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.