"Gone" from Miles Davis and Gil Evans Porgy and Bess

[Teasing the Korean]

Does anyone agree with my assessment that the alternate take of "Gone" appearing on the expanded CD is a tighter and more cohesive performance than the originally released version?  

Edited June 10, 2018 by Teasing the Korean

[erwbol]

I think it's been some 18 years since I last listened attentively to Miles' Porgy and Bess. Time to give the remastered CD from The Complete Columbia Album Collection a spin later today? It has the alternate Gone.

[Teasing the Korean]

37 minutes ago, erwbol said:

I think it's been some 18 years since I last listened attentively to Miles' Porgy and Bess. Time to give the remastered CD from The Complete Columbia Album Collection a spin later today? It has the alternate Gone.

It is labeled take 4 on the CD I have, in case there are more than one on the box set. 

[medjuck]

There's also a take 3 on the Miles/Gil box set. 

[Teasing the Korean]

4 hours ago, medjuck said:

There's also a take 3 on the Miles/Gil box set. 

Thanks.  I confirmed that the track I'm talking about is take 4.  I don't know which take the finished version is, unless it is a composite. 

[erwbol]

I listened to Porgy and Bess yesterday, paying attention to both takes of Gone included, but what I came away with was a realisation of why I preferred Sketches of Spain all these years. Not what you were asking for, sorry.

[Clunky]

7 hours ago, erwbol said:

I listened to Porgy and Bess yesterday, paying attention to both takes of Gone included, but what I came away with was a realisation of why I preferred Sketches of Spain all these years. Not what you were asking for, sorry.

For me “Miles Ahead” is the gift that keeps on giving. Now to find my box set as per OP query

[erwbol]

37 minutes ago, Clunky said:

For me “Miles Ahead” is the gift that keeps on giving. Now to find my box set as per OP query

The MFSL Hybrid SACD of Sketches of Spain is stunning. The CD from The Complete Columbia Album Collection was already better than the metal spine set. However, I was not impressed with the sound of Porgy and Bess in TCCAC.

[garthsj]

I am a little late replying to this .... just getting back to this great site after a long hiatus.  I once took a 10-week course  on jazz history with Oscar Peterson at his "college" in Toronto. (This is a story for another time). The P&B album had just been released a few days before, and Oscar played it for us after class. He especially focused on "Gone" playing it several times pointing out how difficult the orchestrations by Gil Evans were, and how the sax section was all at sea. In particular he pointed out that baritonist Danny Bank was just not making it. Oscar suggested that Columbia was so eager to get the album made and released to cash in on the release of the film, that they had rushed the rehearsals. I am not sure he was right, but whenever I listen to that album, I remember that little bit of information. It is true that later takes from that session get much better.

[Teasing the Korean]

12 hours ago, garthsj said:

I am a little late replying to this .... just getting back to this great site after a long hiatus.  I once took a 10-week course  on jazz history with Oscar Peterson at his "college" in Toronto. (This is a story for another time). The P&B album had just been released a few days before, and Oscar played it for us after class. He especially focused on "Gone" playing it several times pointing out how difficult the orchestrations by Gil Evans were, and how the sax section was all at sea. In particular he pointed out that baritonist Danny Bank was just not making it. Oscar suggested that Columbia was so eager to get the album made and released to cash in on the release of the film, that they had rushed the rehearsals. I am not sure he was right, but whenever I listen to that album, I remember that little bit of information. It is true that later takes from that session get much better.

Well, that makes sense.  Considering that the film of Porgy and Bess is largely forgotten, it is kind of amazing in retrospect how everyone and his brother was trying to rush out a P&G album at the time.  

[Shrdlu]

It is hard to imagine Danny Bank having difficulty with anything, and the same goes for the alto saxophone player, but there it is.

Anyway, the track is a superb showcase for Philly Joe.

For what it's worth, my favorite Miles & Gil is "Miles Ahead". The massive amount of alternate takes helps in that regard.

[medjuck]

On 2/16/2019 at 8:46 AM, Teasing the Korean said:

Well, that makes sense.  Considering that the film of Porgy and Bess is largely forgotten, it is kind of amazing in retrospect how everyone and his brother was trying to rush out a P&G album at the time.  

Was there once a thread about all the jazz versions Porgy and Bess?  I just found another: In the Charlie Parker Records box set that came out a few years ago there's a record called Pete Jolly Gasses Everybody where all of the songs are from P&B.  I think that makes about the 6th version I have.  I don't know if it counts as jazz but one of my favorites is the Norman Granz produced one with Ray Charles and Cleo Lane.  

[Teasing the Korean]

22 hours ago, medjuck said:

Was there once a thread about all the jazz versions Porgy and Bess?  I just found another: In the Charlie Parker Records box set that came out a few years ago there's a record called Pete Jolly Gasses Everybody where all of the songs are from P&B.  I think that makes about the 6th version I have.  I don't know if it counts as jazz but one of my favorites is the Norman Granz produced one with Ray Charles and Cleo Lane.  

I have at least MIles, Ella & Louis, and Mundell Lowe's album on RCA Camden.

[medjuck]

I have Miles, Ella and Louis, Bill Potts, The Clark Terry doing Gil's arrangements, the Pete Jolly, and Ray & Cleo.  Once owned Belafonte & Lena Horne-- didn't care for it. 

[Larry Kart]

1 hour ago, medjuck said:

I have Miles, Ella and Louis, Bill Potts, The Clark Terry doing Gil's arrangements, the Pete Jolly, and Ray & Cleo.  Once owned Belafonte & Lena Horne-- didn't care for it. 

Don't have it myself, but what about the Bethlehem set of the complete score with Frances Faye and Mel Torme? Doesn't sound promising on the face if it, but...? 
 Many other oddities on the set, as you can see here:

More Images

Frances Faye And Mel Tormé Featuring The Bethlehem Orchestra And Duke Ellington And His Orchestra ‎– George Gershwin's Porgy & Bess

Label:

Bethlehem Records ‎– EXLP 1

Format:

Box Set 
3 × Vinyl, LP, Album, Mono, Sample Record 

Country:

US

Released:

1956

Genre:

Jazz, Stage & Screen

Style:

Musical

 

TracklistHide Credits

	Part 1.
A1	Introduction / Summertime Featuring – Duke Ellington And His Orchestra, Russ Garcia And His Orchestra*	1:25
A2	Narration	1:24
A3	Summertime Featuring – Betty Roché	3:48
A4	Narration	0:12
A5	A Woman Is A Sometime Thing Featuring – Frank Rosolino	2:39
A6	Narration / Here Come De Honey Man... Featuring – Joe Derise	1:20
A7	Narration	0:24
A8	Evenin' Ladies, Hello Boys...	0:43
A9	Narration	0:15
A10	No, No, Brother, Porgy Ain't Soft On No Woman...	1:33
A11	Narration (Scene: Crap Game And Murder) Featuring – Russell Garcia And His Orchestra	4:31
B1	Narration	0:51
B2	Gone, Gone, Gone Featuring – Chorus (2)	2:20
B3	Overflow, Overflow	2:08
B4	Narration	0:28
B5	I Can't Puzzle This Thing Out...	1:18
B6	Narration	0:11
B7	My Man's Gone Now	3:49
B8	Narration	0:35
B9	Oh The Train Is At The Station... Featuring – Chorus (2)	2:43
C1	Narration	0:37
C2	Oh I'm Agoin' Out To The Blackfish Banks... Featuring – Frank Rosolino	2:17
C3	Narration	0:34
C4	I Got Plenty O' Nuttin' Featuring – The Pat Moran Quartet	3:13
C5	Mornin', Lawyer. Looking For Somebody?... Featuring – George Kirby, The Pat Moran Quartet	4:23
C6	Buzzard Song	2:43
C7	Narration	0:28
C8	Bess, You Is My Woman Now	4:57
C9	Oh, I Can't Sit Down (Picnic Music) Featuring – Betty Roché, / Don Fagerquist Group*	1:55
C10	Porgy, I Hates To Go...	1:00
C11	I Got Plenty O Nuttin' (Reprise)	0:37
D1	It Ain't Necessarily So (Instrumental) Featuring – Betty Roché, Russell Garcia	1:52
D2	Narration	0:34
D3	It Ain't Necessarily So Featuring – George Kirby	4:28
D4	Narration	0:53
D5	What You Want Wid Bess?... Featuring – Johnny Hartman	2:12
D6	Narration	0:33
D7	Oh I'm Agoin' Out To The Blackfish Banks... (Reprise) Featuring – Frank Rosolino	1:27
D8	Narration	0:30
D9	Oh, Doctor Jesus... Featuring – Sallie Blair	2:02
D10	Here Come De Honey Man... / Oh Dey's So Fresh And Fine... / I'm Talkin' About Devil Crabs.. Featuring – Bob Dorough, Joe Derise, Loulie Jean Norman	3:31
	Part 2.
E1	Narration	0:38
E2	I Loves You, Porgy	3:17
E3	Narration (Scene: Storm) Featuring – Chorus (2), Russell Garcia And His Orchestra	3:04
E4	Summertime (Reprise) Featuring – Betty Roché	1:22
E5	Narration	0:11
E6	Oh, Dere's Somebody Knockin' At De Do'... Featuring – Chorus (2)	1:03
E7	Narration	1:20
E8	If God Want To Kill Me... Featuring – Johnny Hartman	2:05
E9	Narration	0:06
E10	A Red-Headed Woman... Featuring – Chorus (2), Johnny Hartman	1:48
E11	Narration	0:59
E12	Oh, Doctor Jesus (Reprise) Featuring – Chorus (2)	0:38
F1	Narration	0:55
F2	Clara, Clara, Don't You Be Downhearted... Featuring – The Pat Moran Quartet	1:36
F3	Narration	0:10
F4	Summertime (Reprise) Featuring – Betty Roché	1:12
F5	Narration Featuring – Chorus (2)	1:50
F6	Oh, Lawd, What I Goin' Do?...	1:21
F7	Narration Featuring – Chorus (2)	0:09
F8	There's A Boat Dat's Leavin' Soon For New York Featuring – George Kirby	1:28
F9	George Kirby Featuring – Russell Garcia And His Orchestra	1:18
F10	Narration Featuring – Chorus (2)	0:24
F11	How Are You Dis Mornin'?... Featuring – Chorus (2)	1:41
F12	Narration Featuring – Chorus (2)	0:39
F13	Oh, Bess, Oh, Where's My Bess Featuring – Sallie Blair	2:19
F14	Oh Lawd, I'm On My Way Featuring – Chorus (2)	1:57

Credits

• Conductor [Bethlehem Orchestra] – Russ Garcia*
• Music By – George Gershwin
• Narrator – Al Jazzbo Collins
• Orchestra – Duke Ellington And His Orchestra, The Bethlehem Orchestra
• Performer – The Australian Jazz Quintet, The Pat Moran Quartet
• Text By – Dorothy Heyward, Du Bose Heyward*, Ira Gershwin
• Vocals [Bess] – Frances Faye
• Vocals [Clara] – Betty Roché
• Vocals [Crown] – Johnny Hartman
• Vocals [Jake] – Frank Rosolino
• Vocals [Porgy] – Mel Tormé
• Vocals [Serena] – Sallie Blair
• Vocals [Sportin' Life] – George Kirby

[medjuck]

I forgot. I have it too. It's interesting  (I mean that in a good way.) Summertime by the Ellington band is out of place but otherwise it is a pretty good attempt at presenting the entire show with an a narrator and a variety of singers playing roles:  there's Mel Torme and Francis Faye in the titles roles but also Johnny Hartman, Betty Roche and even (briefly) Bob Dorough. 

[jazzbo]

The Bethlehem is indeed interesting. Don't buy the 'seventies LP box reissue, horrid sound. I have had the 2 cd issued, and have replaced it with a Solid Record (Japan) reissue set that is the best sounding I've heard. It took me a bit to appreciate, but this rewards listening.

[Teasing the Korean]

It is really incredible that there were so many of these albums.  I'm guessing that many were made to cash in while the film was in production and anticipation was high.  Is there another film or musical that inspired this many knock-offs?  West Side Story must rank pretty high.  But do any surpass P&G?

[mjzee]

2 hours ago, Teasing the Korean said:

It is really incredible that there were so many of these albums.  I'm guessing that many were made to cash in while the film was in production and anticipation was high.  Is there another film or musical that inspired this many knock-offs?  West Side Story must rank pretty high.  But do any surpass P&G?

There was an interesting discussion about this in the liner notes (by William Ruhlmann) to "The Complete Ella Fitzgerald & Louis Armstrong On Verve":

"By 1957, interest in Porgy and Bess was increasing, in part because the nascent civil rights movement made an opera about African-Americans more attractive, and in part because movie producer Samuel Goldwyn, in May of that year, had obtained the film rights to it from Ira Gershwin, beating out dozens of others.

"Granz denies that he intended any tie-in with the upcoming film, and it is true that Goldwyn was just embarking on what turned out to be a two-year effort to make his film when Fitzgerald and Armstrong went in the studio.  It is also true, however, that their finished album was held back from release until April 1959, two months prior to the opening of the film, at which time it found itself competing against at least ten other newly released versions, several of them jazz renditions."

[medjuck]

IIRC (and I often don't)  shortly after the film opened there was an article in Time or Newsweek citing all the P&B records that had been released and saying that the Miles/Gil was the best or perhaps that it was even the best selling. 

[Teasing the Korean]

10 hours ago, medjuck said:

IIRC (and I often don't)  shortly after the film opened there was an article in Time or Newsweek citing all the P&B records that had been released and saying that the Miles/Gil was the best or perhaps that it was even the best selling. 

I have one more that I forgot about:  The Robert Farnon album on Decca/London Phase 4.  Not really jazz, but with a swinging orchestral space-age sensibility.  It is on a twofer CD with the Phase 4 Rhapsody in Blue and An American in Paris, both of which I consider to be proto-space-age bachelor pad music. 

Edited April 12, 2019 by Teasing the Korean

[JSngry]

Richard Farnon? Not a familiar Farnon to be, please advise?

[Teasing the Korean]

1 hour ago, JSngry said:

Richard Farnon? Not a familiar Farnon to be, please advise?

Robert.