Tracklist

A1	Buzzard Song	4:13
A2	Bess, You Is My Woman Now	5:16
A3	Gone	3:43
A4	Gone, Gone, Gone	2:09
A5	Summertime	3:23
A6	Oh Bess, Oh Wheres My Bess	4:33
B1	Prayer (Oh Doctor Jesus)	4:15
B2	Fishermen, Strawberry And Devil Crab	4:12
B3	My Man's Gone Now	6:21
B4	It Ain't Necessarily So	4:30
B5	Here Come De Honey Man	1:23
B6	I Loves You, Porgy	3:44
B7	There's A Boat That's Leaving Soon For New York	3:28

Credits

• Arranged By – Gil Evans
• Bass – Paul Chambers
• Conductor – Gil Evans
• Drums – Philly Joe Jones*
• Flugelhorn – Miles Davis
• Flute – Phil Bodner, Romeo Penque
• French Horn – Gunther Schuller, Julian B Watkins*, Willie Ruff
• Liner Notes [Sleeve Notes] – Micheal Heatley*
• Producer – Cal Lampley
• Saxophone – Julian Adderley*, Danny Banks*
• Trombone – Frank Rehak, Jimmie Cleveland*, Joseph Bennett, Dick Hixon*
• Trumpet – Bernie Glow, Ernie Royal, John Coles*, Louis Mucci*, Miles Davis
• Tuba – John "Bill" Barber*

Notes

Recorded in New York City
at Columbia 30th Street Studio
July 29th - August 18th, 1958

This Compilation ©&℗ 2014 Not Now Music Limited.
Distributed by Not Now Music Limited.

Barcode and Other Identifiers

• Barcode: 5060397601087

Other versions

Category	Artist	Title (Format)	Label	Category	Country	Year
CS 8085	Miles Davis	Porgy And Bess ‎(LP, Album)	Columbia	CS 8085	US	1959
225.147	Miles Davis	Porgy And Bess ‎(LP, Album, RE)	CBS	225.147	Brazil	1980
CBS 32188, CBS 62108	Miles Davis	Porgy And Bess ‎(LP, Album, RE)	CBS, CBS	CBS 32188, CBS 62108	Europe	Unknown
BPG 62108, 62108, CL 1274	Miles Davis	Porgy And Bess ‎(LP, Album, Mono, RE)	CBS, CBS, CBS	BPG 62108, 62108, CL 1274	UK	Unknown
SRCS 9704	Miles Davis	Porgy And Bess ‎(CD, Album, Ltd, RE, RM, Pap)	SME Records	SRCS 9704	Japan	2000

Porgy and Bess (CL 1274) is a studio album by jazz musician Miles Davis, released in March 1959 on Columbia Records. The album features arrangements by Davis and collaborator Gil Evans from George Gershwin's 1935 opera of the same name. The album was recorded in four sessions on July 22, July 29, August 4, and August 18, 1958, at Columbia's 30th Street Studio in New York City.

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. The impeccable digital remastering and subsequent reissue - which likewise applies to the Miles Davis & Gil Evans: The Complete Columbia Studio Recordings box set - only magnifies the refulgence of Porgy and Bess

In 1958, George Gershwin’s opera Porgy And Bess was very much in vogue. Several jazz artists such as Louis Armstrong, Ella Fitzgerald, Buddy Collette, and Mundell Lowe had already created their own versions of certain songs. Cal Lampley, George Avakian’s successor, wanted to take advantage of the fact that a film version of the opera was in production. The fierce violence of the orchestra’s overture, the funeral lamentations of Gone, Gone, Gone, and the powerful clamors of Prayer seized the audience and released their grip only to overwhelm them with the astonishing romanticism of the trumpeter who, with an actor’s intuition and a dandy’s grace, slipped into the skin of the different characters.

Porgy and Bess es un álbum del músico de jazz Miles Davis. Publicado en 1958 por Columbia Records, el álbum cuenta con los arreglos musicales de Gil Evans basados en la ópera Porgy y Bess, de George Gershwin. Grabado los días 22 & 29 de julio y los días 4 y 18 de agosto de 1958, se trata de la segunda colaboración entre Davis y Evans, y es considerado por muchos críticos como el major de sus colaboraciones.

Only 4 left in stock (more on the way). There is more intelligent discussion about integration of style and form here than any text I could name. It translates the brilliantly flawed "Porgy and Bess" into the vernacular of the excessive melodious tone of the early sixties. The genius of Miles Davis' playing here is his capacity to re-interpret both the music and intention of the original pieces into a beautiful dialog that is both reminiscent Gershwin's initial inspiration and voice it as a dialog of desires and inhabitations

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