Sketches of Spain is a studio album by American jazz musician Miles Davis, released on July 18, 1960, by Columbia Records. Recording took place between November 1959 and March 1960 at Columbia's 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.

Background

Miles Davis's wife Frances insisted he accompany her to a performance by flamenco dancer Roberto Iglesias. Inspired by the performance, Davis bought every flamenco album he could buy from the Colony Records shop in New York City.

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.

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.Lomax, Alan (ed.) (1955). The Columbia World Library of Folk and Primitive Music – Volume XIII: Spain. Columbia Masterworks. Sketches of Spain album was also the first Miles Davis album to be produced by Teo Macero, who would later produce many of Davis's works.

Concierto de Aranjuez

The opening piece, taking up almost half the record, is an arrangement by Gil Evans and Miles 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's arrangement turns into a "quasi-symphonic, quasi-jazz world of sound", according to his biographer. The middle of the piece contains a "chorus" by Evans unrelated to the concerto but "echoed" in the other pieces on the album.Crease, Stephanie Stein (2003). Gil Evans: Out of the Cool: His Life and Music. Chicago Review Press; p. 207. The original melody then reappears in a darker mode.

Davis plays flugelhorn and later trumpet, attempting to connect the various settings musically. 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".Chambers, Jack (1998). Milestones: The Music And Times Of Miles Davis. Da Capo Press; pp. 10–11. 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.

According to Davis's biographer Jack 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.

Davis had not sought permission to record the Concierto from Joaquín Rodrigo, the piece's composer, and the label did not attempt to seek his permission.Antoni Pizà, "The fusions and confusions of the Concierto de Aranjuez in jazz: A listener's musings." In Marta Mateo, Cristina Lacomba and Natalie Ramírez (eds.), From Spain to the United States: Joaquín Rodrigo's Transatlantic Legacy. Cambridge, Massachusetts: Instituto Cervantes at the Faculty of Arts and Sciences of Harvard University, 2019, 71. Rodrigo's wife, Victoria Kamhi in her memoir described the recording as "an act of piracy."Rodrigo, Victoria Kamhi de (1 March 1992). Hand in hand with Joaquín Rodrigo: my life at the maestro's side. Latin American Literary Review Press. p. 225. . Rodrigo tried unsuccessfully to sue the Spanish Society of Authors and Publishers (SGAE) for authorising Davis' version, but lost on the basis that Davis had granted author's rights to Rodrigo, despite not having sought permission.Rodrigo, Victoria Kamhi de (1 March 1992). Hand in hand with Joaquín Rodrigo: my life at the maestro's side. Latin American Literary Review Press. p. 226-227. . "Rodrigo changed his mind and came to accept the subsequent jazz recordings of his music in part because the legal terms of use were resolved (Ediciones Joaquín Rodrigo now owns the Gil Evans arrangement), but also in part because these versions, far from obliterating the original guitar concerto, have helped disseminate it."Antoni Pizà, "The fusions and confusions of the Concierto de Aranjuez in jazz: A listener's musings." In Marta Mateo, Cristina Lacomba and Natalie Ramírez (eds.), From Spain to the United States: Joaquín Rodrigo's Transatlantic Legacy. Cambridge, Massachusetts: Instituto Cervantes at the Faculty of Arts and Sciences of Harvard University, 2019, 72

Critical reception

In a contemporary review for DownBeat, 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." Replying to suggestions that Sketches of Spain was something other than jazz, Davis said "it's music, and I like it." In The Rolling Stone Album Guide (2004), J. D. Considine called it "a work of unparalleled grace and lyricism," while Q magazine said it "took orchestral jazz in a new direction." 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."

For Sketches of Spain, Evans and Davis won the 1961 Grammy Award for Best Jazz Composition of More Than Five Minutes Duration. The album was ranked number 358 on Rolling Stones list of the 500 greatest albums of all time.

Track listing

Sides one and two were combined as tracks 1–5 on CD reissues.

Song title meanings Concierto de Aranjuez was written about the gardens at the Royal Palace of Aranjuez. El amor brujo is often translated as "The Bewitched Love." It is a ballet by Spanish composer Manuel de Falla. "The Pan Piper" refers to the instrument (pan flute) played by a pig's castrator and knife grinder and the melody he used to play when arriving to villages in Galicia. "Alborada" is a traditional folk style from Galicia. "Saeta" is a type of religious song mostly sung during the (Holy Week) processions in Spain. "Solea" is a form of flamenco music.

Personnel

Miles Davis – arranger, trumpet, flugelhorn Gil Evans – arranger, conductor Johnny Coles – trumpet Bernie Glow – trumpet Taft Jordan – trumpet Louis Mucci – trumpet Ernie Royal – trumpet John Barrows – French horn James Buffington – French horn Earl Chapin – French horn Tony Miranda – French horn Joe Singer – French horn Dick Hixon – trombone Frank Rehak – trombone Bill Barber – tuba Jimmy McAllister – tuba Danny Bank – bass clarinet Albert Block – flute Eddie Caine – flute Harold Feldman – clarinet, flute, oboe Romeo Penque – oboe Jack Knitzer – bassoon Paul Chambers – bass Jimmy Cobb – drums Elvin Jones – percussion Janet Putnam – harp José Mangual Sr. – castanets (track 1–2) Elden "Buster" Bailey – percussion (tracks 3–5)

Certifications and sales

References

External links

Sketches of Spain Legacy Edition at Myspace (streamed copy where licensed)