WILL NOT FIND A CLEANER COPY GREAT GIFT FOR MILES COLLECTOR, OR JAZZ ENTHUSIAST.  MY FEEDBACK SPEAKS FOR ITSELF SO BID WITH CONFIDENCE. STAY SAFE and KEEP THE FAITH

Miles Davis ?– Sketches Of Spain

Tracklist Hide Credits

Credits

• Arranged By, Conductor – Gil Evans
• Liner Notes – Nat Hentoff
• Producer – Teo Macero
• Trumpet – Miles Davis

Notes

• Matrix / Runout: XSM49959-1F 
• Matrix / Runout: XSM49958-1D

Sketches of Spain

• Third stream[2]
• orchestral jazz[3]

Sketches of Spain is an album by Miles Davis, recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City. An extended version of the second movement of Joaquín Rodrigo's Concierto de Aranjuez (1939) is included, as well as a piece called "Will o' the Wisp", from Manuel de Falla's ballet El amor brujo (1914–1915). Sketches of Spain is regarded as an exemplary recording of Third Stream, a musical fusion of jazz, European classical, and styles from world music.[2]

Contents

• 1Background
• 2Concierto de Aranjuez
• 3Critical reception
• 4Track listing
• 5Song title meanings
• 6Personnel
• 7References
• 8External links

Background[edit]

Davis' wife Frances Davis insisted he accompany her to a performance by flamenco dancer Roberto Iglesias. Inspired by the performance, Davis bought every flamenco album he could get at Colony Records shop in New York City.[4]

The album pairs Davis with arranger and composer Gil Evans, with whom he had collaborated on several other projects, on a program of compositions largely derived from the Spanish folk tradition. Evans explained: 

[We] hadn't intended to make a Spanish album. We were just going to do the Concierto de Aranjuez. A friend of Miles gave him the only album in existence with that piece. He brought it back to New York and I copied the music off the record because there was no score. By the time we did that, we began to listen to other folk music, music played in clubs in Spain... So we learned a lot from that and it ended up being a Spanish album. The Rodrigo, the melody is so beautiful. It's such a strong song. I was so thrilled with that.[5]

The folk songs in the album were inspired by recordings made by Alan Lomax in Galicia and Andalusia, which were released in 1955 by Columbia Masterworks.[6][7]

Concierto de Aranjuez[edit]

The opening piece, taking up almost half the record, is an arrangement by Evans and Davis of the adagio movement of Concierto de Aranjuez, a concerto for guitar by the contemporary Spanish composer Joaquín Rodrigo. Following the faithful introduction of the concerto's guitar melody on flugelhorn, Evans' arrangement turns into a "quasi-symphonic, quasi-jazz world of sound", according to his biographer.[5] The middle of the piece contains a "chorus" by Evans unrelated to the concerto but "echoed" in the other pieces on the album.[5] The original melody then reappears in a darker mode.

Davis plays flugelhorn and later trumpet, attempting to connect the various settings musically.[8] Davis commented at rehearsal, "The thing I have to do now is make things connect, make them mean something in what I play around it".[8] Davis thought the concerto's adagio melody was "so strong" that "the softer you play it, the stronger it gets, and the stronger you play it, the weaker it gets", and Evans concurred.[8]

According to Davis' biographer Chambers, the contemporary critical response to the arrangement was not surprising, especially given the scarcity of anything resembling a jazz rhythm in most of the piece. Martin Williams wrote that "the recording is something of a curiosity and a failure, as I think a comparison with any good performance of the movement by a classical guitarist would confirm". The composer Rodrigo was also not impressed, but royalties from the arrangement brought him "a lot of money", according to Evans.[8]

Critical reception

In a contemporary review for Down Beat, Bill Mathieu hailed Sketches of Spain as one of the 20th century's most important musical works so far and a highly intellectual yet passionate record. He found Evans's compositions extremely well crafted and Davis's playing intelligently devised, concluding in his review, "if there is to be a new jazz, a shape of things to come, then this is the beginning."[3] Replying to suggestions that Sketches of Spain was something other than jazz, Davis said "it's music, and I like it".[18] In The Rolling Stone Album Guide (2004), J. D. Considine called it "a work of unparalleled grace and lyricism",[16] while Q magazine said it "took orchestral jazz in a new direction".[15] Robert Christgau was less enthusiastic about the record and recalled being a young listener when it was released: "In 1960 [it] catapulted Davis into the favor of the kind of man who reads Playboy and initiated in me one phase of the disillusionment with jazz that resulted in my return to rock and roll".[19]

For Sketches of Spain, Evans and Davis won the 1961 Grammy Award for Best Jazz Composition of More Than Five Minutes Duration.[20] The album was ranked number 358 on Rolling Stone's list of the 500 greatest albums of all time.[18][21] According to Acclaimed Music, it is the 393rd most frequently ranked record on critics' all-time lists.[22]