Requisites
Speak No Evil: This 1964 release by Wayne Shorter has been considered as one of his finer works and a “must have” for the serious collector. As he was in Miles Davis’ band at the time, this album did not receive the welcome it so deserved.
Personnel: Wayne Shorter – tenor saxophone, Freddie Hubbard – trumpet, Herbie Hancock – piano, Ron Carter – bass, Elvin Jones – drums
Recorded by: Rudy Van Gelder
Record Date: Blue Note – December 24, 1964
Cover: Photograph of Wayne Shorter and his first wife, Teruka Nakagami
Songs: Witch Hunt, Fee-Fi-Fo-Fum, Dance Cadaverous, Speak No Evil, Infant Eyes, Wild Flower
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Requisites
Forest Flower & Soundtrack: This 1967 release was recorded when Charles Lloyd brought his band to Monterey for an unprecedented performance. A set of far-reaching, sophisticated progressive jazz that was rich and accessible was what a floored audience heard that day. The hippie and college-aged audience were witness to superb interplay, melodic gifts that skirted the edges of what was going on at the time, pushed the boundaries and the talents of this young band. This is decidedly one requisite for the budding initiate of jazz.
Personnel: Charles Lloyd – saxophone, Keith Jarrett – piano, Jack DeJohnette – drums, Cecil McBee – bass
Record Date: September 8, 1966
Songs: Forest Flower – Sunrise, Forest Flower – Sunset, Sorcery, Song Of Her, East Of The Sun, Sombrero Sam, Voice In The Night, Pre-Dawn, Forest Flower ‘69
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Requisites
A Garland of Red was Red Garland’s debut release on Prestige, being signed to an exclusive recording contract after his performance in the Miles Davis Quintet brought awareness to his talent. The Dallas-born Philadelphian brought Davis alums to form the recording trio that brings a handful of standards, a blues and some rhythm. As a leader it is Garland’s beginning and an auspicious one at that.
Personnel: Red Garland – piano, Paul Chambers – bass, Arthur Taylor – drums
Supervised by: Bob Weinstock
Record Date: Hackensack, New Jersey, August 17, 1956
Cover: Hannan/Edwards
Songs: A Foggy Day, My Romance, What Is This Thing Called Love, Makin’ Whoopee, September In The Rain, Little Girl Blue, Constellation, Blue Red
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Daily Dose Of Jazz…
Martin France was born on February 29, 1964 in Rainham, Kent, England and began performing at the age of twelve backing singers in working men’s clubs with organ trios in and around Manchester. He studied under Geoff Riley, Kenny Clare, Joel Rothman, and principal percussionist Richard Smith of The Hallé, the Manchester orchestra.
In 1983 Martin began his recording career performing as a sideman on several records for ECM Records, toured with several of the labels roster during the 80s and 90s and subsequently led several sessions as a leader.
The turning point in his early career was as a member of the 1980s big band Loose Tubes, where he began working on projects that included film soundtracks, jazz theatre and cross cultural collaborations with other big bands and orchestras.
France formed his own band Spin Marvel, that showcased more electronic and sequence drumming, and would be an integral rhythm backbone on more than 60 albums working with some of the world’s finest musicians including Kenny Wheeler, Elvis Costello, Bob Mintzer, Steve Swallow, Joe Lovano, Lee Konitz, Marc Johnson and Dave Holland to name a few and is currently a regular performer with the NDR Radio Orchestra in Hamburg.
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Requisites
Sketches of Spain: When Miles Davis Went to Andalusia (Without Leaving New York)
What happens when you put Miles Davis‘ trumpet against the backdrop of Spanish classical music and flamenco? You get one of the most daring, gorgeous albums in jazz history.
Sketches of Spain (1960) was the third collaboration between Miles Davis and arranger/conductor Gil Evans, and it remains their most audacious. This isn’t just jazz—it’s a complete reimagining of Spanish music through an American lens, a cultural bridge built in sound. Rolling Stone ranked it #350 on their list of the 500 Greatest Albums of All Time, and once you hear it, you’ll understand why.
Recorded between November 1959 and March 1960 at Columbia’s legendary 30th Street Studio in New York City, the sessions brought together Miles’ core rhythm section—Paul Chambers on bass, Jimmy Cobb on drums, plus the great Elvin Jones adding percussion—with an absolutely massive orchestra. We’re talking French horns, oboes, bassoons, tuba, harp, flutes, and more, featuring stellar musicians like Danny Bank, Bill Barber, Johnny Coles, Bernie Glow, Ernie Royal, and Janet Putnam among many others.
Gil Evans’ arrangements are nothing short of miraculous—lush, evocative, cinematic. He doesn’t just accompany Miles; he creates entire sonic landscapes for that singular trumpet voice to soar over. The album opens with their interpretation of Joaquín Rodrigo’s “Concierto de Aranjuez,” and from the first mournful notes, you’re transported.
Across five tracks—”Concierto de Aranjuez,” “Will O’ the Wisp,” “The Pan Piper,” “Saeta,” and “Solea”—Miles and Gil paint with broader strokes than most jazz albums dare. This is music that breathes, broods, and burns with quiet intensity.
Producers Teo Macero and Irving Townsend captured something timeless when they released this on July 18, 1960. It’s been over six decades, and Sketches of Spain still sounds like nothing else, a masterpiece that proved jazz could go anywhere, be anything, as long as the vision was clear and the artists were fearless.
Put this on, close your eyes, and let Miles take you to Spain.
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