Porgy and Bess (Miles Davis album)

] In a 1958 interview with Nat Hentoff of "The Jazz Review", Davis remarked on the modal approach:

In early 1958, Miles Davis began using with this approach and his sextet.cite web |url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jifpxqtgldhe~T0 |title=allmusic { Milestones > Overview } |publisher=All Media Guide, LLC. |accessdate=2008-07-27] Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of his 1958 album "Milestones", which was based on two modes, recorded in April of that year.cite web |url=http://www.popmatters.com/pm/review/16671/davismiles-jazzattheplaza |title=George Russell - The Lydian Chromatic Concept of Tonal Organization |publisher=Concept Publishing |accessdate=2008-07-27] Instead of soloing in the straight, conventional, melodic way, Davis’s new style of improvisation featured rapid mode and scale changes played against sparse chord changes.cite web |url=http://www.popmatters.com/pm/review/16671/davismiles-jazzattheplaza |title=Miles Davis: Jazz at the Plaza < Music - PopMatters |publisher=PopMatters.com |accessdate=2008-07-27] Davis' second collaboration with Gil Evans on "Porgy and Bess" gave him more room for experimentation with Russell's concept and with third stream playing, as Evans' compositions for Davis featured this modal approach.

Adaptation

The musical, commercial and critical success of 1957's "Miles Ahead" helped make future Miles Davis and Gil Evans ventures possible, as it impressed Columbia Records enough for them to bestow further artistic control upon Davis and Evans. At that period, the Samuel Goldwyn film adaptation of the George Gershwin/DuBose Heyward/Ira Gershwin opera "Porgy and Bess" was in production, set for release in June of 1959. The advance publicity for the film was considerable, and with the late-'50s vogue for recorded "jazz versions of...", a number of "Porgy and Bess" jazz interpretations were released. These ranged from an all-star big band version arranged and conducted by Bill Potts to one by Bob Crosby and the Bobcats. Most were not as memorable as the Miles Davis/Gil Evans version. Following the first collaboration with Evans, Davis followed up on these efforts with much interest in symphonic readings, which, at the time, jazzmen were not known for, and neither were some classically trained musicians known for interpreting jazz scores. However, Miles enlisted members of his sextet, anyway, including Cannonball Adderley and Paul Chambers.

Reception

The second in a series of Davis/Evans collaborations, "Porgy and Bess" became highly acclaimed by music critics, such as Bill Kirchner who wrote, "In this century's American music, three partnerships have been most influential: Duke Ellington/Billy Strayhorn, Frank Sinatra/Nelson Riddle, and Miles Davis/Gil Evans." [cite journal | last =Kirchner | first =Bill | authorlink = | coauthors = | title =Bill Kirchner's liner notes from the 6-CD box set "Miles Davis & Gil Evans: The Complete Studio Recordings" | journal = | volume = | issue = | pages = | publisher =Sony Music Entertainment Inc. | date = | url = | doi = | id = | accessdate = ] As one of Miles Davis' best-selling albums, "Porgy and Bess" was regarded as a landmark album in orchestral jazz. Davis biographer Jack Chambers described the album as "a new score, with its own integrity, order and action." [cite journal | last =Chambers | first =Jack | authorlink = | coauthors = | title =Porgy and Bess album liner notes | journal = | volume = | issue = | pages = | publisher =Sony Music Entertainment Inc. | date = | url = | doi = | id = | accessdate = ] The album's appeal was more widespread among critics after the 1997 reissue. Robert Gilbert of "All About Jazz" praised the album, as he wrote:

In an August 1997 issue, "JazzTimes" magazine called "Porgy and Bess" "possibly the best of the collaborations between Miles and Gil Evans... Evans is justly regarded as the master of modern orchestration and "Porgy and Bess" shows him at his best." [ [http://www.tower.com/details/details.cfm?wapi=106693134 Tower.com: The Planet's Entertainment Destination for Music, CDs, Movies, DVDs, Books & more ] ] The album was included in Elvis Costello’s "500 Albums You Need" (Vanity Fair, Issue No. 483 11/00) [ [http://www.rocklistmusic.co.uk/elvis_costello.htm Elvis Costello’s 500 Albums You Need at rocklist.net] ] and was also ranked #785 on the "Virgin" "All-Time Top 1000 Album" list. [ [http://www.rocklistmusic.co.uk/virgin_1000.htm top 1000 album list] ]

Track listing

"All compositions written by George Gershwin, Ira Gershwin and DuBose Heyward, except otherwise noted."

ide one

Personnel

Musicians

*Miles Davis - trumpet, flugelhorn
*Ernie Royal, Bernie Glow, Johnny Coles and Louis Mucci - trumpet
*Dick Hixon, Frank Rehak, Jimmy Cleveland and Joe Bennett - trombone
*Willie Ruff, Julius Watkins and Gunther Schuller - horn
*Bill Barber - tuba
*Phil Bodner, Jerome Richardson and Romeo Penque - flute, alto flute & clarinet
*Cannonball Adderley - alto saxophone
*Danny Bank - alto flute & bass clarinet
*Paul Chambers - bass
*Jimmy Cobb - drums (except tracks 3,4, 9, & 15)
*Philly Joe Jones - drums (tracks 3,4, 9, & 15)
*Gil Evans - arranger & conductor

Additional personnel

*Cal Lampley - producer
*Frank Laico - recording engineer
*Roy De Carava - cover photo

Notes

References

*cite book| title = Porgy and Bess album liner notes by Charles Edward Smith & Bill Kirchner | publisher = Sony Music Entertainment Inc.
* [http://www.jazz.com/dozens/the-dozens-the-golden-anniversary-of-porgy-and-bess "The Golden Anniversary of Miles Davis's 'Porgy & Bess'"] by Alan Kurtz et al, ( [http://www.jazz.com Jazz.com] )