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• George Avakian, who directed a series of ethnic music in Colombia under the direction of the ethno musicologist Alan Lomax, wanted Gil Evans to work with flamenco above all else, as 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 back from Spain by actress Beverly Bentley and a concert to which Frances Taylor had taken him.
  The result was majestic music in which Gil Evans bypassed the kitsch of Rodrigo’s original score and, with the help of Miles’ imposing trumpet, was able to hold his own. 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 panpipe aria recorded by Lomax in Galicia, and “Saeta” from a ritual song of the