45 RPM Vinyl Record
|No. of Discs:||2|
180-gram 45 RPM 2LP set!
Mastered from the original master tapes, pressed at RTI
Strictly limited to 4,000 numbered copies!
"This double 45, a Mark Wilder remix to analog tape from the original 3-track and pressed on much quieter vinyl, is a treat even for well acquainted owners of the original pressing. The mix is more cohesive than the early stereo original. The gatefold "Tip on" jacket features session photos that add value to this outstanding reissue. If you're unfamiliar with this recording be ready for an opening fanfare blast that's bright, shrill and not at all like the rich, atmospheric sonics that follow for four sides. Highly recommended." — Music = 11/11; Sound = 10/11 — Michael Fremer, AnalogPlanet.com. Read the whole review here.
Miles' and Gil Evans' legendary interpretation of the Gershwin opera, originally released in 1958 on the Columbia label, a division of Sony Entertainment. Take George Gershwin's Porgy & Bess, add Miles Davis and arranger Gil Evans, and what do you get? A classic jazz album that — despite the fact that the material has been rendered almost overly familiar due to countless interpretations — still sounds remarkably fresh four decades after its initial release.
Miles' soft yet piercing trumpet style is perfectly suited to Gershwin's melancholy melodies, Evans' musical direction of his 18-piece orchestra is impeccable, and their version of "Summertime" may well be the finest ever waxed. Davis and Evans teamed up for several recordings after this one (including the landmark Sketches of Spain), but Porgy & Bess still stands as one of their most successful collaborations.
Mastered from the original tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Porgy and Bess attains previously unheard degrees of clarity, openness, immediacy, and depth on Mobile Fidelity's 180g 45 RPM 2LP set. Here, the arrangements unfold amidst practically limitless soundstages and burst with multi-dimensional images. Separation between instruments allows you to locate individual band members and trace the decay of the notes. Davis' iconic solo passages take on borderline-surreal qualities of realism and shape. The magisterial scope of the Evans-conducted orchestra emerges with room-filling bloom, color, and dynamics.
While difficult to pinpoint its single-best strength, Mobile Fidelity's reissue gives reference-level credence to what may remain the album's most crucial aspect: tone. Based not on chords but on scales and feeling, Porgy and Bess teems with emotions and possibilities – characteristics conveyed by the nuances, timbre, and temper delivered by the array of horns, woodwinds, basses, and percussion involved. Whether the combination of Bill Barber's tuba in unison with Paul Chambers' bass during "Buzzard Song," Davis' improvisational flights on "It Ain't Necessarily So," or the doubling up on alto flutes on several compositions, never before have they been experienced with such richness, roundness, and palpability.
Just as identifying singular sonic highlights proves virtually unfeasible, so does underlining which songs feature the most memorable exchanges, melodies, and scoring. Davis and Evans' adaptation of Porgy and Bess remains of a piece, an American touchstone, a recording that immediately separated itself from the multiple other versions released during the same period and continues to make waves decades after its creation, assuming a place in the historical canon alongside collaborative masterworks by Duke Ellington/Billy Strayhorn and Frank Sinatra/Nelson Riddle.
|1. The Buzzard Song|
|2. Bess, You Is My Woman Now|
|4. Gone, Gone, Gone|
|6. Oh Bess, Oh Where's My Bess|
|7. Prayer (Oh Doctor Jesus)|
|8. Fisherman, Strawberry and Devil Crab|
|9. 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|
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