George Avakian, who was leading a series of ethnic music in Colombia under the direction of ethno-musicologist Alan Lomax, especially wanted Gil Evans to work with flamenco because he appreciated Spanish composers. In fact, Miles himself had discovered Joaquin Rodrigo's "Concierto De Aranjuez" and flamenco at the same time, thanks to an anthology brought from Spain by actress Beverly Bentley and a concert Frances Taylor had taken him to

The result was majestic music in which Gil Evans bypassed the kitsch of Rodrigo's original score and held his own with the help of Miles' imposing trumpet. Along with the Adagio from the "Concierto," Gil Evans borrowed Manuel de Falla's "Will O' The Wisp" and adapted "The Pan Piper" from a pan flute aria recorded by Lomax in Galicia and "Saeta" from a ritual chant of the same name sung to accompany the brass bands that accompanied the processions in Seville during Holy Week. In this last piece and in "Solea," Miles drew on the glow of flamenco singing while moving away from all traces of folklore.

All tracks were recorded at Columbia 30th Street Studio, NYC

Review