The Definitive American Songbook: George Gershwin Pt. 3
This week’s edition of The Definitive American Songbook: The Music of George Gershwin looks at Porgy and Bess. The jazz-influenced opera is Gershwin’s superlative work. Featuring an African American cast and dealing with issues of race, the opera was so far ahead of its time that it was essentially shelved for 40 years. It wasn’t until the Houston Grand Opera staged it in 1976 that Porgy and Bess took its rightful place as one of the most-performed operas in the world. But even throughout the decades when the opera was waiting to take its place in the pantheon, musicians of all types were interpreting its unforgettable songs. Here are five definitive recordings for your collection.
“Summertime” Ella Fitzgerald and Louis Armstrong from Porgy and Bess
The song “Summertime” is a staple of the American musical diet, transcending the opera from which it came. It’s been given just about every treatment possible, recorded by orchestras, jazz musicians and rock bands. Everyone from Miles Davis to Sublime to Janis Joplin has committed their interpretations to tape. But when Louis Armstrong and Ella Fitzgerald recorded the album Porgy and Bess for Verve in 1957, “Summertime” was still a deep cut. To this day, there is no other recording quite as good. The orchestration is masterful, it’s recorded beautifully and the performances are astounding. This is a joy-inducing, feels-like-I-just-won-the-World-Series, eating-cookies-for-breakfast kind of track. Yeah, it’s like that.
“I Got Plenty O’ Nuttin’” Frank Sinatra from A Swingin’ Affair
There is plenty of information out there about why A Swingin’ Affair was so revolutionary, so we won’t waste space with that here. All you need to know is that Sinatra and Nelson Riddle took a bunch of amazing songs and made them even more amazing through skillful arranging, powerful singing, and sheer determination. Their recording of “I Got Plenty O’ Nuttin’” is the definitive version. They kept the simple country vibe that Gershwin gave it, while at the same time creating something wonderfully sophisticated and complex. Sinatra pushes the music at every step; just when you think he’s reached the top of the mountain, he shows you there’s more to conquer.
“It Ain't Necessarily So” Brian Stokes Mitchell from Simply Broadway
Broadway superstar and Mr. Robot villain Brian Stokes Mitchell is the only artist on our list who’s played Porgy on stage. His acting chops shine through on this definitive recording of “It Ain’t Necessarily So,” delivering an inspired performance that would kill on Broadway, in the club or on your screen.
“I Loves You Porgy” Nina Simone from Little Girl Blue
We suggest you sit down right before listening to Nina Simone’s version of “I Loves You Porgy.” The moment she sings “I love you Porgy, don’t let ‘em take me,” it’s very likely you’ll go weak in the knees. It’s a stunningly beautiful recording of the Gershwin classic. Simone sounds like she’s on the verge of weeping at times, but she doesn’t falter for even a moment. This is the undisputed heavyweight champion version of “I Loves You Porgy” and a must-have for any serious Gershwin aficionado.
“My Man’s Gone Now” Sarah Vaughan from The George Gershwin Songbook Vol. 1
Sarah Vaughn’s recording of “My Man’s Gone Now” stands out for a number of reasons. Hal Mooney’s arrangement is epic. It has shades of Gil Evans, Henry Mancini and a classic film noir soundtrack. Vaughan’s performance is dripping with drama and emotion. At one point in the song, as she’s telling us her man is dead, she sings the glissando of all glissandos, smoothly sliding from a low note to a high note before everything explodes in musical technicolor. There is no other recording of anything from Porgy and Bess that comes remotely close to the pure magic of this version.
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