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Sketches of Spain is an album by Miles Davis, recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City. An extended version of the second movement of Joaquín Rodrigo's Concierto de Aranjuez (1939) is included, as well as a piece called "Will o' the Wisp", from Manuel de Falla's ballet El amor brujo (1914–1915). Sketches of Spain is regarded as an exemplary recording of Third Stream, a musical fusion of jazz, European classical, and styles from world music.

Sketches Of Spain July 18, 1960. March 10, 1960 (b) Miles Davis (tpt); Ernie Royal (tpt); Bernie Glow (tpt); Johnny Coles (tpt); Louis Mucci (tpt); Dick Hixon (tb); Frank Rehak (tb); Jimmy Buffington (frh); Joe Singer (frh); Tony Miranda (frh); Bill Barber (tuba); Al Block (fl). Harold Feldman (fl); Danny Bank (bcl); Romeo Penque (oboe); Jack Knitzer (bssn); Janet Putnam (harp); Paul Chambers (b); Jimmy Cobb (d); Elvin Jones (perc); José Manguel (perc); Gil Evans (arr, cond). Recorded in support of Kind of Blue, the best-selling jazz album of all time. 4CD set includes concerts recorded in Paris, Copenhagen and Stockholm from original master tapes. 1LP features the concert from Copenhagen and 2LP features the concerts from Paris.

Sketches of Spain is much more than a jazz album. Instruments include bassoon, French horn, and bass clarinet, some of the furthest instruments from jazz possible. With 27 musicians, the album puts Miles Davis in the grandest and most epic project he ever participated in. Although only five tracks long, Sketches of Spain spans over 40 minutes of slow, smooth music. Miles constantly takes the lead, playing either on trumpet or flugelhorn and utilizing his style to its greatest capacity. The orchestral swells and climatic pseudo-jazz shout choruses mixed together create one of the most original.

Sketches of Spain was perhaps the first Miles Davis album to inspire this question, though it certainly wouldn't be the last. Originally released in 1960, it was Davis' studio follow-up to the landmark Kind of Blue, and it found him, yet again, striking out in an entirely new direction. Working with arranger Gil Evans, Davis cooked up a concept album, looking to the structure and texture of Spanish folk and classical music for inspiration. The two old friends and collaborators were on a huge roll creatively during this period. And that's the first thing to note about Sketches of Spain: Where Davis' "Is this jazz?" albums from the late-60s forward were often dense and challenging ("Is this even music?" even came up now and then), Sketches of Spain was always easy to like. So much so that, like its predecessor, it became the kind of record that someone with only two or three albums by jazz artists might have in their collection.