Pros: A work of genius on the part of Davis and composer-arranger Gil Evans
Cons: None
The bottom line: This album is one of a kind. The fusion of Spanish flamenco sounds with jazz and blues is performed to perfection by Davis and ensemble.
Sometimes music transcends classification. Fusion, of course, complicates the attempt at
such classification. Miles Davis and Gil Evans created works the a three year period that
could be best called world music. Their first collaboration produced "Miles Ahead"
which showcased Davis' playing ability but left no doubt that Gil Evans was one of the
premier arrangers of music in the 20th Century. His scores were so full and power and
beauty that only Ellington could be called his equal.

The duo then did the very familiar "Porgy and Bess" score and Nat Hentoff has said that
this was the best recording of the music ever.

Then came "Sketches of Spain" which is a masterpiece of unbelievable depth. Even the
cover adds to the mysterious power of the album with its tri-colors of yellow, red, and
black with the silhouette of Davis playing his horn while a bull charges straight at him on
the other side of "MILES'.

The whole album is great (it was re-issued in 1997 on a 20-bit digitally remastered
format) but the centerpieces of the album are the first cut, "Concierto De Aranjuez
(Adagio) and "Solea". The former was originally written by then contemporary Spanish
composer Joaquin Rodrigo. I say "originally" written because Evans rewrote and
extended the middle section of the 16 minute work.

"Concierto" begins quietly with castanet, a full orchestra joins in, the then Miles begins
to play. The tune itself is gorgeous and Miles tone is perfect here: dark, serious,
melancholy with every note pure perfection. Evans uses a variety of instruments behind
him including three flutes, two trombones, a harp, and four other trumpets. The
percussion section is all-star quality with Paul Chambers on bass, Jimmy Cobb on drums
and Elvin on other percussion.

Five minutes, fifty-four seconds into the song is perhaps the most beautiful part of the
album. Davis emotes a controlled passion of the main theme totally by himself for a few
bars while an ensemble of flutes and trumpets repeat a haunting answer to his notes.

At 8:17 into the song, the music briefly brightens with unison muted trumpets and then
the trombones and french horns reach way down before Chambers bass comes in and a
muted Davis squeezes notes out as no one else could do. Castanet are constantly to the
left, flutes surround the music but Davis's quiet contemplative playing is at the dead
center.

At 12:05, an oboe enters as do more and more instruments with a blast of trumpets
repeating the main theme. Miles is still there but very quietly muting his notes and
becoming one with the ensemble.

At 14:10, the song presents its saddest face with a morose bassoon, dark trombones and a
subdued, unmuted Miles. I feel a combination of tears and goosebumps at this point and
the song quietly leaves us. What greatness!

"Solea" is the fifth cut on the album. Composed by Evans, the song represents a form of
the flamenco. As Evans says of his creation, "I chose this rhythm because it kind of
swung and it was so conducive to development. Miles certainly swings here with power
and feeling. The master of the low register, he spends a lot of time here playing long,
high notes that evoke the feeling of the blues. The song has a pulsating rhythm that never
leaves and it pushes Miles with a force that he is equal to beyond a doubt.

I should mention that the fourth song, Evans' "Saeta" is also a masterpiece. The liner
notes point out that saete is the "arrow of song" used in flamenco religious ceremonies
which honor the procession which honors the crucified Christ. Miles plays the trumpet
here in the part which a women usually sings a mournful solo. Trumpets join in to move
the procession along. This song is a march with jazz, blues, and flamencan qualities.

This CD is one of the most creative works in jazz history. It is a must for the serious jazz
fan or any lover of great music.