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…
A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea".
As most readers familiar with Miles Davis' music will know, `Sketches of Spain' recorded in 1959-60 was his third and final collaborative project with orchestral arranger Gil Evans. The original album release, distilled from the recording sessions, explored the musical styles of the Iberian Peninsula and has a distinctive feel quite different from Miles' other work: listeners familiar with classical music who never previously connected with jazz often found SoS to be an accessible gateway to other innovative jazz compositions of the era.
Kind of Blue was trumpeter Miles Davis’ all-time best seller and one of the most (if not the very most) revered albums in jazz history. In this book, renowned Penguin Guide to Jazz and BBC writer Brian Morton explores the making of this iconic jazz masterpiece.
The book is fully illustrated with classic, rare and never before published photos by such important jazz photographers as Jean-Pierre Leloir, Dennis Stock, Robert W. Kelley, Herb Snitzer, Marvin Koner, and David Redfern, among others.
Also included inside is the CD Kind of Blue in its entirety, plus 4 bonus tracks.
So dubbed because these three sessions - two from early 1949, one from March 1950 - are where the sound known as cool jazz essentially formed, Birth of the Cool remains one of the defining, pivotal moments in jazz. This is where the elasticity of bop was married with skillful, big-band arrangements and a relaxed, subdued mood that made it all seem easy, even at its most intricate. After all, there's a reason why this music was called cool; it has a hip, detached elegance, never getting too hot, even as the rhythms skip and jump. Indeed, the most remarkable thing about these sessions - arranged by Gil Evans and featuring such heavy-hitters as Kai Winding, Gerry Mulligan, Lee Konitz, and Max Roach - is that they sound intimate, as the nonet never pushes too hard, never sounds like the work of nine musicians…
Avid Jazz continues with its Three Classic Albums plus series with a re-mastered 2CD release from Miles Davis complete with original artwork, liner notes and personnel details. "'Round About Midnight", "Milestones", "Kind Of Blue" and plus two live versions of "So What".
Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both…