Miles Davis - Porgy And Bess [Mobile Fidelity Sound Lab MFSL 2-485] (1959)

Dynamic Range Released: 1959
Country: US
Label: Mobile Fidelity Sound Lab
Catalog: MFSL 2-485
Genre: Jazz

Pressing: Record Technology Incorporated

Note: 2020 reissue - Original Master Recording, Gain 2 - Ultra Analog 45RPM 180g Series

Item# SR-MOMFSL2485
Ratings: C=NM-; LP=NM-


T R A C K L I S T:
01 The Buzzard Song
02 Bess, You Is My Woman Now
03 Gone
04 Gone, Gone, Gone
05 Summertime
06 Bess, Oh Where's My Bess
07 Prayer (Oh Doctor Jesus)
08 Fishermen, Strawberry And Devil Crab
09 My Man's Gone Now
10 It Ain't Necessarily So
11 Here Come De Honey Man
12 I Loves You, Porgy
13 There's A Boat That's Leaving Soon For New York




Porgy And Bess
Miles Davis


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Album Review

Lindsay Planer [allmusic.com]

Tomes are available annotating the importance of this recording. The musical and social impact of Miles Davis, his collaborative efforts with Gil Evans, and in particular their reinvention of George Gershwin's Porgy and Bess are indeed profound. However, the most efficient method of extricating the rhetoric and opining is to experience the recording. Few other musical teams would have had the ability to remain true to the undiluted spirit and multifaceted nuance of this epic work. However, no other musical teams were Miles Davis and Gil Evans. It was Evans' intimate knowledge of the composition as well as the performer that allowed him to so definitively capture the essence of both. The four dates needed to complete work on Porgy and Bess include contributions from several members of his most recent musical aggregate: Julian ''Cannonball'' Adderley (alto sax), Paul Chambers (bass), and Jimmy Cobb (drums). Although the focus and emphasis is squarely on Davis throughout, the contributions of the quartet on ''Prayer (Oh Doctor Jesus),'' ''I Loves You, Porgy,'' and ''There's a Boat That's Leaving Soon for New York'' are immeasurable. They provide a delicate balance in style and, under the direction of Evans, incorporate much of the same energy and intonation here as they did to their post-bop recordings. There is infinitely more happening on Porgy and Bess, however, with much of the evidence existing in the subtle significance of the hauntingly lyrical passages from Danny Banks' (alto flute) solos, which commence on ''Fishermen, Strawberry and Devil Crab.'' Or the emotive bass and tuba duet that runs throughout ''Buzzard Song.''