Sketches Of Spain

　Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, and Quiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music.

西班牙盲人作曲家华金罗德戈有一首名叫《阿兰胡埃斯协奏曲》的作品，是我和吉尔伊万斯合作的唱片《西班牙素描》的灵感来源。无论作为一个朋友还是音乐家，吉尔对我而言都非常重要。他是唯一一个能够领会我的音乐想法的人。

1959年，迈尔斯戴维斯走进一位贝斯手朋友位于洛杉矶的家，这位西班牙人的后裔正在播放西班牙盲人作曲家华金罗德戈的《阿兰胡埃斯协奏曲》。乔说迈尔斯听听这个，你应该做这个音乐。妈的，这种音乐的旋律线太强了，徘徊在脑中久久无法散去。回到纽约，迈尔斯找来了吉尔埃文斯，重编了这首曲子。