Miles Davis ‎– Porgy And Bess - 1959 Jazz - Gain 2™ Ultra Analog - Sealed 45 RPM 180 Grm 2LP

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Miles Davis ‎– Porgy And Bess

Mobile Fidelity Sound Lab ‎– MFSL 2-485, Columbia ‎– 88883731681, Sony Music Commercial Music Group ‎– 88883731681
Original Master Recording – , Gain 2™ Ultra Analog 45RPM 180g Series –

Comes in a gatefold cover with special static free and dust free inner sleeves, and heavy duty protection packaging

Limited edition of 4,000.
Remixed by Mark Wilder, Sony Music Studios, NYC
Mastered by Krieg Wunderlich, assisted by Shawn R. Britton and at Mobile Fidelity Sound Lab® in Sebastopol , CA on the GAIN 2 ULTRA ANALOG SYSTEM™
Mastered from the Original master tapes
Specially Plated and Pressed on 180g High-Definition Vinyl
Production by Mobile Fidelity Sound Lab® in Sebastopol, CA
2 × Vinyl, 12", 45 RPM, Album, Limited Edition, Numbered, Reissue, Remastered, Stereo, Gatefold, 180g
17 Jan 2020
Big Band, Modal


A1 The Buzzard Song
A2 Bess, You Is My Woman Now
A3 Gone


B1 Gone, Gone, Gone
B2 Summertime

B3 Bess, Oh Where's My Bess


C1 Prayer (Oh Doctor Jesus)
C2 Fishermen, Strawberry And Devil Crab
C3 My Man's Gone Now



D1 It Ain't Necessarily So
D2 Here Come De Honey Man

D3 I Loves You, Porgy

D4 There's A Boat That's Leaving Soon For New York



Companies, etc.
Manufactured By – Sony Music Entertainment
Manufactured For – Mobile Fidelity Sound Lab, Inc.
Copyright (c) – Columbia Records
Pressed By – Record Technology Incorporated – 29960
Pressed By – Record Technology Incorporated – 31537
Produced At – Mobile Fidelity Sound Lab
Remixed At – Sony Music Studios, New York City
Mastered At – Mobile Fidelity Sound Lab
Lacquer Cut At – Mobile Fidelity Sound Lab
Arranged By – Gil Evans
Bass – Paul Chambers (3)
Directed By – Gil Evans
Drums – Philly Joe Jones* (tracks: A1, A3 to C1, C3, D3, D4), Jimmy Cobb (tracks: A2, C2, D1, D3)
Engineer – Frank Laico
Flugelhorn – Miles Davis
Flute – Jerome Richardson (tracks: A1, B3, C1), Phil Bodner (tracks: A2 to B2, C2 to D4), Romeo Penque
French Horn – Gunther Schuller, Julius B. Watkins*, Willie Ruff
Lacquer Cut By – KW*
Liner Notes – Charles Edward Smith
Mastered By – Krieg Wunderlich
Mastered By [Assisted By] – Shawn R. Britton
Photography By – Roy De Carava*
Photography By [Liner Photography] – Don Hunstein
Remix – Mark Wilder
Saxophone – Julian Adderly*, Danny Banks*
Trombone – Frank Rehak, Jimmy Cleveland, Joseph Bennett, Dick Hixon*
Trumpet – Bernie Glow, Ernie Royal, Johnny Coles, Louis Mucci*, Miles Davis
Tuba – John "Bill" Barber*

From back cover:
© 1959, 2018 Columbia Records. Originally released 1959.

Printed in the U.S.A.

Recorded 7/22/1958: A3, B1, C3
Recorded 7/29/1958: A2, C2, D1, D2
Recorded 8/4/1958: A1, B3, C1
Recorded 8/18/1958: B2, D3, D4

No durations on the release

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 45RPM 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.

This collaboration with Gil Evans is a tone-poem epic based on the writing of George Gershwin. The storyline(opera) is about African-American slavery and its social consequences and since we still live in racially divisive times despite "Brown vs. Topeka", the story is contemporary and important. I don't believe Miles promoted the piece as such, but blackness was often alluded to in his music, and was naturally very important to him.

On several of the tracks the orchestrations seem to take precedence over Miles's solos, and some of the material (like "Bess, Oh Where's My Bess") lends itself more to "interpretation" than to jazz improvisation as such. So it's an album that will appeal most to those listeners who are as interested in Evans's work as in that of Miles the soloist.
At its best, though, the collaboration between Miles and the orchestrations produces some wonderful music. The masterpiece is "Summertime", which reconstructs the famous operatic lullaby using a gospel-style 'call and response' structure. Over a perfectly judged slow walking pace set by bass and drums, the orchestra plays a repeated six-note 'response' phrase which Evans subtly varies with changes of voicing and instrumentation. Above this, on muted trumpet, Miles floats a series of inspired, though essentially simple, variations on the melody. The opening statement of Gershwin's theme uses fragments of the well-known melody in a hint of a declamatory style, as if Miles is giving the 'call' to which the orchestra 'responds'. If that sounds at all complicated, the effect is actually very simple, and as direct in its appeal as any piece of music can be. But for me part of that appeal lies in the emotional ambiguity of the performance - the way in which it seems to hover between plaintive lament and optimistic joy.
My other favourites are the more obviously plaintive "Gone, Gone, Gone", the up-tempo variation on it - "Gone" - which has a superb solo from Miles accompanied only by Paul Chambers' driving bass and Philly Jo Jones's excitable, intense drumming, "The Buzzard Song" with Miles's rich-toned flugelhorn floating above some equally rich brass scoring, the beautifully arranged fragment "Here Come de Honey Man", and a joyous, spontaneous-sounding "There's a Boat That's Leaving Soon for New York".

Miles Davis - Gil Evans - Summertime

Excellent version of this song. miles' phrasing kills me. A true master.

Miles Davis - Bess, You Is My Woman

I like to think this song shows how amazing George Gershwin, Miles Davis, and Gil Evans are!
definitely one of the most slept on producers...

More Information
Condition New
Format 2LP
Label Mobile Fidelity
Artist Miles Davis
Color Black