Sketches of Spain =180g=
1 x LP
( 1960 )2015 EU repressed on 180g LP =conception of Sketches Of Spain in 1960 can be placed in the 'most melodic era' of Miles Davis. It is one of his most accessible and less improvisational albums, one of the four albums where Miles and Gil Evans
Release date 06-10-2015(originally released in 1960)
2015 EU repressed on 180gLP =The conception of Sketches Of Spain in 1960 can be placed in the 'most melodic era' of Miles Davis. It is one of his most accessible and less improvisational albums, some even outclassed it from the reigns of Jazz.
This is one of the four albums where Miles and Gil Evans (arranger & conductor) were together with a small orchestra of horns and percussion, and it was fueled by Spanish melodies that fascinated Davis to the point he needed to get into them and go beyond: "El Concierto de Arajuez" by Joaquín Rodrigo and "El Amor Brujo" by Manuel de Falla.
Davis and Evans put something together that every single music lover should possess, a sketch of some place he'd never been to. As Miles said, ''It's music, and I like it".
A1 Concierto De Aranjuez (Adagio) 16:14
A2 Will O' The Wisp 3:48
B1 The Pan Piper 3:57
B2 Saeta 4:57
B3 Solea 12:08
George Avakian, who was in charge of an ethnic music series at Columbia directed by the ethno-musicologist Alan Lomax, especially wanted Gil Evans to work with flamenco because of his knowledge of Spanish composers. In fact, Miles Davis himself had simultaneously discovered Joaquin Rodrigo’s “Concierto De Aranjuez” and flamenco - thanks to both an anthology brought back from Spain by the actress Beverly Bentley and a concert to which Frances Taylor had taken him.
The result was majestic music in which Evans skirted the kitsch of Rodrigo’s original score and held his own with the help of Miles’ lofty trumpet. Along with the adagio from “Concierto,” Gil borrowed Manuel de Falla’s “Will O’ The Wisp,” and adapted “The Pan Piper” from a panpipe aria recorded by Lomax in Galicia and “Saeta” from an eponymous ritual chant sung to the accompaniment of the brass bands escorting the processions in Seville during Holy Week. In this last piece and in “Solea,” Miles drew on the ardor of flamenco singing while distancing himself from all traces of the folkloric.
His first release after Kind Of Blue, Davis' playing on the classic Sketches Of Spain is absolutely effortless and he offers up some of the most dramatic and breathtakingly brooding solos of his career here. The album’s cover is also a true classic as it features the first appearance of the silhouette logo which would become the ultimate trademark of the artist.
Said one critic: "It is as if Miles had been born of Andalusian gypsies, but instead of picking up the guitar, had decided to make a trumpet the expression of his cante hondo (deep song)."
Originally released: 1960
This release: 2015