Conrad Herwig, trombone, arrangements
Brian Lynch, trumpet, arrangements
Mario Rivera, baritone saxophone
Paquito D'Rivera, alto saxophone/clarinet
Dave Valentin, flute
Edsel Gomez, piano
John Benitez, bass
Robby Ameen, drums
Richie Flores, congas/percussion

Half Note - 4517 -
Recorded Live from March 6 - 8, 2003
Released March 16, 2004

Artist's Note:
With Another Kind of Blue: The Latin Side of Miles Davis our objective was to reinvent Miles' seminal work within the framework of Afro-Cuban and Afro-Caribbean rhythms. To that end, we tackled each tune with a specific approach in mind:

"So What" is rendered in Afro-Cuban 6/8 time with the original introduction by Bill Evans and Paul Chambers voiced for our horns.

"Freddie Freeloader" became a jazz songo, with Miles' solo, transcribed, serving as a point of departure for the group's improvisations.

"Blue In Green" is performed as a bolero, though it retains the subtle character of Miles' original.

"All Blues," played here in its original 4/4 meter, is a boogaloo-cha.

"Flamenco Sketches," artfully arranged by my friend and compatriot Brian Lynch, gained new life as a guaguanco

The discographical diehards among you will know that "Petits Machins" is not from Kind of Blue, but from another Miles masterwork, Filles de Kilimanjaro. It's included here as a bonus track.

My thanks extend to all of the musicians involved in this project, especially guest Paquito D'Rivera, who, throughout this week-long engagement, proved himself a virtuoso performer (as well as an all-time great friend). Gracias Jefe! Likewise, Dave Valentin, who came in and blew the house down with his showmanship and effervescence.

To my family, Maria, Glenn, and Mark Herwig, I give a big hug and lots of love for their patience and support. Big thanks, too, go to Jeff Levenson, Steven Bensusan, and everyone at the Blue Note, NYC. Que Viva Miles Davis!

-Conrad Herwig, December 2003

Producer's Note:
It's a mark of greatness, the ability to inspire. That's why Miles, whose career was built on inspirational touchstones, continues to tug on musicians and creative thinkers.

When Conrad mentioned this project to me, an idea that had been incubating since the afterglow of his Latin Side of John Coltrane (Astor Place) in 1996, it seemed both obvious and inevitable: Miles, done Latin-style. Who better to bow before than a jazz deity with a history of hyphenating his music in the service of cultural adaptation?

Miles' restless personality, exerting a lunar pull on the planet's tides of art, is still felt, to be sure, and ought to be measured as one does other forces of nature - through the shifts and alterations transforming the landscape. That we're led to redraw the boundaries of our own imagination only attests to this power.

That's why Conrad's desire to take on these timeless compositions aligns perfectly with Miles' spirit. Reimagine the world and it becomes yours. Sounds hip. Much like this music. Enjoy it.

-Jeff Levenson, December 2003