Orchestration of Miles and Gil
Work that has been pierced by a rare sense of impermanence
“Porgy and Bess” is a musical by George Gershwin opera was composed in 1935, Miles was an album the theme of this opera with Gil Evans ally.
I can feel the musical catholic man named Miles and listen again work “Porgy and Bess”. This album is a work and very straight. I do not know is not good to hear straight. However, surprisingly difficult to listen to this album straight. If you have ears to listen to music, for jazz beginners might be better. (Including free) and are a modern jazz have heard, I have to enter my head a variety of discourses, something “too soon” I would feel that this work there is also a stance that “I know jazz.” I am aware of that when this work was to listen straight, that his ears have become narrow.
In addition, the doctor kind of explanation that can be called the harm that has been filled with the world. Describe a masterpiece crafted jazz pianist-arranger of Canadian Jewish named Gil Evans has teamed up with Miles, I’m talking unconcernedly as “fusion stunning with big band and jazz soloist talented.” This is not only in the way of enjoying the deep work to expand the interpretation.
When you listen to this work and the “Sketches of Spain”, Gil Evans we are not fused with the so-called Miles to big band jazz. Gil Evans orchestra is doing in partnership with Miles. It is the orchestration of jazz. This is incredibly difficult and complex techniques, and “Sketches of Spain” finished “Porgy and Bess” is a work full of beauty built organically and really straight.
Through this work I feel is sadness. It is pure sadness helpless, not the dualism of joy and sorrow. Also “Summertime” Gershwin’s masterpiece, even feel a sense of ruthless sense of uncertainty beyond the simple arrangement of Gil Evans and dare trumpet of Miles. Sad in spite of uncertainty everywhere, or will it erase the sadness in the sadness, I’m full of tenderness. Rare works in terms of sadness that can meet or heal the mind.
- THE BUZZARD SONG(D.Heyward-I.Gershwin-G.Gershwin)4:07
- BESS ,YOU IS MY WOMAN NOW(D.Heyward-I.Gershwin-G.Gershwin)5:12
- BESS,OH WHERE’S MY BESS(D.Heyward-I.Gershwin-G.Gershwin)4:29
- PRAYER(Oh Doctor Jesus)(D.Heyward-I.Gershwin-G.Gershwin)4:40
- FISHERMEN,STRAWBERRY AND DEVIL CRAB(D.Heyward-I.Gershwin-G.Gershwin)4:06
- MY MAN’S GONE NOW(D.Heyward-I.Gershwin-G.Gershwin)6:19
- IT AIN’T NECESSARILY SO(D.Heyward-I.Gershwin-G.Gershwin)4:25
- HERE COME DE HONEY MAN(D.Heyward-I.Gershwin-G.Gershwin)1:22
- I LOVE YOU,PORGY(D.Heyward-I.Gershwin-G.Gershwin)3:40
- THERE’S A BOAT THAT’S LEAVING SOON FOR NEW YORK(D.Heyward-I.Gershwin-G.Gershwin)3:25
Recording: July 22, 29, August 4, 18, 1958, New York, Columbia studio
- Miles Davis:trumpet,fluegelhorn
- Gil Evans:arranger,conductor
- Bernie Glow,Ernie Royal,Louis Mucci,Johnny Coles:trumpet
- Frank Rehak,Jimmy Cleveland,Joe Bennett:trombone
- Dick Hixon:bass trombone
- Willie Ruff,Julius Watkins,Gunther Schuller:fluegelhorn
- Bill Barber:tuba
- Julian “Cannonball”Adderley:alto sax
- Jerome Richardson:flute(1,5,6,7,12,13)
- Phil Bodner:flute(2,3,4,8,9,10,11)
- Romeo Penque:flute
- Danny Bank:bass clarinet
- Paul Chambers:bass
- Philly Joe Jones:drums(3,4,9)
- Jimmy Cobb:drums(omit 3,4,9)