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George Avakian, who conducted a series of ethnic music in Colombia under the direction of ethno-musicologist Alan Lomax, particularly wanted Gil Evans to work with flamenco, 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 the actress Beverly Bentley and a concert that Frances Taylor had taken him to.
The result was a majestic score 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 panpipe 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 fervor of flamenco singing and at the same time distanced himself from all traces of folklore.
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