Miles Dew Davis was an Iconic figure and trumpeter of the twentieth century in America, born in Alton, Illinois on May 26, 1926. Davis’ compositions changed the evolution of Jazz with masterpieces, such as, Kind of Blue in 1959, Sketches of Spain in 1960, and the Bitches Brew in 1969. Kind of Blue won the bestselling album of the year, and is one of the most sought-after recordings as late as 1998. It was the first Jazz album to reach double-platinum, in addition to being a Masterpiece, Kind of Blue brought Jazz into the final years of the bebop era. Sketches of Spain arrangement was based on the second movement of “Concierto de Aranjuela” by Joaquin Rodrigo written in 1939. Sketches of Spain became an exemplary recording of fusion Jazz and
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The album is made up of five tunes: So What, Freddie the Freeloader, Blue in Green, All Blues, and Flamenco Sketches. So What had been played once or twice on gigs several months before the album was released, it starts with an introduction duet with Chambers on bass and piano created by Bill Evans, continued by a two note phrase exclaiming, “So what!”, moving up a half step into Miles solo. “So what!” was a Davis favorite saying, a form of disapproval to anyone who expressed self-grandiose ideas? This song becomes the most famous and notorious song on the whole album. The next song in the album is Freddie the Freeloader, a twelve bar blues named after a man named Fred Tolbert, who was frequently around the jazz scene, seeing what he could get from you for free (thus freeloading). Fred was a street smart character who worked as a bartender in a Philadelphia bar called the Nightlife and survived on hand outs and always imitated the way Miles talked. He would often say, “You have to find miles when he was in love”, because if you didn’t, Miles would say. “Get out of my face, I don’t want to hear it”. Then he’d also say, “Soooo …show more content…
Gil Evans and Miles Davis say, “We hadn 't intended to make a Spanish album, “We were just going to do the Concierto de Aranjuez”. A friend of Miles gave him the only album in existence with that piece. He brought it back to New York and I copied the music off the record because there was no score. By the time we did that, we began to listen to other folk music, music played in clubs in Spain... So we learned a lot from that and it ended up being a Spanish album. The Rodrigo, the melody is so beautiful. It 's such a strong song. I was so thrilled with that.” The album has five songs: "Concierto de Aranjuez" (Adagio), "Will o ' the Wisp" on the first side. And on the second side: "The Pan Piper", "Saeta", "Solea", and reissued bonus tracks: "Song of Our Country", "Concierto de Aranjuez", and "Concierto de Aranjuez". The orchestration of “Concierto de Aranjuez” transcribed solely by Gill Evans from the actual recording in the second movement was arranged for a big band with two flutes, two oboes, one doubling clarinet, a bass clarinet, bassoon, four trumpets, two trombones, three French horns, tuba, harp, bass, drums, and percussion. The “Concierto de Aranjuela” of 1939 had established Rodrigo as one of the leading composers of his time; however, Gill
The album is made up of five tunes: So What, Freddie the Freeloader, Blue in Green, All Blues, and Flamenco Sketches. So What had been played once or twice on gigs several months before the album was released, it starts with an introduction duet with Chambers on bass and piano created by Bill Evans, continued by a two note phrase exclaiming, “So what!”, moving up a half step into Miles solo. “So what!” was a Davis favorite saying, a form of disapproval to anyone who expressed self-grandiose ideas? This song becomes the most famous and notorious song on the whole album. The next song in the album is Freddie the Freeloader, a twelve bar blues named after a man named Fred Tolbert, who was frequently around the jazz scene, seeing what he could get from you for free (thus freeloading). Fred was a street smart character who worked as a bartender in a Philadelphia bar called the Nightlife and survived on hand outs and always imitated the way Miles talked. He would often say, “You have to find miles when he was in love”, because if you didn’t, Miles would say. “Get out of my face, I don’t want to hear it”. Then he’d also say, “Soooo …show more content…
Gil Evans and Miles Davis say, “We hadn 't intended to make a Spanish album, “We were just going to do the Concierto de Aranjuez”. A friend of Miles gave him the only album in existence with that piece. He brought it back to New York and I copied the music off the record because there was no score. By the time we did that, we began to listen to other folk music, music played in clubs in Spain... So we learned a lot from that and it ended up being a Spanish album. The Rodrigo, the melody is so beautiful. It 's such a strong song. I was so thrilled with that.” The album has five songs: "Concierto de Aranjuez" (Adagio), "Will o ' the Wisp" on the first side. And on the second side: "The Pan Piper", "Saeta", "Solea", and reissued bonus tracks: "Song of Our Country", "Concierto de Aranjuez", and "Concierto de Aranjuez". The orchestration of “Concierto de Aranjuez” transcribed solely by Gill Evans from the actual recording in the second movement was arranged for a big band with two flutes, two oboes, one doubling clarinet, a bass clarinet, bassoon, four trumpets, two trombones, three French horns, tuba, harp, bass, drums, and percussion. The “Concierto de Aranjuela” of 1939 had established Rodrigo as one of the leading composers of his time; however, Gill