Porgy & Bess: High Performance

Editorial Reviews
Amazon.com
RCA's 1963 highlights disc brought the stars of the early-1950s revival of the work, Leontyne Price and William Warfield, together again. By this time, however, Price was well advanced on her meteoric rise to operatic stardom and Warfield was gaining renown as a recitalist. Both are glorious here and Price's shimmering "Summertime" is worth the price of the disc. A plus is the spirited Sportin' Life of John W. Bubbles, who created the role in the original 1935 production; an old-time vaudevillian, he wrings fun and irony from his all-too-short excerpts. Henderson conducts with vigor and RCA's "High Performance" sound, when heard on a good system, is remarkable. --Dan Davis

Porgy & Bess: High Performance, Music, Leontyne Price, William Warfield, John W. Bubbles, Classical, Classical Music, Opera / Operetta / Oratorio, Opera/Operetta

Sketches of Spain
Average customer rating:

Classijazz? Jazzical?

Spanish love song...

From Madrid w/ Love

Music to listen to at day's end

Gil Evans provides another dimension for the legendary horn player

Sketches of Spain
Miles Davis , and Gil Evans
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Porgy and Bess

ASIN: B000002AH7
Release Date: 1997-09-23

Tracks:

Concierto De Aranjuez (Adagio)
Will O' The Wisp
The Pan Piper
Saeta
Solea
Song Of Our Country
Concierto De Aranjuez (Part One)
Concierto De Aranjuez (Part Two Ending)

Amazon.com essential recording

Miles Davis's impact on jazz is almost incalculable. From his early days as a sideman for Charlie Parker, through his groundbreaking Birth of the Cool sessions, to his stunning small groups of the '50s and '60s, through to his electric renaissance, the trumpeter, bandleader, and composer has left a deep mark on all who came after. He is one of jazz's true giants. Sketches of Spain, though one of Davis's most commercially successful sessions, is also one of his most controversial. Re-teaming with arranger and composer Gil Evans, who played such a pivotal role in Davis's 1949 Birth of the Cool recordings, Davis recorded a series of large group albums beginning in the late '50s, including Porgy and Bess, Miles Ahead, and Quiet Nights. Sketches of Spain, with its emphasis on flamenco, rich orchestrations, and relaxed tempos, is certainly one of Davis's most mellow recordings (he even works out on fluegelhorn), and proved to have broad appeal. To some critics, however, the project was "elevated elevator music." An expanded version of the album, featuring alternative tracks and unreleased material, was issued in 1997 by Columbia Legacy. --Fred Goodman

Customer Reviews:

Classijazz? Jazzical? .......2007-07-02

Hey! This ain't jazz! This is Spanish-tinged classical! With a fanfare that seems fitting to introduce matadors (not a criticism, not a compliment) on "Saeta"! Yeah, that's right. Miles' eclecticism kicks in again, I suppose. It's a bit overrated, and it's controversial even by Miles' standards. I like it though. Other than "Concerto de Aranjeuz". That song, or work, or whatever fails to move me. Now, "Will o' the Wisp", aye, that be a different cup of tea. It really is moving, emotional, haunting, and so forth; so is "The Pan Piper", with an eerie flute melody. "Saeta" starts off like those two, but ends up doing the pompous fanfare thingy, but hey, at least it does it well. And the closing "Solea" is pretty good too! It sounds almost like the Hollywood version of traditional Spanish music, the kind you'd expect to hear when the charming Spanish swordfighter is having a duel in a ballroom, but again, it gets quite intense during its climax around nine minutes in. I like intense. This is easily the best Miles/Evans album. Just to warn you, though, it's quite rigid; as usual, Miles is put on a pedestal above the other guys. I mostly prefer him in a small-group setting. I do, however, recommend Sketches of Spain in spite of that.

Spanish love song..........2007-06-20

Miles Davis working with arranger and composer Gil Evans put together an album that ranked 356 on Rolling Stones Top 500 albums of all time. It is probaly one of his most accessible albums and the tight compositions take you to the Spanish bullfight and quiet burning passion of a long, hot Spanish summer day. Not the the hardblowing, improvisational jazz that everyone associates with Miles but the arrangements and tight composition makes for a very relaxing, enjoyable listen.

From Madrid w/ Love.......2007-05-13

I'm listening to Miles here in Madrid. We've just done the tapas crawl after seeing a bullfight. No kidding. Now, the ipod is playing Sketces....and I've got to tell you that Miles and Gil Evans got it right. In fact, everything they collaborated on was so fantastic. And Miles is Miles. Here, a little more sophisticated than in his "Kind of Blue" phase but, still Miles. The one and only.

Music to listen to at day's end.......2007-02-01

This is a nice disc to listen to after a long day doing just about anything. It is just that soul-reaching and calming. I feel like this CD is a slice of jazz wrapped in a blanket of Mediterranean sunshine. No vocals are needed thanks to the melodic tunes of Miles' horn.

Gil Evans provides another dimension for the legendary horn player.......2006-12-23

While it doesn't have much to do with the music in this review, in 1995 I obtained Tears For Fears' "Raoul and the Kings of Spain" . This was one of the best albums of the 1990s, namely because of the Spanish musical influence that was infused into a mainstream music sound. One of the songs on "Raoul and the Kings of Spain" was an album called "Sketches of Pain". "Sketches of Pain" was an outstanding song because of the use of classical Spanish guitar and percussion. Part of the reason for the title of that Tears For Fears song was a play on the famous Miles Davis album, "Sketches of Spain", which was Davis' album that had music with a Spanish influence. While Miles Davis is basically a household name, I cannot say that I was familiar with a lot of his music. When I realized there was a connection in how Tears For Fears' "Sketches of Pain" related to Davis' Spanish Themed album, I became more curious about checking out this recording. Without doing much research, I assumed this album would be a jazz album with a classical Spanish influence. Instead, I was pleasantly surprised to discover a more classical music sound that would have the Spanish theme infused.

"Sketches of Spain" is a collaboration between Miles Davis and Gil Evans. Davis and Evans had begun a partnership in 1957 that saw Davis contribute his trademark horns (Trumpet and Flugelhorn) while Evans focused on the arrangements and conducting of the music. Prior to "Sketches of Spain" there were two efforts. The first was 1957's "Miles Ahead" that saw Davis and Evans engage in a big band/jazz feel. The second was 1958's "Porgy and Bess" which was an arrangement of songs from George Gershwin's opera, "Porgy and Bess". "Porgy and Bess" also saw the combination of Davis ane Evans move toward something that had more of a classical feel to it. I'm sure this provided a lot of the impetus for the duo to do something more in the classical space.

"Sketches of Pain" has its roots around Spanish Classical music. The original 1960 release consisted of five tracks - two are covers of existing Spanish Classical works and the other three were original compositions by Evans. The Spanish works that are covered are Joaquin Rodrigo's 16+ minute masterpiece "Concierto de Aranjuez" and Manuel de Falla's "Will o' the Wisp". Those familiar with Spanish classical music will know the names of Rodrigo and de Falla. This collection was re-released in 2000 and consists of three additional tracks including another original composition by Evans as well as a full alternative take and alternative ending of "Concierto de Aranjuez".

The cover songs, "Concierto de Aranjuez" and "Will o' the Wisp" are going to have less of a reliance on Davis' horns. While Davis' horns can be clearly held throughout the near 20 minutes of music that make up these songs, there is going to be a heavy reliance by the other musicians that contribute to these tracks. When you get into the four original tracks that were composed by Gil Evans, you will hear a big difference. The music is going to focus heavier on the trumpet and flugelhorn of Miles Davis. As you listen to the original tracks, it is amazing how Evans was able to integrate the sound to give the entire "Sketches of Spain" album a very homogenous feel - i.e. the sound of Spanish classical music. In particular the track, "Solea" proves to be as strong as the work by the legendary Rodrigo and de Falla. Listen for the Spanish military-flair in the song that is the result of some terrific percussion work.

Another thing that really stood out was that even though this collection has very much as Spanish Classical music feel. However there are many segments that could have easily been used as soundtrack info for a feel such as a James Bond movie. While it wouldn't be the hard-rocking sound of Paul McCartney's "Live and Let Die", I could see parts of these tracks in James Bond films. A prime example of this comes from the classical "Concierto de Aranjuez" piece itself. You can also hear the "soundtrack" sound from some of Evans' original work such as "Song of Our Country".

One thing that's worth noting is that while this is a Miles Davis album, much of the credit does need to go to Gil Evans. Davis does a superb job at playing the horns, but as mentioned above, it is Evans who finds a way to give this album the homogenous sound. It is also Evans that finds another avenue for Davis to deliver his sound. "Porgy and Bess" opened the doors for something besides his trademark jazz sound. "Sketches of Spain" helped take Davis to another dimension. The music shows outstanding musicianship. My only minor beef with this collection is that it really isn't going to make you "get up and dance". It almost has a calm and somewhat somber quality to it.

This collection includes an outstanding collection of liner notes that will provide additional insight into the band. This includes the original liner notes that appeared on the back of the album cover that were written by Nat Hernoff who was a co-editor of "The Jazz Review". Phil Schaap provides an additional write-up (on the re-release) that discusses "The Making of Sketches of Spain". The liner notes also include production and musician credits. Overall, this is not going to be the place to hear classic Miles Davis jazz, however it is going to be a place to hear some outstanding Spanish-infused classical music. This is going to provide some high quality music and if you have an appreciation for music, this is going to be something worth investing in.

Average customer rating:

Porgy & Bess
Stunning Achievement
Great recording
PVL
Gorgeous

Porgy & Bess: High Performance
Leontyne Price , William Warfield , and John W. Bubbles
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Porgy & Bess
George Gershwin - Porgy & Bess / Trevor Nunn · Sir Simon Rattle · W. White · C. Haymon · Glyndebourne Opera
Porgy and Bess

ASIN: B00000I9MJ
Release Date: 1999-03-09

Tracks:

Porgy And Bess: Introduction; Summertime
Porgy And Bess: A Woman Is A Sometime Thing
Porgy And Bess: Gone, Gone, Gone
Porgy And Bess: My Man's Gone Now
Porgy And Bess: I Got Plenty o' Nuttin'
Porgy And Bess: Bess, You Is My Woman
Porgy And Bess: It Ain't Necessarily So
Porgy And Bess: What You Want Wid Bess ?
Porgy And Bess: I Loves You, Porgy
Porgy And Bess: There's A Boat Dat's Leavin' Soon For New York
Porgy And Bess: Oh Bess, Oh, Where's My Bess
Porgy And Bess: Oh, Lawd, I'm On My Way

Amazon.com

RCA's 1963 highlights disc brought the stars of the early-1950s revival of the work, Leontyne Price and William Warfield, together again. By this time, however, Price was well advanced on her meteoric rise to operatic stardom and Warfield was gaining renown as a recitalist. Both are glorious here and Price's shimmering "Summertime" is worth the price of the disc. A plus is the spirited Sportin' Life of John W. Bubbles, who created the role in the original 1935 production; an old-time vaudevillian, he wrings fun and irony from his all-too-short excerpts. Henderson conducts with vigor and RCA's "High Performance" sound, when heard on a good system, is remarkable. --Dan Davis

Customer Reviews:

Porgy & Bess.......2007-03-26

Great CD! Both the singing and orchestrations were perfect! Have played it many times since receiving it.

Stunning Achievement.......2006-04-29

This recording of scenes from Gershwin's opera is a stunning achievement and a gem for anyone who loves great music and great singing. Ms. Price was a world-renowned Bess and created a sensation when she toured in the opera's celebrated revival during the 1950's. People unfamiliar with the entire score may be surpised to discover that two famous arias, "Summertime" and
"My Man's Gone Now", aren't sung by Bess. It's thrilling to hear Ms. Price perform these, which were signature pieces
throughout her career. As Porgy, Mr. Warfield toured with Leontyne Price, and the power and poignancy of his characterization are comparable to hers. He is extraordinary in his solos, and his love duet with Ms. Price wil give the listener chills. The chorus and orchestra are superb. Skitch Henderson, former maestro of The Tonight Show, might seem an unusual choice for conductor, but his leadership is skilled, idiomatic, and electrifying. (He was a fine musician and composer who often guest-conducted for symphony orchestras.)
This is a wonderful example of recorded musical drama and will appeal to those who don't consider themselves opera fans as well as to those who do. Highly recommended and a Grammy Award winner.

Great recording.......2006-04-24

OK, so Leontyne Price sings a song on this recording ("My Man is Gone Now")that is not sung by her character (Bess), but what an incredible version of that song! I've never heard any singer match it. This album introduced me to P & B 20 years ago, and I love the CD. I had the pleasure of interviewing William Warfield in 1981; much to my regret I did not yet know this recording.

By the way: I also love the old 1951 recording of the opera (re-released as a CD by Sony in 1998). It is my other favorite, and has over 2 hours of the music. The audio is surprisingly good.

PVL.......2006-01-31

Outstanding cast and performances. Digitally remastered in the new High Performance mode. Sound is spectacular.

Gorgeous.......2005-04-14

This is the first "Porgy and Bess recording I ever heard, and though it's not complete, it is the BEST. Bess is sung definitively by Leontyne Price, and the Porgy is every bit equal to her performance. Gershwin's music for this opera is amazing. It is jazz and black culture put into operatic form, and you can't get more soulful than that. "Summertime" (my favorite song ever) of course was wonderful, and "My Man's Gone Now" is the saddest thing I have ever heard - you can listen to it over and over. "Bess, you is my Woman Now" makes me cry too, it's so sweet. The acting is convincing as could be wished. As for Sportin' Life, he is played by the creator of the role who was NOT an opera singer but rather a vaudeville star, and chosen by Gershwin himself. At first he seems rather out of place beside the rest of the cast (Leontyne Price, for goodness' sake!) but he grows on you. I once heard a bass rendition of "It Ain't Neccisarily So" that was sung very low and deep, and very straight - and although I'm aware that Sportin' Life is a tenor role, it was a very effective rendition. However, as an indiviudual, this Sportin' Life was not bad at all, and his "There's a Boat dat's Leavin' Soon for New York" was VERY good and almost seductive, I thought.

Really, you couldn't get much better for $12.00!

Average customer rating:

Absolutely peerless
once-in-a-lifetime greatness
We love this album
Simply great
Porgy and Bess

Porgy & Bess
Ella Fitzgerald , and Louis Armstrong
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Ella & Louis Again (Dig)

ASIN: B0000046Z5
Release Date: 1990-10-25

Tracks:

Overture
Summertime
I Wants To Stay Here
My Man's Gone Now
I Got Plenty O'Nuttin'
Buzzard Song
Bess, You Is My Woman Now
It Ain't Necessarily So
What You Want Wild Bess?
A Woman Is A Sometime Thing
Oh, Doctor Jesus
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There's A Boat Dat's Leavin' Soon For New York
Bess, Oh Where's My Bess
Oh Lawd, I'm On My Way

Amazon.com

Getting the two most personable voices in jazz to sing an hour's worth of George Gershwin's opera Porgy & Bess (Ella doing all the female parts, Satchmo all the male) was a good idea, but not quite as great as it sounded. Armstrong savors the down-and-dirty Charlestonisms that inspired the cadences of the music and lyrics, and they fit his happy rasp like an old shoe; Fitzgerald, conversely, sounds almost prissy every time she has to sing the word "ain't," though her melodic genius gets Gershwin's bold, supple tunes over. The arrangements are full-throttle Broadway, with a few leaps into Dixieland (including some fine Armstrong trumpet solos), but the disc works best when the vocalists break character and let their jazz side out. --Douglas Wolk

Customer Reviews:

Absolutely peerless.......2006-11-17

"Porgy and Bess" has just opened (with some controversy) in London's West End, though as a musical and not as an opera as it was originally conceived. Reviews have been promising and I aim to go down and see it soon. I decided to listen to this CD to put myself in the mood. I hadn't listened to it for years and I'd completely forgotten how good it actually is. Ella's voice blends with Louis' perfectly and Russell Garcia's orchestration gives them a dreamy landscape to perform against. I have one or two other CDs by Louis and Ella but this one is by far my favourite. The CD opens with "Overture" and its orchestral performance of classics like "Summertime", "I Wants To Stay Here", "I Got Plenty O' Nuttin'" and "It Ain't Neccessarily So" set the tone nicely, leaving one ever so keen for the vocal versions. Louis Armstong has a very rough tone to his voice but the emotion he packs with it is moving, most especially on the mournful "Bess, Oh Where's My Bess?" And we get all this and Louis' wonderful trumpet playing too?

Gershwin and Gershwin must be among the top composers of the last century and this opera showcases their talents more than anything I've heard. Ella and Louis are peerless as a vocal duo and though I doubt the West End performance will capture the magic in the same way they did, I still remain very keen to go see it. Is it opera or is it a jazz performance? I don't really know. I just know that I love it. And strongly recommend it.

once-in-a-lifetime greatness.......2006-10-06

Two thousand five hundred musicians have recorded "Summertime" --- it's a classic. (I bet most Americans can name Janis Joplin and no other singer.) As for "Porgy and Bess," the folk opera from which "Summertime" springs, it's such a classic that it's hard to believe anyone ever had a harsh word to say about it.

But after its premiere in 1935, no less than Duke Ellington said, "It has grand music and a swell play, but the two didn't go together. It does not use the Negro musical idiom --- the times are here to debunk Gershwin's lampblack Negroisms."

A quarter of a century later, the producers of the film version had trouble assembling a cast. Harry Belafonte rejected their offer to play Porgy. Sidney Poitier took the part --- and wished he hadn't. Poitier later wrote that the movie insulted black people; when he chose clips of his best performances for his tribute at the American Film Institute, he picked nothing from "Porgy and Bess."

And in 1985, when Grace Bumbry was a sensation as Bess in a Metropolitan Opera production, she slammed the opera: "I thought it beneath me, I felt I had worked far too hard, that we had come far too far to have to retrogress to 1935."

All that may be. All I know is that I have, in a long life, rarely been confronted with more genius than in the Fitzgerald/Armstrong recording of "Porgy & Bess." Set aside the achievement of George and Ira Gershwin in transforming DuBose Heyward's novel into a folk opera. Let's just focus on Armstrong and Fitzgerald, who were at the peak of their popularity when this record was made in 1957.

"Summertime" --- the first song --- sets the tone. A baleful horn figure, then violins. And then Armstrong's trumpet: slow, steady, dignified. But wait --- here comes a slurred note. And a cool little improvisation. Just enough of each. Very tasty.

Fitzgerald sings a verse. She is cool and formal. A lady. Not to be taken lightly. Now it's Armstrong's turn. Tender, but let's not kid ourselves --- this is not singing as others define it. This is melodic speech: rough, gutteral. And thus he is ideally cast: His Porgy may have his charms, but he'll have to stretch to keep Bess.

And so it goes throughout the CD. Trumpet mastery --- Armstrong has dazzling control. His tone is bright, but never shrill; there's a warmth in his playing no one else could produce. And Fitzgerald is just a study in inevitability; to hear her is to wonder how anyone could sing these songs any other way.

"I Got Plenty O' Nuttin'." "Bess, You Is My Woman Now." "A Woman Is a Sometime Thing." "There's a Boat Dat's Leavin' Soon for New York." "Bess, Oh Where's My Bess?" "Oh Lawd, I'm on My Way."

All brilliantly conceived, orchestrated and recorded.

The greatest trumpet player in this history of jazz.

The father of scat singing.

The queen of the jazz vocal.

There are no-brainers, and then there is this Ella Fitzgerald-Louis Armstrong collaboration --- music that imprints on your soul.

We love this album.......2006-08-22

We hope they will someday bring this beautiful story back to the stage

Simply great.......2006-03-04

The fusion between the great two voices and the orchestra is just brilliant. Very good brass and violins that accompany Fitzeralds and Armstrongs magic voices leaves you with your mouth open.

A must have for everyone!

Porgy and Bess.......2005-10-14

Could not find this anyway locally. It is a great recording

Average customer rating:

Bell & Gershwin
Enchanting
Joshua Bell's playing is exquisite
S'Wonderful
My Starter Bell CD

Joshua Bell - Gershwin Fantasy
Joshua Bell , George Gershwin , and John [composer] Williams
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Release Date: 1998-07-28

Tracks:

Fantasy For Violin And Orchestra On Porgy And Bess
Three Preludes: I. Allegro ben ritmato e deciso
Three Preludes: II. Andante
Three Preludes: III. Allegro ben ritmato e deciso
Songs For Violin And Orchestra: I Got Rhythm
Songs For Violin And Orchestra: Embraceable You
Songs For Violin And Orchestra: Nice Work If You Can Get It
Songs For Violin And Orchestra: Liza
Songs For Violin And Orchestra: But Not For Me
Songs For Violin And Orchestra: Sweet And Low-Down
Songs For Violin And Orchestra: Love Is Here To Stay

Amazon.com essential recording

On Gershwin Fantasy, Joshua Bell's Stradivari embraces the lyrical spirit of Gershwin's Porgy and Bess with more success than most vocalists. Accompanied by the London Symphony Orchestra, Bell's violin literally sings through "It Ain't Necessarily So," "Summertime," "I Got Rhythm," and "Love Is Here to Stay," while John Williams (Saving Private Ryan, Schindler's List) serves double duty as conductor and pianist on several tracks. Three Preludes employs the violin and piano transcription by Jascha Heifetz, a longtime Gershwin friend, and features Bell at his jazziest. Even Gershwin himself--well, the recording of a 1926 piano roll of the composer--joins the virtuoso on the swinging "Sweet and Low-Down." --Jason Verlinde

Customer Reviews:

Bell & Gershwin.......2007-05-20

Two of my faves, George Gershwin and Joshual Bell -

Can't beat that!

Also, "Porgy" is a fave opera... so three out of three isn't bad!

Enchanting.......2007-03-24

A very talented (to say the least) young musician playing the beautiful music of a very talented composer. I listen over and over again and especially like his rendition of "Embraceable You" and "But Not For Me" . . I'm a romantic!

Joshua Bell's playing is exquisite.......2005-07-08

Joshua Bell's exquisite playing turns these arrangements into Gold. In the hands of Perlman or Shaham these arrangements would be pure shmaltz, but Bell's playing is of the highest caliber.

S'Wonderful.......2004-10-20

Love it! I had heard of Josh Bell but never had purchased any of his music. I am a full fan now. This cd is wonderful. I am a Gershwin fan and have been for years. Bell breathes new life into the old classics and the result is breathtaking. His touch with the violin is beyound discription. He even plays with George in one cut, Sweet and Low Down. That alone is worth the price of the cd. Buy this cd and expect to be enchanted. It has been in my changer for weeks now, I can't get enough.

My Starter Bell CD.......2003-11-05

This CD was my introduction to Joshua Bell after hearing a track on our local Washington, DC, classical radio station. It was hard not to be struck not only by the warmth of Mr. Bell's playing but also by his phrasing. He is almost never flashy, but his nuances made me find new musical possibilities which I hope -- but somehow doubt -- Gershwin intended. This is Gershwin as you have never heard him before, and it desires a place in anyone's classical or jazz collection.

Average customer rating:

pure composition magic...
One of the most startling beautiful and quintessential version of Porgy and Bess
Porgy and Bess and Miles/Gil Evans
Pull a chair between the speakers and let this one wash over you
Edit your own CD

Porgy and Bess
Miles Davis , and Gil Evans
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Sketches of Spain
Miles Ahead
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Milestones
Kind of Blue

ASIN: B000002AH6
Release Date: 1997-03-25

Tracks:

Buzzard Song
Bess, You Is My Woman Now
Gone
Gone, Gone, Gone
Summertime
Oh Bess, Oh Where's My Bess
Prayer (Oh Doctor Jesus)
Fishermen, Strawberry And Devil Crab
My Man's Gone Now
It Ain't Necessarily So
Here Come De Honey Man
I Loves You, Porgy
There's A Boat That's Leaving Soon For New York
I Loves You, Porgy (Take 1, Second Version)
Gone (Take 4)

Amazon.com

Take George Gershwin's Porgy & Bess, add Miles Davis and arranger Gil Evans, and what do you get? A classic jazz album that--despite the fact that the material has been rendered almost overly familiar due to countless interpretations--still sounds remarkably fresh four decades after its initial release. Miles' soft yet piercing trumpet style is perfectly suited to Gershwin's melancholy melodies, Evans' musical direction of his 18-piece orchestra is impeccable, and their version of "Summertime" may well be the finest ever waxed. Davis and Evans teamed up for several recordings after this one (including the landmark Sketches of Spain), but Porgy & Bess still stands as one of their most successful collaborations. --Dan Epstein

Customer Reviews:

pure composition magic..........2007-06-20

The pinnacle of Gil Evans and Miles Davis working together. This is by far the definitive recording of Porgy and Bess as far as I'm concerned. I've listened to it a thousand times and it still blows me away. I wish I had the words to do this recording justice. Just listen to GONE and how it segues into GONE, GONE, GONE and how that in turn segues into SUMMERTIME. My goodness, the trumpet practically speaks to you, you can feel the pathos, the rage and the desire of the story. SUMMERTIME is the quintessential Miles. moody, full of passion, magical. Enough said. Get it. Listen to it. Enjoy it. over and over and over again.

One of the most startling beautiful and quintessential version of Porgy and Bess.......2007-04-30

While "Porgy and Bess" nas been attempted by many an artist from popular standard artists to jazz giants, for me, this IS the quintessential version. For me, better than Ella and Louis or Ray Charles and Cleo Laine's versions.

It is emotionally direct and startling in it's beauty. Miles was at the height of his powers and he conveys the sentiment of the pieces so directly that I was moved and transfixed.

This, of all the Gil Evans/Miles Davis collaborations is the best. Some might argue in favor of others but this one features arrangement that are essential and never, not once, do they encumber, obscure or step all over the soloist. Gil provides a perfect setting for Miles and Miles makes the most of it, with that unique vibratto-less tone.

Never sappy, nor even conventional. I can only imagine what the reactions were when this recording was released. Mind you, Gil never arranged in the traditional voicings or instrumentations of the traditional big band. No four or five sax/five brass, four trombone, piano, bass and drums for this man. The instrumentation and voicings are unique. Often the horns covney the soft lushness of strings on ballads but without any syrup at all.

This simply one of the best Miles Davis recordings in his career, bar none! He effectively conveys the longing, romance, sadness and joy I presume Gershwin intended.

Upon acquiring a CD player back in the eighties, this was one of the very first recordings I purchased. Never old or dated. It's timeless, it transcends eras.

A must have for me.

Porgy and Bess and Miles/Gil Evans.......2007-01-03

Phenomenal material to begin with. The treatment was exceptional due to an amazing collaboration. I am very pleased to have it in my collection.

Pull a chair between the speakers and let this one wash over you.......2006-10-31

Let me start by saying that I'm a long-time analog music lover. I still spin a lot of vinyl, and have found digital music to be, at times, disappointing.

That being said, this remastering of "Porgy and Bess" is one of the most gorgeous things I've ever heard. The placement of the instruments across the spectrum is almost holographic, and out of this space the subtlety of Gil Evans' work can truly be appreciated. There are long, languid sections of Miles' horn noir, punctuated by bursts from Evans' "brass orchestra." The layers, the barely heard accents, it's just brilliant work, and this amazing remaster truly does it justice.

As to the music, I'll simply paraphrase another reviewer here who said that he knew of no music more beautiful than this. Amen, brother.

Edit your own CD.......2006-03-19

I think I understand why some listeners take exception to the Miles-Evans version of Porgy and Bess and wonder what all the fuss is about and why it's a "classic" if they've never heard the original vinyl release on Columbia. In the digital era, in the attempt to give listeners more content and fill up cd space, record companies sometimes include extra tracks that were never on the original and should have been left off later. For me that track is "I Loves You, Porgy," which comes near the end of the entire album and has a way of spoiling the sonic magic that came before. It's not that it's a terrible track; it's just not that good or necessary when compared to the others, and, again, was never on the original in the first place. Furthermore, the last track was never on the original either, and can be done without as well, imo. Sometimes less is better. After all, a classic album is one where the listener finds it unnecessary to skip tracks, and the later cd release inadvertently violates this principle because of the two reasons I've mentioned. For my own use, I've burned an edited version off my own commercial copy without the last two tracks, and I recommend others do the same if they wish to recapture the spirit of the original and the marvelous effects this music can create, as Miles' tone was never more luscious, dark and brooding...just gorgeous. And I think Gil Evans was right when he said that Miles Davis reinvented the sound of the trumpet and flugelhorn, especially on Sketches of Spain and Porgy and Bess.

Average customer rating:

Not all the arias were her best
DIDN'T QUITE FULFIL MY REQUEST
Fair Enough
Fleming's High Points Well Covered in Compilation CD
Beautiful indeed!

Renee Fleming: By Request
Vincenzo Bellini , Alfredo Catalani , Antonin Dvorak , George Gershwin , Erich Wolfgang Korngold , Jules Massenet , Wolfgang Amadeus Mozart , Giacomo Puccini , Sergey Rachmaninov , Richard Rodgers , Richard Strauss , Giuseppe Verdi , Heitor Villa-Lobos , Georg Solti , James Levine , Jeffrey Tate , Patrick Summers , Sir Charles Mackerras , Lee Ritenour , Chamber Orchestra of Europe , and Renee Fleming
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Renée Fleming
Sacred Songs
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ASIN: B0000C3ICO
Release Date: 2003-09-16

Tracks:

O Mio Babbino Caro
Ebben? ... Ne Andro Lontana
Porgi, Amor
Come Scoglio
Casta Diva
E Strano...Ah Fors E Lui...Sempre Libera
Un Bel Di Vedremo
Je Marche Sur Tous Les Chemins...Gavotte
Mesicku Na Nebi Hlubokem (O Silver Moon)
Vocalise
Cacilie
Marietta's Lied
Summertime
Bachianas Brasileiras No.5: Aria (Cantilena)
You'll Never Walk Alone

Amazon.com

This is a compilation--plus three previously unreleased selections--of some of the glorious Renée Fleming's finest work, 15 selections covering 13 composers. The rose-in-full-bloom quality of the voice is staggeringly beautiful: Her rendition of Rusalka's "Song to the Moon" is justly famous and is, alone, worth the price of this CD. Other highlights are Marietta's Lied from Korngold's Die tote stadt, an odd arrangement of the aria from Villa-Lobos's Bachianas Brasilerias No. 5, Manon's Gavotte, and a knock-down-gorgeous reading of Gershwin's "Summertime." The three new recordings are of Violetta's big first-act scene from La traviata, which features one of the most perfect trills heard since Joan Sutherland, a thrilling Cäcilie (R. Strauss), and a version of "You'll Never Walk Alone" which is so over the-top that it might make you look away in embarrassment. On the basis of this CD, one would have to acknowledge that Fleming is more interested in--and more successful at--pure singing than she is at character delineation (Butterfly sounds oddly like Wally who sounds too much like Norma), but it's not hard to tell why she's a superstar. Her voice and technique are one in a million. --Robert Levine

Album Details

"by Request" is a Collection of Fleming's Greatest and Most Popular Recordings Including Works by Mozart, Bellini, Pucchini, Verdi and Dvorak. Featuring Recordings from Renee Fleming's Outstanding Decca Discography Together with Two Glorious Tracks Strauss "Cacilie" and Verdi's "la Traviata" a Role Fleming Performed to Critical Aclaim Earlier in 2003.

Customer Reviews:

Not all the arias were her best.......2005-01-15

There is something lacking. Although most of these are indeed her "Best" releases, some things could have been left out. Her O Mio Babbino Caro and her Casta Diva weren't her best efforts at all. Casta Diva, sung to perfection by other revered artists, sounded too breathy and fearful here. It has good chest notes, and it is definitely better than Joan Sutherland's Norma though. Her O Mio Babbino Caro is the usual aria sung in its usual way, without leaving any trace of awe at an ability of a singer to interpret the aria. Rachmaninov's Vocalise was good, and it was great of Decca to release her Song to the Moon on this disc. However, some new additions weren't all that good as well. For example, if you listen to her excerpt from La Traviata, you will find that she sounds like she was singing jazz when uttering out "Gioir!". I think Decca should have issued the live performance version of this instead. That was so much better. Also, they should have showcased more of the bel canto repertoire she had specialized in. That would have made this CD a gem!

DIDN'T QUITE FULFIL MY REQUEST.......2004-11-22

THIS CD DEFINITELY BRINGS OUT THE BEST IN HER REPERTOIRE. SHE IS SOLID, WARM, AND BRILLIANT ON MOST OF THE SONGS. SINCE I OWN MANY OF HER CDS MOST OF THE TRACKS I HAVE IN DUPLICATE. EVEN SO EACH VERSION HAS A DIFFERENT FEEL TO IT. HER "O MIO" IS GREAT BUT GENERALLY I FEEL THAT KIRI TE KAWANA IS A LITTLE CLEARER THAN RENEE. HER "Ebben?...Ne Andrò Lontana" IS ALWAYS BRILLIANT FROM HER HIGH ENDS TO THE NECESSARY LOW NOTES TO FINISH THIS GLORIOUS TRACK. HER COUNTESS HAS ALWAYS BEEN A STRONG AND POWERFUL CHARACTERIZATION AND HER BUTTERFLY TEETERS ON HAPPINESS AND PAIN. THESE RICH LYRIC ROLES DESERVE A SOPRANO LIKE RENEE. I WAS HOWEVER, VERY DISAPPOINTED THAT SHE ADDED "SEMPRE LIBERA" TO THIS CD AS SHE'S NEVER BEEN A COMPELLING VIOLETTA AND CAN'T EVEN MUSTER THE HIGH "C" WE ALL EXPECT NOW A DAYS. HER RUSALKA IS ALWAYS MESMERIZING AND HER SIMPLICITY ON GLUCK'S "Das Mir Verblieb" WAS AN INCREDIBLE SURPRISE. I FOUND THE OTHER SONGS BORING DUE TO THE FACT THAT I DON'T LIKE THEM AND I KIND OF WISHED SHE WOULD HAVE REPLACED THEM WITH SOME BETTER WORKS. I MISSED HER SOFT AND DEFEATED "AVE MARIA" FROM OTHELLO OR HER FULL BODIED SPOILED MUSETTA IN "QUANDO MEN VO" OR HER RICH SADNESS IN "DOVE SONO"

Fair Enough .......2004-10-01

This is a compilation. I can't say love them I think thatpeople want to be surprised by new things, instead of um things they already own.On the other hand a die hard fan wouldn't mind having an extra cd by their favorite artist.Fair Enough.There was one aria that was new to me"Cantilena Brasileras"by Villa Lobos that was very striking.Her voice flows like an unimpeded stream with a lush vibrato.Like I read in one kid's review "Renee has a silky,creamy, instrument that is very beautiful and caresses the ear",couldn't have said it better myself. I agree. One smart kid!!! One thing that I have to comment on that will not escape is the dull cover picture. Renee get a better photographer;you're far more beautiful than that. I'm sounding like her mother,dear lord! She is a fox!

Fleming's High Points Well Covered in Compilation CD.......2004-09-06

Just one listen to the high points of this disc will make you realize why Renée Fleming is an opera superstar. Covering a ten-year period, this compilation disc covers a most fertile period for Fleming, absolutely one of the world's leading lyric and dramatic sopranos. What is particularly impressive is how many different styles she has covered, ranging from Italian bel canto to French Romanticism to Rodgers & Hammerstein. She effortlessly sings in six different languages, including what sounds like flawless Czech on Dvorak's "Měsíčku na nebi hlubokén" (which goes back to her family roots). Her powerful voice is expressive, almost buttery, which allows the listener to enjoy the coloratura agility she has mastered over the years and the tonal qualities she specifically defines for each aria. This is most evident on my two personal favorites - "Ebben?...Ne scoglio" from Catalani's "La Wally" (which will sound familiar to fans of the French eighties noir film, "Diva") where her crystalline voice complements the increasing power of the melody, and the haunting "Mariettas Lied" from Korngold's "Die tote Stadt".

Fleming also has a good sense of the characters she is portraying, for instance, on the "La traviata" aria, "È stano...Ah, fors'è lui...Sempre libera", one gets a strong sense of Violetta's conflict between the attractions of true love versus the free life of a courtesan. She also gets some sturdy help from tenor Joseph Calleja as Alfredo in this piece. But even in this number, the effect of her daunting runs and trills can be a bit overwhelming. She does keep this in check with the slower-paced tracks like "Casta diva" from Bellini's "Norma", which uses a choir in the background to great effect, and Rachmaninov's lovely "Vocalise". The well-worn "Summertime" from Gershwin's "Porgy and Bess" is nicely covered here, and it certainly invites comparisons to even Leontyne Price's definitive version. Fleming ends the disc with a rousing version of Rodgers & Hammerstein's "You'll Never Walk Alone" from "Carousel" that grows a bit too bombastic for listening comfort. Regardless, this disc provides a nice sampling of what this truly great singer has done over the past decade. A treat for her fans and highly recommended for anyone who wants an ideal introduction to her range of talent.

Beautiful indeed!.......2004-07-19

I'm very happy with this CD. She has a lovely voice! And what a fox! ;)

Gershwin: Rhapsody in Blue/Cuban Overture/Porgy and Bess Suite/An American in Paris

Average customer rating:

As good as any Rhapsody
Good intro to Gershwin - Great gift
Outstanding performance and sound engineering
The Finest Recordings of These Four Selections
Gershewin is the Master of Mixing Jazz and Big Band

Gershwin: Rhapsody in Blue/Cuban Overture/Porgy and Bess Suite/An American in Paris

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GEK
Release Date: 1993-06-15

Tracks:

Rhapsody In Blue
Cuban Overture
'Porgy and Bess' Suite
An American In Paris

Customer Reviews:

As good as any Rhapsody.......2006-11-11

I've also got Bernstein and Wild and this Rhapsody is as good as any of them. But the real reason to buy this recording is for the couplings--which are far better than the rest. The Cuban Overture absolutely ROCKS.

Everybody gives you "American in Paris" with the Rhapsody, but, come on, Porgy & Bess AND the Cuban Overture vs. Grofe's Grand Canyon Suite or the Piano Concerto in C? No contest!

Good intro to Gershwin - Great gift.......2006-08-05

Bought this CD for our 7-year-old daughter for her birthday. She loves it. Certainly didn't listen to it once and set it aside. She even takes it in the car.

In short, it's a nice performance of some of Gershwin's best work. Very enjoyable.

Outstanding performance and sound engineering.......2005-10-24

I am not a sound engineer but, clearly something was done outstandingly right in the production of this CD. I have listened to this CD on several different stereo systems with the same result: crystal clear sound that gives the impression that the instruments are right in front of you. I would add that I do not have an SACD version of this CD, nor an SACD player, nor a hi-end expensive stereo system. Nevertheless, the sound quality of this CD was noticeably superior to that of the recordings of Gershwin's Rhapsody in Blue and American in Paris that I have with Bernstein and Ormandy conducting. Part of the superior sound quality of this recording is due to its being digital, whereas Bernstein and Ormandy were recorded in analog. However, I have hundreds of other CDs that were recorded digitally and comparatively few have a sound quality that is as fresh, sharp, and, simply put, as outstanding as the one on this CD.

In addition to the freshness and immediacy of the sound, the playing of both the orchestra and of Levine as the piano soloist in Rhapsody in Blue are the best that I have heard amongst my various recordings of this work. I had never heard James Levine as a pianist before, only as a conductor, and was very pleasantly surprised at the excellence of his performance. There is a real joyful dynamic energy on this CD, together with a quality that is not apparent on the other recordings I own of Rhapsody in Blue - a feeling of playfulness, and even humor. I got the distinct feeling as I listened to this CD (several times, and always with great pleasure) that the orchestra and conductor/pianist were thoroughly enjoying themselves. All of the selections on this CD radiate with outstanding musicianship coupled with tremendous energy and love of life. This is one of my desert island CDs. I give it my highest recommendation.

The Finest Recordings of These Four Selections.......2004-03-13

George Gershwin (1898-1937) first made a name for himself as the composer of one memorable popular song after another--songs that have proven remarkably durable and have entered our collective consciousness to become "great standards" by which others are judged. In 1924 he began to leap the gulf between "popular" and "serious" music, and between 1924 and his untimely death in 1937 he created a number of famous works--but although he is regarded as a genius today, it was not so at the time. For then as now, "serious" composers and critics were an insular group, and many considered his fusion of jazz, strong melodic lines, and symphonic treatments at best pretentious, at worst common.

In the wake of Gershwin's untimely death, many of his works underwent a facelift of sorts, with various composers reworking the material in an effort to give it more snob appeal: the original arrangements were touched up, retoned, and in general fiddled with--and today it is almost impossible to find a recording of a Gershwin piece recorded as originally written. But here Chicago Symphony conductor James Levine accomplishes the impossible, restoring four major Gershwin pieces to either original or near-original condition.

The great reason to purchase this CD is "Rhapsody in Blue," which will come as a revelation to listeners accustomed to hearing the piece awash in strings, for here it is returned to all the sharp edged, strident, and jazzy glory of the original 1924 Ferde Grafe arrangement for the Paul Whiteman orchestra. And it is stunning, clean, a true period jewel that is ultimately the definitive musical statement of the Deco era; hearing it performed in this stripped-down original version is akin to seeing a beautiful gemstone purged of a vulgar setting and restored to true brilliance.

Also notable are "Cuban Overture" and "Catfish Row," both of which are performed essentially as Gershwin created them. "Cuban Overture" has never been one of Gershwin's most popular concert pieces--but listening to it here one is hard pressed to know why; certainly less melodic than other Gershwin constructions for orchestra, it is nonetheless a magical thing that combines a sense of ocean and tropical flavors to tremendous effect. "Catfish Row," of course, is drawn from Gershwin's opera "Porgy and Bess"--but should not be confused with the various suites typically heard, for it was actually arranged by George Gershwin himself and offers a pleasing (and to my mind far superior) variation on these oft-heard themes.

Unfortunately, not all of the original arrangements survive. (Liner notes indicate that even "Cuban Overture" is slightly effected in this regard.) The arrangements for "An American in Paris" received an overhaul around 1947; the originals have been lost forever, and it is performed here very much as we are accustomed to hearing it. Still, Levine and company give it tremendous style and substance in execution, and without knowing what the original arrangements were like we would be hard pressed to fault them in the performance.

Whatever the case, when it comes to these four selections, and particularly so re the legendary "Rhapsody in Blue," this is the recording to have. Everything here is flawless--and very often unlike anything you've previously heard when approaching these works. Strongly recommended.

GFT, Amazon Reviewer

Gershewin is the Master of Mixing Jazz and Big Band.......2001-12-26

Gershwin lived a short life but the pieces he made are marvelous. His fusion of jazz of big band creates a unique sound that is very pleasing. Listening to a Rhapsody in Blue, or An American in Paris always gives the feeling of a big bustling American city in its prime, full of rich color and glamour. Uneven, busy syncopated rythyms by the brass and percussion add the sense of the workaholic society of America during its time. It's the old timely sound to it all that makes Gershwin's so songs irresistable to the ear. Cuban Overture sounds equally robust and majestic, complete with native Cuban percussion, and the "Porgy and Bess" Suite, while operatic and huge in proportion, doesn't stray far from its jazz roots. The Chicago Symphony played the music with gusto and vigor, and James Levine thoughtfully interpreted each piece with the utmost care the way Gershwin had intended it. I highly recommend this piece to anyone with a fine taste in the big band, all-American sound. Of all the music I've heard, Gershwin's music sounds the most American of them all.

Broadway - The American Musical (PBS Series)

Average customer rating:

Fabulous for any Broadway-lover
Top Shelf
TERRIFIC CD'S
Great Collection of Broadways greatest Songs
Great Compilation!

Broadway - The American Musical (PBS Series)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Best of Broadway - The American Musical (PBS Series)
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Somewhere over the Rainbow: The Golden Age of Hollywood Musicals

ASIN: B00064ADMK
Release Date: 2004-10-19

Tracks:

Give My Regards To Broadway- Joel Grey
Swanee- Al Jolson
When The Moon Shines On The Moonshine- Bert Williams
A Pretty Girl Is Like A Melody- John Steel
My Man- Fanny Brice
Fascinating Rhythm- Fred Astaire, Adele Astaire
If You Knew Susie (Like I Know Susie)- 78rpm Version Eddie Cantor
Someone To Watch Over Me- Gertrude Lawrence
Bill- 78 rpm Version Helen Morgan
Ol' Man River- Paul Robeson
Ain't Misbehavin'- Louis Armstrong & His Orchestra
Ten Cents A Dance- Ruth Etting
Body And Soul- Libby Holman
Brother, Can You Spare A Dime- Bing Crosby
Night And Day- Fred Astaire
Heat Wave- Ethel Waters
Smoke Gets in Your Eyes- Tamara
You're The Top- Ethel Merman
Summertime- Anne Brown
September Song- Walter Huston
My Heart Belongs To Daddy- Mary Martin
It Never Entered My Mind- Shirley Ross
Bewitched, Bothered, Bewildered- Vivienne Segal
Oh, How I Hate To Get Up In The Morning- Irving Berlin
Oh, What a Beautiful Mornin'- Alfred Drake

Tracks:

New York, New York- Cris Alexander,Adolph Green,John Reardon
If I Loved You- John Raitt,Jan Clayton
Come Rain Or Come Shine- Ruby Hill,Harold Nicholas
There's No Business Like Show Business- Ensemble
How Are Things In Glocca Morra? From "Finian's Rainbow"- Ella Logan
Once In Love With Amy- Ray Bolger
Wunderbar- Alfred Drake,Patricia Morison
Some Enchanted Evening- Ezio Pinza
Lost In The Stars- Todd Duncan
Diamonds Are A Girl's Best Friend- Carol Channing
Luck Be A Lady- Robert Alda,Guys
Getting To Know You- Gertrude Lawrence
Who Cares?- Jack Carson,Betty Oakes
Stranger In Paradise- from " Kismet" Doretta Morrow,Richard Kiley
Ballad Of Mack The Knife- Gerald Price
Hey There- from "The Pajama Game" John Raitt
Whatever Lola Wants- Gwen Verdon
I Could Have Danced All Night- Julie Andrews
Standing On The Corner- from "The Most Happy Fella, 1956" Shorty Long,John Henson,Alan Gilbert
The Party's Over- Judy Holliday
Glitter And Be Gay- Barbara Cook
Tonight- Larry Kert, Carol Lawrence

Tracks:

Seventy-Six Trombones- Robert Preston
I Enjoy Being A Girl- from "Flower Drum Song, 1958" Pat Suzuki
Everything's Coming Up Roses- Ethel Merman
My Favorite Things- from "The Sound Of Music" Mary Martin
Put On A Happy Face- from "Bye Bye Birdie" Dick Van Dyke
Try To Remember- Jerry Orbach
Camelot- from "Camelot" Richard Burton
Love Makes The World Go 'Round- Anna Maria Alberghetti
I Believe In You- Robert Morse And Co.
The Sweetest Sounds- Diahann Carroll,Richard Kiley
Comedy Tonight- Zero Mostel
What Kind Of Fool Am I?- Anthony Newley
As Long As He Needs Me- Georgia Brown
Hello, Dolly!- Carol Channing,Cast
People- Barbra Streisand
Anyone Can Whistle- from "Anyone Can Whistle" Lee Remick
If I Were A Rich Man- Zero Mostel
Night Song- Sammy Davis, Jr.
The Impossible Dream- Richard Kiley
If My Friends Could See Me Now- Gwen Verdon
Open a New Window- from Mame Voice

Tracks:

Willkommen- from "Cabaret" Joel Grey
Let The Sunshine In- James Rado,Lynn Kellogg,Melba Moore,Cast
I'll Never Fall In Love Again- Jill O'Hara,Jerry Orbach
The Ladies Who Lunch- from "Company" Elaine Stritch
Tea For Two- Roger Rathburn,Susan Watson
I'm Still Here- Yvonne De Carlo
I Don't Know How To Love Him- Yvonne Elliman
We Go Together- Adrienne Barbeau,Barry Bostwick,Walter Bobbie,Cast
Corner Of The Sky- John Rubinstein
Send In The Clowns- Glynis Johns
Ease On Down The Road- Stephanie Mills,Tiger Haynes,Ted Ross,Hinton
One- from "A Chorus Line" Cast
All That Jazz- Chita Rivera,Ensemble
Tomorrow- Andrea Mcardle
Don't Cry For Me Argentina- Patti Lupone
Come Follow The Band
Lullaby Of Broadway- Jerry Orbach
And I'm Telling You I'm Not Going- Jennifer Holliday
The Bells Of St. Sebastian- Raul Julia

Tracks:

Memory- Betty Buckley
I Am What I Am- George Hearn
Move On- Bernadette Peters,Mandy Patinkin
Do You Hear The People Sing?- Michael Maguire,Cast
The Music Of The Night- Michael Crawford
You're Nothing Without Me- James Naughton,Gregg Edelman
The American Dream- Jonathan Pryce,Cast
Doctor Jazz- Gregory Hines,Company
With One Look- Glenn Close
On Broadway- Adrian Bailey,Frederick B. Owens,Ken Ard,Victor Trent Cook
Le Jazz Hot- Julie Andrews,Ensemble
Seasons Of Love-
Hakuna Matata- Max Casella,Tom Alan Robbins,Scott Irby-Ranniar,Jason Raize
I Wanna Be A Producer- Matthew Broderick,Ensemble
Dancing Queen- Louise Plowright,Jenny Galloway
Good Morning Baltimore- Marissa Jaret Winokur
Movin' Out- Michael Cavanaugh,Band
I Go To Rio- Hugh Jackman,Company
Defying Gravity- Kristin Chenoweth,Idina Menzel

Customer Reviews:

Fabulous for any Broadway-lover.......2007-01-30

Packs into 5 CD's a sampling of Broadway tunes from the 20's thru (almost) today, mostly from original cast recordings. Includes not just well-known hits, but also some lesser-known gems. Sound quality is first rate, booklet is informative too. Have given this as a gift to several friends with rave reviews.

Top Shelf.......2007-01-04

This is THE definitive collection of Broadway hits. I have other collections, and none of them measure up. A great deal of care was obviously taken in compiling and presenting this box set. It covers a lot of ground, starting with some long-forgotten but still very enjoyable hits from the days of yore, and finishing with present-day favorites. To the best of my knowledge, the recordings are by those who made them famous. You won't be disappointed.

TERRIFIC CD'S.......2006-03-23

THESE BROADWAY MUSICALS CD'S ARE A BROADWAY LOVERS DREAM. WITH EACH SONG, MEMORIES COME FLOODING BACK. BOTH THE FAMILIAR AND THE FORGOTTEN SONGS ARE A TRUE LISTENING PLEASURE. IF YOU LIKE BROADWAY, YOU'LL LOVE THIS SET.

Great Collection of Broadways greatest Songs .......2005-06-14

This Collection was perfectly made it has almost all the most famous Broadway songs on this 5 cd set. The Music is great and has Broadways greatest treasures like "Memory""People""With One Look""Give my regards Too Broadway" just to name a few of this numerous cd set with over 100 songs. This is a great buy if you like musicals or The music of Broadway

Great Compilation!.......2005-01-17

If you are a fan of the Broadway Musicals, this is a collection that you should purchase. Since I got the 5 disc set I've enjoyed listening to it. The majority of the songs are done by the original singers. The collection is priceless considering that you will have over 100 songs from popular musicals since the beginning of Broadway

Average customer rating:

Required listening. Sublime.
LONG-LOST SOUNDTRACK OF A TROUBLED MOVIE . . . . .
GREATEST PERFORMANCE OF GERSHWIN'S SCORE EVER!

Porgy & Bess (1959 Film Soundtrack)

Manufacturer: Back Biter
ProductGroup: Music
Binding: Audio CD

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ASIN: B00002MY3V
Release Date: 1995-05-08

Tracks:

Overture
Summertime
Woman Is A Sometime Thing
Wake- Gone, Gone, Gone- Porgy's Prayer
My Man's Gone Now
I Got Plenty O' Nuttin'
Bess, You Is My Woman Now
Morning; Catfish Row
I Can't Sit Down
It Ain't Necessarily So
I Ain't Got No Shame
What Do You Want With Bess-
Street Cries; Strawberry Woman; Crab Man
I Loves You, Porgy
Red-Headed Woman
Clara, Clara
There's A Boat That's Leavin' Soon For New York
Oh, Where's My Bess-
I'm On My Way

Album Description

The story behind the controversial 1959 film adaptation of Gershwin's Porgy & Bess is a strange one. In the film starring Sidney Poitier and Dorothy Dandridge, director Otto Preminger took artistic license against Gershwin's wishes and the Gershwin estate eventually pulled the film from circulation and it has not been seen in over 30 years (although bootleg copies are sure to exist). The film's soundtrack itself has been called 'the definitive version' of Porgy & Bess and was arranged and conducted by Andre Previn. Vocalists include Cab Calloway, Pearl Bailey, Robert McFerrin (Bobby's father), Adele Addison and many others. A spectacular version of this 'opera', one that makes you long to see the withdrawn film. Bacbi.

Customer Reviews:

Required listening. Sublime........2007-05-13

Cab Calloway, as Sportin' Life, steals the recording. (For contractual reasons, he had to replace Sammy Davis Jr.(?), who was in the film. Lucky for us.)
Despite the Gershwins' own criticism, I believe this is the definitive version of the opera.
Let's hold our breath for the release of the film.
~!an

LONG-LOST SOUNDTRACK OF A TROUBLED MOVIE . . . . . .......2007-03-20

This 1995 CD from the German Back Bite label is a curious release. The occasional ticks and pops indicate that it is an LP-transfer to which too much noise reduction has been applied. The tape hiss is gone, but so are the upper ambient frequencies, giving it a peculiar "boxed-in" sound. Recorded in stereo, it has a very nice spatial feel with the orchestra placed behind the singers. However, at times the chorus seems too distant, too far away from the action. (Sounds great in the car, however.)

I agree wholeheartedly with Michael Portantiere's comments in The TheaterMania Guide to Musical Theater Recordings: ". . . Cab Calloway['s] . . . engaging performances . . . lack the sense of menace that the character needs. Despite its flaws, this recording is worth tracking down if only for baritone Robert McFerrin's extraordinary performance of Porgy's music . . . and Adelle Addison's lovely singing for Dandridge . . . both rein in their operatic voices for the film but they still sing beatifully, under the tasteful, respectful musical direction of Andre Previn and Ken Darby."

Perhaps Ms. Addison "reins in" her voice just a bit too much; I would have preferred a little more passion, especially in "What You Want With Bess?" and "I Loves You Porgy." (For an excellent example of "stage vs. movie" singing, compare Giorgio Tozzi's Emile De Beque on the 1959 film soundtrack of SOUTH PACIFIC and the 1976 Lincoln Center Cast recording.)

Not having seen the film, I can only assume that director Otto Preminger softened the roles of Bess and Sportin' Life to conform to the regulations of Hollywood's infamous Production Code (aka the Hayes Office). It most certainly would have been denied a code of approval if two of the major characters were a whiskey-guzzling "easy" woman and a drug dealing pimp - especially since neither had to "pay for their sins." Preminger challenged the Code with three other films - The Moon Is Blue (1953), the first film to use the words "virgin," "seduce," and "mistress;" The Man with the Golden Arm (1955), a film which graphically dealt with drug abuse; Anatomy of a Murder (1959), rape is the central issue - but I have a feeling he played it safe with Porgy, a major studio Samuel Goldwyn Production. (For further information about the film, go to the ISAM [Institute for Studies of American Music] website at htpp://depthome.brooklyn.cuny.edu/isam.)

Because Ira Gershwin and the Gershwin estate were unhappy with Preminger's film treatment, rights to the movie were rescinded during the 70s. As a result, the film has never been legally transferred to video and only a few public showings have been allowed. When the hassles regarding the film are finally settled, hopefully the engineers at Sony/BMG will track down the original master tapes and produce a truly fine restoration of this long-lost movie soundtrack. All the proper ingredients are there; they just have to be pulled together.

Additional weirdness abounds on the CD's sleeve. None of the singers are listed - (Pearl Bailey and Brock Peters did their own singing, Loulie Jean Norman dubbed Clara's songs, and Inez Matthews sang the role of Serena. Sammy Davis, Jr. also sang his own songs, but Cab Calloway replaced him on the recording - due to contractural reasons) - and all of the photos are from some unidentified production of the opera, not from the movie. This recording may not be perfect, but right now it's all we have.

Recommended.

GREATEST PERFORMANCE OF GERSHWIN'S SCORE EVER!.......2002-08-30

One of the greatest crimes ever committed against the music and video buying public is the Gershwin Estate's denial to us of seeing and hearing and, most important of all, judging for ourselves, the merits of the Samuel Goldwyn film of PORGY AND BESS. Even worse, today's video buyers have to suffer through a boring, execrable EMI video made for public television in order to view PORGY AND BESS, thereby seeing Gershwin's masterpiece in the worst possible light. The 1959 film starred Sidney Poitier and Dorothy Dandridge, but both had their songs dubbed by operatic singers. Unlike the long out of print American Columbia sound track LP, this CD import actually credits the voice of Robert McFerrin (the father of jazz singer Bobby McFerrin) as Porgy. Still uncredited are singers Adele Addison (Bess), Loulie Jean Norman (Clara) and Inez Matthews (Serena). A special treat on this album is Cab Calloway as "Sportin' Life", who replaces Sammy Davis Jr. from the film, whose voice could not be used on the sound track album due to his exclusive contract with another record label. Calloway is far better suited to this role and his performance adds an edge to the character missing in Davis' more comic turn in the film. Calloway's vocals are backed up by the identical orchestral tracks (conducted by Andre Previn) used in the film for Davis. Although this version of Porgy and Bess was not well liked by the Gershwin family because it was treated more as a Broadway Musical than an opera, this film was immensely popular in its time and has gained stature over the years. The film was recently named one of the 100 greatest film love stories by the American Film Institute. The release of this matchless film on home video would be a cause for rejoicing. Andre Previn's conducting and especially Ken Darby's excellent choral direction have never been bettered in any performance of PORGY AND BESS. The 1959 sound track contains all the major musical sequences from the film and is arguably the finest version of Gershwin's score ever released to the music buying public. Amazingly, this album has never been released in the US on CD (with very limited distribution elsewhere). This import CD offers the most ideal way of hearing this magnificent sound track music short of a domestic CD release.

Average customer rating:

Muffled
Somewhat disappointing.
Gershwin At His Best in Hearts!
The best America has to offer!!

George Gershwin: Greatest Hits

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002A1T
Release Date: 1994-08-09

Tracks:

Strike Up The Band
Rhapsody In Blue
Prelude No. 1
Piano Concerto In F
An American In Paris
Prelude No. 3
Medley From Porgy And Bess
Fascinating Rhythm
Lullaby
Promenade (Walking the Dog)
Cuban Overture

Customer Reviews:

Muffled.......2006-11-03

This is a decent enough recording, but it's not anywhere near the best that I have heard. The Andre Previn/LSO recording is much better mixed; at times it seems like there's a muffle on the mikes, or that you're hearing it from a distance.

If I wanted good, dynamic background music, I'd do this. If I wanted to really listen to the music, I'd pick another version.

Somewhat disappointing........2003-09-10

I bought this for the full-length rendition of Rhapsody in Blue. I found the brass too tinny sounding, and the rhythm off in a few places. I like the snippet of this song on the "Best of the Milleneum" CD much better.

Gershwin At His Best in Hearts!.......2003-03-19

To someone who came along as a teenage boy in the mid-1940's, this CD has the elements of authenticity, even surprise, musical history, highly intense performances, and ways evoking memories of emotional highlights of my Youth. When mediocre orchestra 1st tackled Gershwin's "Rhapsody in Blue" at Smoky Mtn Music Camp we were preparing for Sunday's outdoor Concert. Pianos were played by two friends who've presided Music Dept at Carson-Newman College in East Tennessee. In the Trombone section was a skinny kid with too much hair and too big an ego! When our esteemed conductor began the opening bars the Clarinet Soloist, my close friend Danny Boy slide-up the chromatic scale with fleurish. He later became a NC Doctor! He likely plays clarinet for his own amazement in someone's Dixieland Band!

On this wondrous CD there are historic names like Bernstein, Kostelanez, John Williams and Michael Tilson Thomas, Conductors. Andre Previn, Yo-Yo Ma and Sarah Vaughan as Soloists. I would have a hard time choosing which may be called my favorite! It would depend on the day they are playing in my car... traveling to Columbia Seminary classes or GA Diagnostic Prison for lunch with Chaplain friends! I often sing along with the Rhapsody as I did in 1949 when Oscar Levant soloed with Chattanooga Orch. My very young wife was playing in the first violin section! Still today I am totally wiped out when anyone as intensely romantic as Sarah Vaughan sings "Summertime" or "I Loves You, Porgy!"

Is it not amazingly wondrous that someone could create so much enjoyable music in his short lifetime of 39 years? I never wish to part with this all-time favorite 10-Star Recording!
Retired Chaplain Fred W Hood

The best America has to offer!!.......1999-03-09

This is the best collection of his songs i have ever heard. That's probably because it features conductors like John Williams and Micheal Tilson Thomas. My personal favorite is the allegro agitato from the Concerto in F. I have other recordings of this song, but none of them can even come close to matching the excitement of this one.

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