Ella Fitzgerald & Louis Armstrong - Porgy & Bess - 180g 2LP

Ella Fitzgerald & Louis Armstrong - Porgy & Bess - 180g 2LP

Product no.: MGVS60402

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Ella Fitzgerald & Louis Armstrong - Porgy & Bess - 180g 2LP
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Speakers Corner / Verve - MGVS-6040-2  - 180 Gram Virgin Vinyl 

AAA 100% Analogue - Limited Edition

Mastered by Ryan Smith at Sterling Sound  - Pressed  at Pallas Germany

AAA 100% Analogue This Speakers Corner LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head 20 Years pure Analogue

Mastered by Ryan Smith at Sterling Sound from the original master tape

Plated by Gary Salstrom at QRP and pressed at Pallas in Germany

Double LP features gatefold jacket and booklet

Music 10/10 Sound 9/10 Analogue Planet Michael Fremer

This reissue from Speakers Corner was mastered from the original master tapes at Sterling Sound by the great Ryan K. Smith and if you didn't know that going in you'd figure it out quickly. The original is warmer and softer and clearly rolled off on top and lacking in true detail, which might make it more "pleasant" for some, but this reissue in my opinion is so far superior it's not even up for debate.
There's so much more information here, both musical and spatial. The vocals are far superior sounding as is Armstrong's trumpet. If you play it too loud, yes it will get nasty but played at the appropriate level, the clarity, transparency, spatiality and everything we love about listening to recorded music will be evident.
Add Speakers Corner's going the extra mile to reproduce the textured full sized stapled-in booklet and you have an extremely well-done reissue. Yes, a "Tip-on" jacket would have been nice but more important is the mastering and Pallas pressing quality, which are first rate. Music 10/10 Sound 9/10 Michael Fremer AnaloguePlanet
The presentation is magnificent. Joseph Young’s gatefold mosaic cover is a work of art in itself, as
is the black-and-white drawing of Porgy by David Stone Martin, and there is a highly informative,
green and white 11 page booklet, replete with photos. In the end the only word that sums this
release up is stunning. Sound 5/5 Music 5/5 Classical Source
This is an unsurpassed, and probably unsurpassable, reissue of a classic album. If
you’re a fan of Ella or Louis , you should treat yourself. London Jazz
Only the final track's "pop white bread" chorus mars, jars and dates the production but it's quickly over leaving a pleasing residue of musical and sonic time travel. A "must have" for Ella and Louis fans.
The dream of creating an American opera such as Scott Joplin’s "Treemonisha", written in 1911, inspired George Gershwin a good twenty years later to amazing compositional feats. While Gershwin had brought his musical and musical comedies with great éclat to Broadway, he wanted his through-composed stage work "Porgy And Bess" to be regarded as a legitimate opera.
No matter whether one regards this exceptional work as »American folk opera« (The New York Times) or as a veristic portrayal of African-American life, central to the work is the expressionistic orchestral music that includes (work) songs, spirituals and elements of jazz, and the cast of singers, which, at the insistence of Gershwin, featured African-American singers.
This stipulation will certainly have suited Verve boss Norman Granz who engaged not only a fresh and lively big band but also a classical string orchestra to support his successful duo of Ella and Louis. Thanks to this superb line-up, the catchy song "I Got Plenty O’ Nuttin’" rolls along sleekly with swing and drive, while "Summertime" and "Bess, You Is My Woman Now" wafts away to the sound of heavenly violins. Listening to this music, you couldn’t care less about the genre or category, just as long as these two genial musicians perform wonderfully arranged material from the American Song Book. The incomparable nasal twang of Armstrong’s solo trumpet seeks out unerringly jazz elements where you would least expect them.
The presentation is magnificent. Joseph Young’s gatefold mosaic cover is a work of art in itself, as
is the black-and-white drawing of Porgy by David Stone Martin, and there is a highly informative,
green and white 11 page booklet, replete with photos. In the end the only word that sums this
release up is stunning - 5/5 Classicsource
This is an unsurpassed, and probably unsurpassable, reissue of a classic album. If
you’re a fan of Ella or Louis (or Russ), you should treat yourself. - LondonJazz

Made from the Original Analogue Mastertapes

Only The Best Mastering Studios Worldwide

Pure Analogue Audiophile Mastering - AAA 100% Analogue

180g High Quality Virgin Vinyl Presed & Plated at Pallas in Germany

Faithful reproduction of Original artwork and labels

Limited Edition - All licences and mechanical Rights Paid

Ella Fitzgerald, vocals
Louis Armstrong, vocals, trumpet
Russell Garcia, conductor
Recording: August 1957 in Los Angeles and October 1957 in Chicago
Production: Norman Granz
LP 1:
1. Overture
2. Summertime
3. I Wants to Stay Here
4. My Man's Gone Now
5. I Got Plenty O' Nuttin' 
6. Buzzard Song
7. Bess, You Is My Woman Now
LP 2:
1. It Ain't Necessarily So
2. What You Want Wid Bess?
3. A Woman Is a Sometime Thing
4. Oh, Doctor Jesus
5. Medley: Here Come de Honey Man / Crab Man / Oh, Dey's So Fresh and Fine
6. There's A Boat Dat's Leavin' Soon For New York
7. Bess, Oh Where Is My Bess?
8. Oh Lawd, I'm On My Way
Recording: August 1957 in Los Angeles and October 1957 in Chicago

Ella Fitzgerald & Louis Armstrong: Porgy & Bess - 180g 2LP

20 Years pure Analogue
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head
Are your records completely analogue?
Yes! This we guarantee!
As a matter of principle, only analogue masters are used, and the necessary cutting delay is also analogue. All our cutting engineers use only Neumann cutting consoles, and these too are analogue. The only exception is where a recording has been made – either partly or entirely – using digital technology, but we do not have such items in our catalogue at the present time
Are your records cut from the original masters?
In our re-releases it is our aim to faithfully reproduce the original intentions of the musicians and recording engineers which, however, could not be realised at the time due to technical limitations. Faithfulness to the original is our top priority, not the interpretation of the original: there is no such thing as a “Speakers Corner Sound”. Naturally, the best results are obtained when the original master is used. Therefore we always try to locate these and use them for cutting. Should this not be possible, – because the original tape is defective or has disappeared, for example – we do accept a first-generation copy. But this remains an absolute exception for us.
Who cuts the records?
In order to obtain the most faithful reproduction of the original, we have the lacquers cut on the spot, by engineers who, on the whole, have been dealing with such tapes for many years. Some are even cut by the very same engineer who cut the original lacquers of the first release. Over the years the following engineers have been and still are working for us: Tony Hawkins, Willem Makkee, Kevin Gray, Maarten de Boer, Scott Hull, and Ray Staff, to name but a few.
At the beginning of the ‘90s, in the early days of audiophile vinyl re-releases, the reissue policy was fairly straightforward. Companies such as DCC Compact Classics, Mobile Fidelity, Classic Records and others, including of course Speakers Corner, all maintained a mutual, unwritten code of ethics: we would manufacture records sourced only from analogue tapes. 
Vinyl’s newfound popularity has led many other companies to jump on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source from which to master: CDs, LPs, digital files and even MP3s. 
Even some who do use an analogue tape source employ a digital delay line, a misguided ’80s and ‘90s digital technology that replaces the analogue preview head originally used to “tell” the cutter head in advance what was about to happen musically, so it could adjust the groove “pitch” (the distance between the grooves) to make room for wide dynamic swings and large low frequency excursions. Over time analogue preview heads became more rare and thus expensive. 
So while the low bit rate (less resolution than a 16 bit CD) digital delay line is less expensive and easier to use than an analogue “preview head”, its use, ironically, results in lacquers cut from the low bit rate digital signal instead of from the analogue source! 
Speakers Corner wishes to make clear that it produces lacquers using only original master tapes and an entirely analogue cutting system. New metal stampers used to press records are produced from that lacquer. The only exceptions are when existing metal parts are superior to new ones that might be cut, which includes our release of “Elvis is Back”, which was cut by Stan Ricker or several titles from our Philips Classics series, where were cut in the 1990s using original master tapes by Willem Makkee at the Emil Berliner Studios. In those cases we used only the original “mother” to produce new stampers. 
In addition, we admit to having one digital recording in our catalogue: Alan Parsons’ “Eye in the Sky”, which was recorded digitally but mixed to analogue tape that we used to cut lacquers. 
In closing, we want to insure our loyal customers that, with but a few exceptions as noted, our releases are “AAA”— analogue tape, an all analogue cutting system, and newly cut lacquers.
Audiophile Vinyl - Made in Germany  For over 60 years the family business in the third generation of the special personal service and quality "Made by Pallas" is known worldwide. Our custom PVC formulation produces consistently high pressing quality with the lowest surface noise in the industry. Our PVC complies with 2015 European environmental standards and does not contain toxic materials such as Lead, Cadmium or Toluene. Our vinyl is both audiophile and eco-grade! 

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