More than a half-century after its creation, "Sketches of Spain" remains a landmark achievement in musical performance and recording quality. Mobile Fidelity's SACD, a direct DSD transfer from the original two-channel master tape, provides an opportunity to hear the music anew. It is overdue for reevaluation.

Miles Davis was the instigator of the project, but the music recorded over three sessions, in November 1959 and March 1960, was primarily the work of gifted composer/arranger Gil Evans. In fashioning the scores for these sessions, Evans freely adapted the adagio movement of Rodrigo’s Concierto de Aranjuez and wrote new orchestrations based on traditional Andalusian and Peruvian folk melodies. Neither Third-Stream orchestrated jazz, nor authentic Spanish music, “Sketches of Spain” could be described as an instrumental suite for mixed ensemble and solo trumpet that incorporates elements of composition and improvisation.

The genesis of the project was documented in a discussion with Nat Hentoff and Miles Davis during the recording sessions, which was included in the original LP liner notes and reprinted in the SACD insert booklet. Further details can be found in Miles Davis’ 1989 autobiography. During a visit with bassist Joe Mondragon in 1959, Miles heard an LP of Concierto de Aranjuez. Miles gave the record to his friend and collaborator Gil Evans, and initiated discussions about adapting it for trumpet and orchestra.

Evans researched the musical traditions of Andalusia through folklore recordings and visits to the library. This may not seem like an especially diligent effort viewed from the perspective of modern ethnic studies programs, but Gil Evans was barely making the rent in those years and was neither funded by grants nor cushioned by the security of a university salary. In his book “Milestones”, critic Jack Chambers castigates Evans for writing “bogus flamenco” music (referring to the tune “Solea”). A more generous way of judging Gil Evans’ work is to acknowledge his obvious respect for flamenco and folk traditions and his genuine desire to build a new framework on which Miles could develop as an improvising artist.

The commercial success of “Sketches of Spain” overshadows the effort that went into its production. When Evans reconvened the musicians who had recorded “Porgy and Bess” the previous year, it became clear that his hand-picked ensemble, most of them contract classical players, not only had difficulty navigating the technical challenges of the score, but couldn’t play with the kind of rhythmic drive needed to evoke the music’s origins. Miles argued that the orchestrations were beyond the ability of ensemble trumpet players. In his autobiography he describes trumpet player Bernie Glow “turning purple” while attempting to perform an especially demanding passage. Evans duly rewrote the unplayable parts, and over several days of grueling rehearsal, the musicians began to stretch beyond their limitations.

The virtues of transferring an original master tape to DSD without added noise reduction, compression or EQ are apparent on this new SACD. It has none of the harshness that made earlier digital issues all but unlistenable, especially at higher playback levels. The trumpet image is solid and Miles’ bends, smears and quarter-tones can be heard in fine detail; brass and woodwinds are distributed in a left/right/center configuration that presents a surprisingly deep soundstage (Columbia’s 30th Street Studio was a former church with a 100 foot high ceiling). Percussion instruments sound distinct but not overbearing, and Paul Chambers’ supple bass has excellent low extension. Credit to Mobile Fidelity’s senior engineer Shawn R. Britton for his outstanding mastering work.

"Sketches of Spain" belongs in any core collection of American art music. The Mobile Fidelity release is highly recommended.

Copyright © 2015 Mark Werlin and HRAudio.net

Performance:

Sonics: