I have to do now is make things connect, make them mean something in what I play around it". Davis thought the concerto's adagio melody was "so strong" that "the softer you play it, the stronger it gets, and the stronger you play it, the weaker it gets", and Evans concurred. According to Davis' biographer Chambers, the contemporary critical response to the arrangement was not surprising, especially given the scarcity of anything resembling a jazz rhythm in most of the piece. Martin Williams wrote that "the recording is something of a curiosity and a failure, as I think a comparison with any good performance of the movement by a classical guitarist would confirm". The composer Rodrigo was also not impressed, but royalties from the arrangement brought him "a lot of money", according to Evans. Critical reception In a contemporary review for DownBeat, Bill Mathieu hailed Sketches of Spain as one of the 20th century's most important musical works so far and a highly intellectual yet passionate record. He found Evans's compositions extremely well crafted and Davis's playing intelligently devised, concluding in his review, "if there is to be a new jazz, a shape of things to come, then this is the beginning." Replying to suggestions that Sketches of Spain was something other than jazz, Davis said "it's music, and I like it". In The Rolling Stone Album Guide (2004), J. D. Considine called it "a work of unparalleled grace and lyricism", while Q magazine said it "took orchestral jazz in a new direction". Robert Christgau was less enthusiastic about the record and recalled being a young listener when it was released: "In 1960 [it] catapulted Davis into the favor of the kind of man who reads Playboy and initiated in me one phase of the disillusionment with jazz that resulted in my return to rock and roll". For Sketches of Spain, Evans and Davis won the 1961 Grammy Award for Best Jazz Composition of More Than Five Minutes Duration. The album was ranked number 358 on Rolling Stones list of the 500 greatest albums of all time. According to Acclaimed Music, it is the 393rd most frequently ranked record on critics' all-time lists. Track listing Sides one and two were combined as tracks 1–5 on CD reissues. Song title meanings "Concierto de Aranjuez" was written about the gardens at Palacio Real de Aranjuez. "El amor brujo" is often translated as