Lucía-Light and Shade: A Portrait that he gave greater emphasis to rhythmical accuracy in his interpretation of the Concierto at the expense of the perfect tone preferred by classical guitarists. Composer Joaquín Rodrigo later declared that no one had ever played his composition in such a brilliant manner. At the request of Nicanor Zabaleta, Rodrigo transcribed the Concierto for harp and orchestra in 1974. Jazz musician Miles Davis reinterpreted the second movement of the work on his album Sketches of Spain (1960), in the company of arranger Gil Evans. Davis stated: "That melody is so strong that the softer you play it, the stronger it gets, and the stronger you play it, the weaker it gets." Columbia, the label that released Sketches of Spain, had not asked the composer for permission to record or adapt his music, and Rodrigo did not learn of the recording until after its release in 1960, when the blind jazz pianist Tete Montoliu, who claimed to have been the first person in Spain to own a copy of the album, played it for the maestro and his family. Rodrigo was irate that the American record label had used his music without permission. Aside from the fact that he, as the composer, had not been asked for permission, “which he considered a violation of moral rights," Rodrigo also tried to block the jazz and pop recordings from being released, before realizing, "In the end, the composer resigned himself to accept the fact that the pop versions reached a far greater public than that of classical music concertgoers, and led to much wider recognition of the original classical concerto for guitar and orchestra, Concierto de Aranjuez." In fact, "Rodrigo changed his mind and came to accept the subsequent jazz recordings of his music in part because the legal terms of use were resolved (Ediciones Joaquín Rodrigo now owns the Gil Evans arrangement), but also in part because these versions, far from obliterating the original guitar concerto, have helped disseminate it." The composer's wife, Victoria Kamhi, was very harsh in her memoir, however, referring to the Miles Davis recording as "an act of piracy." She described how Rodrigo attempted to sue the SGAE in February 1967 in the Palace of Justice for authorizing the transcription of the Concierto for trumpet and jazz, which Davis recorded, but, "we lost the case, for the judge's opinion was that, since Miles