Check out this website to hear an interview that Gospelette of the "Gospel Explosion" website conducted with Cleofas Tilmon, former member of the Violinaires and Gospel Classics earlier this month:
Cleofas Tilmon Interview
While you are there, check out the great photos on the site. True Detroit history!
Wednesday, August 31, 2005
Saturday, August 27, 2005
The Dixie Hummingbirds' 77th Anniversary Program
Another post from "The Gospel Train's" David April. TBGB appreciates you!
-- TBGB
The Dixie Hummingbirds celebrated their 77th Anniversary on Saturday, August 20th and Sunday. August 21st at the World Café Live in Philadelphia, PA. The program was called “Still Keepin It Real: The Dixie Hummingbirds’ 77th Anniversary with Special Guests.” Keepin' It Real is the title of The Birds' forthcoming CD.
I attended the Sunday gospel brunch and thought I would share with you the highlights.
In selecting the venue, The Birds went back to their roots, not church roots, but rather the Café Society in New York where they headlined for six weeks in 1942. Café Society was an integrated night club that featured a variety of music and performers. The Café Society shows set a precedent for The Birds performing in non-church venues such as the Apollo Theater, Philadelphia’s Met, and at music festivals.
The World Café Live is a new state-of-the-art performance venue associated with the University of Pennsylvania’s radio station WXPN and a private entertainment company. The World Cafe. Unfortunately, both shows were poorly attended given the significance of the occasion. There were probably no more than 100 people in attendance at the Sunday program; even less, I’m told, came for the Saturday evening show.
The show started with a ten minute clip from a 1992 documentary on the Dixie Hummingbirds by Ashley James. The film chronicles the history of The Birds through concert footage, interviews, and historical photographs. The most moving part of the clip was James Walker, Ira Tucker, Paul Owens, and Howard Carroll sitting around a table in a church basement. Walker was remembering the words to “Take Care of Me” which he said was one of the first songs he sang with the group. As they are working through the song trying to remember the words, the camera slowly circles around them as they come together in a beautiful four part harmony rendition of the song. At one point Walker says, “That’s it! We can record it!” and the audience erupts into laughter. It was so moving. The scene is even more poignant knowing that Mr. Walker died shortly afterwards and that Paul Owens has since passed.
I saw the film when it debuted in Philadelphia in 1992 and it is a wonderful piece of work. To see The Birds in their prime is priceless. It is a real travesty that it remains unreleased.
After the film, Ira Tucker, Jr. introduced the Master of Ceremonies, LaDiva Davis of the High School for the Creative and Performing Arts. The Program included in order: Roberto Rodriquez dancer, The Huff Singers, Presentation of a Mayoral Proclamation, a dance performance, and the Dixie Hummingbirds.
Huff Singers:
Mr. Huff is a contemporary and close friend of Ira Tucker. Mr. Huff said Tucker and he came up together in the 1940s and remembers the hard times when they ate hamburgers and hot dogs thinking they were steak. The Huff Singers are a male quartet with guitar, bass and drums. They sang seven songs and had the audience clapping and shouting. I saw the Huff Singers in a small African-American church in Philadelphia and they sang the same program in pure hard-driven gospel fashion. The set list:
If It Wasn’t For the Lord
He’ll Answer Prayer
Walk Around Heaven All Day
Bless Your House
We Are Gonna Make It (Not sure of the correct title)
God Sees Everything You Do
He Keeps On Blessing Me
Proclamation:
LaDiva Davis read a proclamation from Mayor John Street proclaiming August 20, 2005 Dixie Hummingbirds Day in Philadelphia. The proclamation was presented to Louise Tucker and Ira Tucker, Jr. Also of interest, The Mural Arts Society launched its tribute to the Dixie Hummingbirds with the start of a mural depicting the group’s history. Muralist Artist Cliff Eubanks will tell the Hummingbirds story in paint at 15th and Ogden Streets, a block and half from the old Met Concert Hall, located at Broad & Popular Streets where gospel music and groups like the Dixie Hummingbirds thrived in a heyday of great performers. The City is also considering changing the name of seven blocks of West Popular Street, from Broad to 21st Street and renaming it “Dixie Hummingbirds Way”.
The Dixie Hummingbirds
Before bringing out The Birds, LaDiva Davis read the names of some of the members that have passed including William Bobo, Beechy Thompson, James Walker, and Paul Owens. She also honored those in retirement including Mr. James Davis, Howard Carroll, and Reverend Joe Williams. William Bright is currently on medical leave.
The Birds took the stage; Mr. Tucker was introduced last and received a rousing applause. He thanked the audience and said that after 67 years of singing he thanks God for allowing him to still be out here. They performed six songs. Mr. Tucker just celebrated his 80th birthday in May, and although he moves just a little slower, he can still sing with power and grace. A poignant moment for me was when Tucker said that all his men were gone, but that his current men are also great singers. In fact, Mr. Tucker has a way of finding excellent talent. Most impressive was their new bass singer, Cornell McKnight. And what a bass singer! He sounded like Jimmy Jones with a deep bass that resonated to the point of shaking the rafters….okay, not quite, but you get the idea! Cornell is a student at Temple University. Mr. Tucker related the story that Cornell asked his professors if he could take a leave of absence from school to travel with the group. The professors said yes and told him he could take classes through the internet on his laptop. The set list:
God’s Radar
He Watches Out For You and Me
Jesus Will Answer Prayer
Farther Along
Loves Me Like A Rock
Love Your Fellow Man
Except for “Loves Me Like A Rock”, the group did not delve into any of their classic material. Mr. Tucker did tell me that the new CD will include some of their early songs in an attempt to mix the old with the new. All in all it was a great afternoon of gospel singing. The Birds are finishing up their new CD, Keepin It Real, and will continue to tour. So, “Go out to the programs whenever they are in your town”.
Link to an interview with The Dixie Hummingbird’s biographer, Jerry Zolten:
http://www.jerryjazzmusician.com/linernotes/dixie_hummingbirds.html
-- TBGB
The Dixie Hummingbirds celebrated their 77th Anniversary on Saturday, August 20th and Sunday. August 21st at the World Café Live in Philadelphia, PA. The program was called “Still Keepin It Real: The Dixie Hummingbirds’ 77th Anniversary with Special Guests.” Keepin' It Real is the title of The Birds' forthcoming CD.
I attended the Sunday gospel brunch and thought I would share with you the highlights.
In selecting the venue, The Birds went back to their roots, not church roots, but rather the Café Society in New York where they headlined for six weeks in 1942. Café Society was an integrated night club that featured a variety of music and performers. The Café Society shows set a precedent for The Birds performing in non-church venues such as the Apollo Theater, Philadelphia’s Met, and at music festivals.
The World Café Live is a new state-of-the-art performance venue associated with the University of Pennsylvania’s radio station WXPN and a private entertainment company. The World Cafe. Unfortunately, both shows were poorly attended given the significance of the occasion. There were probably no more than 100 people in attendance at the Sunday program; even less, I’m told, came for the Saturday evening show.
The show started with a ten minute clip from a 1992 documentary on the Dixie Hummingbirds by Ashley James. The film chronicles the history of The Birds through concert footage, interviews, and historical photographs. The most moving part of the clip was James Walker, Ira Tucker, Paul Owens, and Howard Carroll sitting around a table in a church basement. Walker was remembering the words to “Take Care of Me” which he said was one of the first songs he sang with the group. As they are working through the song trying to remember the words, the camera slowly circles around them as they come together in a beautiful four part harmony rendition of the song. At one point Walker says, “That’s it! We can record it!” and the audience erupts into laughter. It was so moving. The scene is even more poignant knowing that Mr. Walker died shortly afterwards and that Paul Owens has since passed.
I saw the film when it debuted in Philadelphia in 1992 and it is a wonderful piece of work. To see The Birds in their prime is priceless. It is a real travesty that it remains unreleased.
After the film, Ira Tucker, Jr. introduced the Master of Ceremonies, LaDiva Davis of the High School for the Creative and Performing Arts. The Program included in order: Roberto Rodriquez dancer, The Huff Singers, Presentation of a Mayoral Proclamation, a dance performance, and the Dixie Hummingbirds.
Huff Singers:
Mr. Huff is a contemporary and close friend of Ira Tucker. Mr. Huff said Tucker and he came up together in the 1940s and remembers the hard times when they ate hamburgers and hot dogs thinking they were steak. The Huff Singers are a male quartet with guitar, bass and drums. They sang seven songs and had the audience clapping and shouting. I saw the Huff Singers in a small African-American church in Philadelphia and they sang the same program in pure hard-driven gospel fashion. The set list:
If It Wasn’t For the Lord
He’ll Answer Prayer
Walk Around Heaven All Day
Bless Your House
We Are Gonna Make It (Not sure of the correct title)
God Sees Everything You Do
He Keeps On Blessing Me
Proclamation:
LaDiva Davis read a proclamation from Mayor John Street proclaiming August 20, 2005 Dixie Hummingbirds Day in Philadelphia. The proclamation was presented to Louise Tucker and Ira Tucker, Jr. Also of interest, The Mural Arts Society launched its tribute to the Dixie Hummingbirds with the start of a mural depicting the group’s history. Muralist Artist Cliff Eubanks will tell the Hummingbirds story in paint at 15th and Ogden Streets, a block and half from the old Met Concert Hall, located at Broad & Popular Streets where gospel music and groups like the Dixie Hummingbirds thrived in a heyday of great performers. The City is also considering changing the name of seven blocks of West Popular Street, from Broad to 21st Street and renaming it “Dixie Hummingbirds Way”.
The Dixie Hummingbirds
Before bringing out The Birds, LaDiva Davis read the names of some of the members that have passed including William Bobo, Beechy Thompson, James Walker, and Paul Owens. She also honored those in retirement including Mr. James Davis, Howard Carroll, and Reverend Joe Williams. William Bright is currently on medical leave.
The Birds took the stage; Mr. Tucker was introduced last and received a rousing applause. He thanked the audience and said that after 67 years of singing he thanks God for allowing him to still be out here. They performed six songs. Mr. Tucker just celebrated his 80th birthday in May, and although he moves just a little slower, he can still sing with power and grace. A poignant moment for me was when Tucker said that all his men were gone, but that his current men are also great singers. In fact, Mr. Tucker has a way of finding excellent talent. Most impressive was their new bass singer, Cornell McKnight. And what a bass singer! He sounded like Jimmy Jones with a deep bass that resonated to the point of shaking the rafters….okay, not quite, but you get the idea! Cornell is a student at Temple University. Mr. Tucker related the story that Cornell asked his professors if he could take a leave of absence from school to travel with the group. The professors said yes and told him he could take classes through the internet on his laptop. The set list:
God’s Radar
He Watches Out For You and Me
Jesus Will Answer Prayer
Farther Along
Loves Me Like A Rock
Love Your Fellow Man
Except for “Loves Me Like A Rock”, the group did not delve into any of their classic material. Mr. Tucker did tell me that the new CD will include some of their early songs in an attempt to mix the old with the new. All in all it was a great afternoon of gospel singing. The Birds are finishing up their new CD, Keepin It Real, and will continue to tour. So, “Go out to the programs whenever they are in your town”.
Link to an interview with The Dixie Hummingbird’s biographer, Jerry Zolten:
http://www.jerryjazzmusician.com/linernotes/dixie_hummingbirds.html
David April of "The Gospel Train" reports on John Jefferson's Homegoing
The following is from David April, Host of "The Gospel Train," which airs Tuesdays, 7-10 PM on WRDV-FM & WLBS-FM (89.3 Warminster/107.3 Philadelphia and 107.9 Bensalem/91.9 Levittown. Jefferson is best known for his bass singing with the Sensational Nightingales.
-- TBGB
******
I attended John Jefferson's Going Home Service and thought I would share with you his obituary. It was an honor and privilege for me to be able to pay my respects to one of the great basses of gospel.
John Jefferson’s Obituary
John Jefferson known as “Jeff” was born March 30, 1926 in Madison, Georgia to the late Jeff Jefferson and Winnie Jefferson. He departed this life on Wednesday, August 17, 2005 at John F. Kennedy Hospital in Washington Township, New Jersey.
John attended Elementary and Secondary schools in the Madison County School System where he was educated.
From the earliest days of his life, John began to touch lives with his extraordinary bass voice. He joined Mt. Pleasant Baptist Church, was baptized and accepted Christ into his life.
After relocating to Philadelphia, Pennsylvania, John became a member of the Mt. Calvary Baptist Church where he was ordained as a Deacon.
He joined a local gospel group and continued to sing within this Metropolitan area.
In 1942 he was discovered by the legendary Sensational Nightingales. This incredible opportunity allowed him to sing the gospel and travel all around the world touching the hearts and souls of many people. John loved the Lord and was not ashamed to witness to God’s people about His Goodness. John Jefferson was known to be one of the greatest bass singers in his era. Everyone who came in contact with his warm personality and calm spirit will never forget him.
In 1956, John met the love of his life, Emma Claitt. On January 3, 1957 they were united in holy matrimony. To this union three children were born, Jeffrey, Lisa and Robin. Prior to his marriage to Emma, he had two other lovely children, Elinda and Ronnie. John was a devoted, loving and caring father; his love, wisdom and knowledge was affectionately given to his wife, children, grands, nieces, and nephews.
After retiring from the Sensational Nightingales, John returned home and later joined and sang with Garnett Mimms and The Gainors & The Huff Singers. Before retiring completely from singing, John formed his own singing group called The Spiritualaires.
Remaining to cherish John’s memory is: his devoted and loving wife, Emma Jefferson; five children, Elinda Jefferson-Dantzler, Ronnie Hill, Jeffrey Jefferson, Lisa Rhodan and Robin Jefferson; two daughters-in-law, Wilhelmenia Hill and Fatimah Jefferson; son-in-law, Willis Rhodan; ten grandchildren, eleven great-grandchildren, one great great-grandchild, one great niece, Yvonne Jefferson, one sister-in-law, two brothers-in-law, one godchild, and a host of nieces, nephews, cousins, other beloved relatives, Faith and Cyrus Hampton; two dearly devoted friends, John McDuffy “Jazzy” and Earl Little.
-- TBGB
******
I attended John Jefferson's Going Home Service and thought I would share with you his obituary. It was an honor and privilege for me to be able to pay my respects to one of the great basses of gospel.
John Jefferson’s Obituary
John Jefferson known as “Jeff” was born March 30, 1926 in Madison, Georgia to the late Jeff Jefferson and Winnie Jefferson. He departed this life on Wednesday, August 17, 2005 at John F. Kennedy Hospital in Washington Township, New Jersey.
John attended Elementary and Secondary schools in the Madison County School System where he was educated.
From the earliest days of his life, John began to touch lives with his extraordinary bass voice. He joined Mt. Pleasant Baptist Church, was baptized and accepted Christ into his life.
After relocating to Philadelphia, Pennsylvania, John became a member of the Mt. Calvary Baptist Church where he was ordained as a Deacon.
He joined a local gospel group and continued to sing within this Metropolitan area.
In 1942 he was discovered by the legendary Sensational Nightingales. This incredible opportunity allowed him to sing the gospel and travel all around the world touching the hearts and souls of many people. John loved the Lord and was not ashamed to witness to God’s people about His Goodness. John Jefferson was known to be one of the greatest bass singers in his era. Everyone who came in contact with his warm personality and calm spirit will never forget him.
In 1956, John met the love of his life, Emma Claitt. On January 3, 1957 they were united in holy matrimony. To this union three children were born, Jeffrey, Lisa and Robin. Prior to his marriage to Emma, he had two other lovely children, Elinda and Ronnie. John was a devoted, loving and caring father; his love, wisdom and knowledge was affectionately given to his wife, children, grands, nieces, and nephews.
After retiring from the Sensational Nightingales, John returned home and later joined and sang with Garnett Mimms and The Gainors & The Huff Singers. Before retiring completely from singing, John formed his own singing group called The Spiritualaires.
Remaining to cherish John’s memory is: his devoted and loving wife, Emma Jefferson; five children, Elinda Jefferson-Dantzler, Ronnie Hill, Jeffrey Jefferson, Lisa Rhodan and Robin Jefferson; two daughters-in-law, Wilhelmenia Hill and Fatimah Jefferson; son-in-law, Willis Rhodan; ten grandchildren, eleven great-grandchildren, one great great-grandchild, one great niece, Yvonne Jefferson, one sister-in-law, two brothers-in-law, one godchild, and a host of nieces, nephews, cousins, other beloved relatives, Faith and Cyrus Hampton; two dearly devoted friends, John McDuffy “Jazzy” and Earl Little.
Friday, August 26, 2005
Wedding of the Century: GospoCentric and Verity with Zomba - from The Belle Report
While TBGB was fast asleep after attending a pioneer-studded GMWA Quartet Gala on August 17, Sheilah Belle of The Belle Report was still on task getting the story below. The article is from The Belle Report.
Thanks, Sheilah, for reporting on this exciting moment at GMWA. I heard the music -- at 4:30 a.m. -- and was SURE it was someone's CD player down the hall from my hotel room. Little did I know it was the live sound of Kirk Franklin resounding throughout the Milwaukee Hyatt!
If you haven't signed up for The Belle Report yet, you should -- go to www.gospelmemories.com and click on "Gospel Links" to find out how easy it is to sign up for these excellent email blasts that you will not want to be without. -- TBGB
*****
Milwaukee, Wisconsin (8/17/05) --It was the wedding ceremony of the century as two of the most powerful gospel labels in the country; Gospel Centric and Verity Records joined forces under the Zomba Label umbrella.
The President of Verity Records, Max Siegel said, “the merge between the two companies actually happened about a year ago,” but the companies made it official before the Gospel Announcers Guild and a standing room only crowd as they combined talent and musicians to solidify their unity during a stellar night of performances, including Kirk Franklin (left).
Teddy Campbell from the Soul Seekers and Keith “Wonder Boy” Johnson served as the initial emcees for the first three artists.
Performances were given by JoAnn Rosario, The McClurkins, Dwayne Woods; who recently signed to Quietwaters, (Donald Lawrence label that also falls under the Zomba Umbrella), Byron Cage..with a matrix affect and mime dancers....before actually hitting the stage with a fast pace and high energy show. He ended his set with a song called, "Bless the Lord" which was off the chain and will surely cause the saints to look for it on the music store, CD shelves.
Ray Bady and Keith “Wonderboy” Johnson emceed the next set with J Moss bringing it down with a new group 21:03, under his production company; PAJAM, backing him up. Moss then stepped aside giving the new group some stage time in front of hundreds of gospel announcers. What an opportunity! Following the three young men was Moss who returned with a re-mix and his chart topping single, “I’ll Praise Him."
Performing next was Papa San who threw down Jamaican style with many feeling every beat he had to offer.
Pastor Marvin Sapp hit the stage next with six background singers. Sapp also gave an upbeat performance that bought many in the crowd to their feet. "Is there anyone in the house who knows God is a way maker?," says Sapp. The crowd was responsive, to the point, Sapp became energized and woke up some of the dozing 2:31am crowd.
J Moss returned as the next emcee, when he introduced his cousin Dorinda Clark Cole (left). Wearing a beautiful pink mid-length dress Clark rocked the crowd. Her last song for the evening was "I'm Coming Out! Before leaving the stage, Clark tossed pink roses to the crowd to show her appreciation to those who had supported her over the years.
Next up was Kurt Carr and the Kurt Carr Singers who sang everyone's favorite including "God Blocked It." Carr also had the crowd on their feet…even at 3:25 in the morning. However in Carr’s own style, he gave the crowd something to stand for as he offered a serious jazz revision, along with a stellar band, background vocals who gave show stopping moments! They were truly blazing.
Gospel legend and Pastor Andre Crouch made it to the stage next. A little older but still a respected and mighty force in the industry, Crouch in many ways hasn’t changed. His style of music is basically the same with a mixture of Praise & Worship along with a dash of the traditional sound. In between songs, Crouch testified that he had been attacked by cancer four times, and beat it each time. Crouch said, “I just want to thank God for being here today.”
Finishing off the night was Kirk Franklin along with a few new singers in his backup group, including 6 women and 3 men. Franklin also called on J Moss to help him sing a song. This was truly a memorable moment.
Franklin’s group performed all new songs before the crowd, which will probably have no problem getting radio play on Gospel or Secular stations. Kirk's flavor was in every beat. His lyrics were tight and his ministry was on point with many just not being able to get enough of this musical genius. And while he is known for making musical history his latest offering is bound for the same direction. His newest project isn’t slated for release until FALL, but already thousands have gone on-line to pre-order it, possibly helping to make his newest release, shipped out Platinum before it even hits stores.
Ladies and gentlemen, needless to say, but Kirk Franklin is back in a mighty way! Besides, who else could end a concert at 4:55am and still have a standing room only crowd!?
Thanks, Sheilah, for reporting on this exciting moment at GMWA. I heard the music -- at 4:30 a.m. -- and was SURE it was someone's CD player down the hall from my hotel room. Little did I know it was the live sound of Kirk Franklin resounding throughout the Milwaukee Hyatt!
If you haven't signed up for The Belle Report yet, you should -- go to www.gospelmemories.com and click on "Gospel Links" to find out how easy it is to sign up for these excellent email blasts that you will not want to be without. -- TBGB
*****
Milwaukee, Wisconsin (8/17/05) --It was the wedding ceremony of the century as two of the most powerful gospel labels in the country; Gospel Centric and Verity Records joined forces under the Zomba Label umbrella.
The President of Verity Records, Max Siegel said, “the merge between the two companies actually happened about a year ago,” but the companies made it official before the Gospel Announcers Guild and a standing room only crowd as they combined talent and musicians to solidify their unity during a stellar night of performances, including Kirk Franklin (left).
Teddy Campbell from the Soul Seekers and Keith “Wonder Boy” Johnson served as the initial emcees for the first three artists.
Performances were given by JoAnn Rosario, The McClurkins, Dwayne Woods; who recently signed to Quietwaters, (Donald Lawrence label that also falls under the Zomba Umbrella), Byron Cage..with a matrix affect and mime dancers....before actually hitting the stage with a fast pace and high energy show. He ended his set with a song called, "Bless the Lord" which was off the chain and will surely cause the saints to look for it on the music store, CD shelves.
Ray Bady and Keith “Wonderboy” Johnson emceed the next set with J Moss bringing it down with a new group 21:03, under his production company; PAJAM, backing him up. Moss then stepped aside giving the new group some stage time in front of hundreds of gospel announcers. What an opportunity! Following the three young men was Moss who returned with a re-mix and his chart topping single, “I’ll Praise Him."
Performing next was Papa San who threw down Jamaican style with many feeling every beat he had to offer.
Pastor Marvin Sapp hit the stage next with six background singers. Sapp also gave an upbeat performance that bought many in the crowd to their feet. "Is there anyone in the house who knows God is a way maker?," says Sapp. The crowd was responsive, to the point, Sapp became energized and woke up some of the dozing 2:31am crowd.
J Moss returned as the next emcee, when he introduced his cousin Dorinda Clark Cole (left). Wearing a beautiful pink mid-length dress Clark rocked the crowd. Her last song for the evening was "I'm Coming Out! Before leaving the stage, Clark tossed pink roses to the crowd to show her appreciation to those who had supported her over the years.
Next up was Kurt Carr and the Kurt Carr Singers who sang everyone's favorite including "God Blocked It." Carr also had the crowd on their feet…even at 3:25 in the morning. However in Carr’s own style, he gave the crowd something to stand for as he offered a serious jazz revision, along with a stellar band, background vocals who gave show stopping moments! They were truly blazing.
Gospel legend and Pastor Andre Crouch made it to the stage next. A little older but still a respected and mighty force in the industry, Crouch in many ways hasn’t changed. His style of music is basically the same with a mixture of Praise & Worship along with a dash of the traditional sound. In between songs, Crouch testified that he had been attacked by cancer four times, and beat it each time. Crouch said, “I just want to thank God for being here today.”
Finishing off the night was Kirk Franklin along with a few new singers in his backup group, including 6 women and 3 men. Franklin also called on J Moss to help him sing a song. This was truly a memorable moment.
Franklin’s group performed all new songs before the crowd, which will probably have no problem getting radio play on Gospel or Secular stations. Kirk's flavor was in every beat. His lyrics were tight and his ministry was on point with many just not being able to get enough of this musical genius. And while he is known for making musical history his latest offering is bound for the same direction. His newest project isn’t slated for release until FALL, but already thousands have gone on-line to pre-order it, possibly helping to make his newest release, shipped out Platinum before it even hits stores.
Ladies and gentlemen, needless to say, but Kirk Franklin is back in a mighty way! Besides, who else could end a concert at 4:55am and still have a standing room only crowd!?
Thursday, August 25, 2005
Marion Williams, When Gospel Was Gospel in the New York Times
Gospel pioneers get their due in the New York Times (see link below):
Ain't Nothing Like the Real Thing!
Ain't Nothing Like the Real Thing!
Monday, August 22, 2005
COGIC's Presiding Bishop Patterson in Newsweek and MSNBC
The Church of God in Christ's Presiding Bishop G.E. Patterson is featured in this MSNBC/Newsweek article (see link below). Be sure to check out the video accompanying the article, too, to see and hear Bishop Patterson and Memphis' Temple of Deliverance in full swing, complete with the youth choir being guest directed by Donald Lawrence.
Special thanks to Elder Mack C. Mason for passing this along to TBGB.
http://www.msnbc.msn.com/id/9024944/site/newsweek/
Special thanks to Elder Mack C. Mason for passing this along to TBGB.
http://www.msnbc.msn.com/id/9024944/site/newsweek/
Saturday, August 20, 2005
CD Review: Tell the Angels -- Lee Williams and the Spiritual QCs
Tell the Angels
Lee Williams and the Spiritual QCs
2005
MCG Records – MCG 7034
James Bullard of MCG Records knows quartet singing.
After all, he was one of the members of the BOS Singers. So it’s not surprising that his record label has done a superb job capturing Lee Williams and the Spiritual QCs’ on the quartet’s latest project, Tell the Angels. Plus, it’s hard to go wrong when the live recording is done in Memphis at COGIC Bishop G.E. Patterson’s Temple of Deliverance Church, the holy ground of sanctified worship.
Tell the Angels is given a full-bodied production with ample use of electric keyboards. Standout tracks are the title song, which is the most radio-friendly of the package; “Whom Shall I Fear,” the lively opening number; the funky “No, No;” and freight-train power of “Lord I’m Willing,” which is arguably the best performance on the CD, as it gives old-schoolers like me the enjoyment of hearing the quartet really open up with classic call-and-response singing to a quintessential quartet backbeat.
“On My Way” closes the project; it is a lovely but melancholy performance that draws upon the pathos of the “One of these mornings/it won’t be very long/you’ll look for me and I’ll be gone” thread in gospel music, but with a modern touch: Williams says that you might someday call him on the phone (I imagine it to be his cell phone) and he won’t answer.
My only wish was that the formidable din of audience participation was more prominent throughout the CD. Gospel artists – and quartets in particular – share a special interactive bond with their audiences, but this did not come across on the CD very well, despite the live church setting. The crowd actually sounded too polite for a gospel program. They clapped heartily at the end of each song, but where was their vocal participation during the singing? One knows that such shouting was there just by looking at the ecstacy on the faces of some of the audience particpants captured in photos for the CD's packaging. Where were audience members’ ad hoc exhortations to the quartet? I suspect they were edited out or dampened, and that’s a shame, because including more audience participation would have raised the CD's overall energy and excitement level by several crucial decibels.
Regardless, quartet lovers and gospel music fans alike will enjoy Tell the Angels, and will undoubtedly make their own joyful noise during each song.
Lee Williams and the Spiritual QCs
2005
MCG Records – MCG 7034
James Bullard of MCG Records knows quartet singing.
After all, he was one of the members of the BOS Singers. So it’s not surprising that his record label has done a superb job capturing Lee Williams and the Spiritual QCs’ on the quartet’s latest project, Tell the Angels. Plus, it’s hard to go wrong when the live recording is done in Memphis at COGIC Bishop G.E. Patterson’s Temple of Deliverance Church, the holy ground of sanctified worship.
Tell the Angels is given a full-bodied production with ample use of electric keyboards. Standout tracks are the title song, which is the most radio-friendly of the package; “Whom Shall I Fear,” the lively opening number; the funky “No, No;” and freight-train power of “Lord I’m Willing,” which is arguably the best performance on the CD, as it gives old-schoolers like me the enjoyment of hearing the quartet really open up with classic call-and-response singing to a quintessential quartet backbeat.
“On My Way” closes the project; it is a lovely but melancholy performance that draws upon the pathos of the “One of these mornings/it won’t be very long/you’ll look for me and I’ll be gone” thread in gospel music, but with a modern touch: Williams says that you might someday call him on the phone (I imagine it to be his cell phone) and he won’t answer.
My only wish was that the formidable din of audience participation was more prominent throughout the CD. Gospel artists – and quartets in particular – share a special interactive bond with their audiences, but this did not come across on the CD very well, despite the live church setting. The crowd actually sounded too polite for a gospel program. They clapped heartily at the end of each song, but where was their vocal participation during the singing? One knows that such shouting was there just by looking at the ecstacy on the faces of some of the audience particpants captured in photos for the CD's packaging. Where were audience members’ ad hoc exhortations to the quartet? I suspect they were edited out or dampened, and that’s a shame, because including more audience participation would have raised the CD's overall energy and excitement level by several crucial decibels.
Regardless, quartet lovers and gospel music fans alike will enjoy Tell the Angels, and will undoubtedly make their own joyful noise during each song.
Blogging from the Gospel Music Workshop of America: Thursday, August 18
My final day at GMWA was Thursday, though the convention would not conclude until Friday evening.
The morning was spent receiving updates on new music projects from record label owners and promoters. Sandra Smith from Blackberry Records told us about Henry Green’s solo project to be released in January, and the Williams Brothers’ innovative inspirational jazz CD also on its way. Lisa Wheeler, Executive Vice President of ICEE Records, updated everyone on the continued success of Father Hayes and the Warrors’ remix of “Jesus Will Work it Out” on both urban and gospel radio outlets, and that selected members of the choir will be touring across the U.S. to promote the CD.
Chicago's Kathy Jones of KAE DJ Publishing introduced the GAG to Chiquita Griffin, one of her label’s artists, and asked everyone to mark their calendars for a September 17 gospel festival and talent show in the Windy City. Rev. Charles Anderson of C&R Entertainment is promoting the Texas Trinityaires.
Herman Burroughs of Gospel Warehouse talked about his philosophy behind the “411” compilation and noted that a full CD on the remarkable female quartet Zie’l will be released in the second quarter of 2006. Kingdom Records’ Michael Witherspoon said the label will introduce a new project by Kim Stratton and thanked everyone for helping Shekinah Glory become the indie label Cinderella story of the year.
Cynthia Turner and Heartspeak were the praise break artists. The ensemble traveled from Champaign, Illinois to Milwaukee to sing, and “we didn’t get no sleep,” mourned Cynthia, who moved to the music with the athletic drama of a dancer despite her sleep deprivation.
Kerry Douglas of Gospel Truth Magazine and World Wide Gospel Records recommended the singles “Worship You” by Eric Carrington and “You Survive” and “God Can” by James Fortune and FIYA as deserving of greater radio rotation. Fortune and FIYA will be on the “One Church” tour with Kurt Carr, Rizen, and others. World Wide also has new projects by Walter Barnes & Men of Ministry, the Salem Harmonizers, Brown Boys, and Keith “Wonderboy” Johnson and the Spiritual Voices from Brooklyn.
Keith "Wonderboy" stopped by to say hello to the GAG, and to do a little singing. He is promoting his new project, and I had a chance to say hello to him briefly and get his single sampler for review on TBGB.
Luther Barnes, formerly an AIR Records artist, is now on Malaco, and he invited everyone to attend his annual Fall Gospel Classic in Rocky Mount, NC October 5 – 8.
Later in the evening, I caught the first two hours of the famous GMWA Quartet Program, hosted by Neal Roberson and Tyrone Porter. The audience was almost as star-studded as the stage performers, as Albertina Walker and Dorothy Norwood of the Caravans were in the front row. GMWA quartet showcase winners Reggie & Company from Milwaukee opened the program. The Virginia-aires, Chicago’s own Joey & Veronica Woolfalk and the Woolfalk Singers (Veronica can play herself some bass, saints!), the Brown Boys, the Luckett Brothers, and the Mighty Clouds of Joy also held court while I was in attendance. The Clouds got more than the allotted ten minutes, and deservedly so, as they were the crowd favorite. The highlight of their performance was their arrangement of the GMWA Women of Worship old-school hit “Order My Steps,” which definitely works as a quartet piece. Of course, the Clouds could sing “Twinkle, Twinkle Little Star” and still wreck the house.
What occurred to me while listening to the quartets and surveying the mixed black and white crowd that turned up for the program -- a more mixed audience than any other time at the GMWA -- was that quartet singing is the one place where African-American indigenous folk music components still reign supreme. While gospel has gone in a variety of directions – Praise & Worship, Urban, Choral, etc. – and has taken on contemporary musical sounds as a result, quartets have by and large retained their roots tradition. The heavy backbeat, the harmonies, the emotional call-and-response singing, the simple melodies and traditional arrangements, and the evangelical fervor of the singers can still be found in quartets.
The aggressively powerful sound of quartet singing is arguably why so many non-black men enjoy this style of gospel music over all others: it hearkens back to the streetcorner vocal groups of the 50s and 60s, and in many respects bears much in common with male-dominated heavy metal in its sweaty machismo. This is an observation that bears greater research and consideration at another time. For now, reluctantly, it is 10:30 p.m. and I must head back to Chicago, knowing that this program will not conclude for another several hours, perhaps not until I wake up again in the Windy City!
The morning was spent receiving updates on new music projects from record label owners and promoters. Sandra Smith from Blackberry Records told us about Henry Green’s solo project to be released in January, and the Williams Brothers’ innovative inspirational jazz CD also on its way. Lisa Wheeler, Executive Vice President of ICEE Records, updated everyone on the continued success of Father Hayes and the Warrors’ remix of “Jesus Will Work it Out” on both urban and gospel radio outlets, and that selected members of the choir will be touring across the U.S. to promote the CD.
Chicago's Kathy Jones of KAE DJ Publishing introduced the GAG to Chiquita Griffin, one of her label’s artists, and asked everyone to mark their calendars for a September 17 gospel festival and talent show in the Windy City. Rev. Charles Anderson of C&R Entertainment is promoting the Texas Trinityaires.
Herman Burroughs of Gospel Warehouse talked about his philosophy behind the “411” compilation and noted that a full CD on the remarkable female quartet Zie’l will be released in the second quarter of 2006. Kingdom Records’ Michael Witherspoon said the label will introduce a new project by Kim Stratton and thanked everyone for helping Shekinah Glory become the indie label Cinderella story of the year.
Cynthia Turner and Heartspeak were the praise break artists. The ensemble traveled from Champaign, Illinois to Milwaukee to sing, and “we didn’t get no sleep,” mourned Cynthia, who moved to the music with the athletic drama of a dancer despite her sleep deprivation.
Kerry Douglas of Gospel Truth Magazine and World Wide Gospel Records recommended the singles “Worship You” by Eric Carrington and “You Survive” and “God Can” by James Fortune and FIYA as deserving of greater radio rotation. Fortune and FIYA will be on the “One Church” tour with Kurt Carr, Rizen, and others. World Wide also has new projects by Walter Barnes & Men of Ministry, the Salem Harmonizers, Brown Boys, and Keith “Wonderboy” Johnson and the Spiritual Voices from Brooklyn.
Keith "Wonderboy" stopped by to say hello to the GAG, and to do a little singing. He is promoting his new project, and I had a chance to say hello to him briefly and get his single sampler for review on TBGB.
Luther Barnes, formerly an AIR Records artist, is now on Malaco, and he invited everyone to attend his annual Fall Gospel Classic in Rocky Mount, NC October 5 – 8.
Later in the evening, I caught the first two hours of the famous GMWA Quartet Program, hosted by Neal Roberson and Tyrone Porter. The audience was almost as star-studded as the stage performers, as Albertina Walker and Dorothy Norwood of the Caravans were in the front row. GMWA quartet showcase winners Reggie & Company from Milwaukee opened the program. The Virginia-aires, Chicago’s own Joey & Veronica Woolfalk and the Woolfalk Singers (Veronica can play herself some bass, saints!), the Brown Boys, the Luckett Brothers, and the Mighty Clouds of Joy also held court while I was in attendance. The Clouds got more than the allotted ten minutes, and deservedly so, as they were the crowd favorite. The highlight of their performance was their arrangement of the GMWA Women of Worship old-school hit “Order My Steps,” which definitely works as a quartet piece. Of course, the Clouds could sing “Twinkle, Twinkle Little Star” and still wreck the house.
What occurred to me while listening to the quartets and surveying the mixed black and white crowd that turned up for the program -- a more mixed audience than any other time at the GMWA -- was that quartet singing is the one place where African-American indigenous folk music components still reign supreme. While gospel has gone in a variety of directions – Praise & Worship, Urban, Choral, etc. – and has taken on contemporary musical sounds as a result, quartets have by and large retained their roots tradition. The heavy backbeat, the harmonies, the emotional call-and-response singing, the simple melodies and traditional arrangements, and the evangelical fervor of the singers can still be found in quartets.
The aggressively powerful sound of quartet singing is arguably why so many non-black men enjoy this style of gospel music over all others: it hearkens back to the streetcorner vocal groups of the 50s and 60s, and in many respects bears much in common with male-dominated heavy metal in its sweaty machismo. This is an observation that bears greater research and consideration at another time. For now, reluctantly, it is 10:30 p.m. and I must head back to Chicago, knowing that this program will not conclude for another several hours, perhaps not until I wake up again in the Windy City!
Thursday, August 18, 2005
Blogging from the Gospel Music Workshop of America: Wednesday, August 17
“Tonight’s Late Night Showcase will be sponsored by EMI Gospel and if the old eyes and feet can make it, I will be there...”
Famous last words. I put head to pillow for just a few moments before heading back out the door to check out the EMI Gospel showcase at 11:30 a.m. I woke up two hours later, at 1:30 a.m. The showcase was probably still going on, but my energy was gone, and I was out for the evening/morning.
Wednesday was another day, Scarlett O’Hara, and with it brought more Milestone Moments on Kingdom Road. Early in the first Gospel Announcers Guild session, GAG Chaplain Juandolyn Stokes proved why all you need to raise the roof is a Hammond Organ, drums, and a serious singing voice. As she does every morning to start the GAG sessions, Juandolyn brought the message down upon the souls in the room with such indelibility that the words cannot ever be erased. Together, she and the drum and organ turned the room into church.
But that’s the power of gospel music. If anyone doubts the genre’s ability to turn the heart and mind, tell me what other musical style requires an army of nurses to minister to those slain in the spirit during the singing!
More special guests dropped in the GAG meeting, among them Daryl Coley who is now National Spokesperson for the American Diabetes Association. Diabetes is particularly rampant among the African-American community, and almost caused Daryl himself to undergo amputation. But “I’m still here,” Daryl says, “and we need to rethink our eating habits and get checked out.” Daryl reminded us that diabetes took the life of stalwart artists such as Mattie Moss Clark and Rev. Issac Douglas. Legendary producer Michael Brooks was in the audience to lend his support of Coley’s work, which included a CD of PSAs for announcers to take back to their respective stations.
Dewayne Harvey and Unrestrained Praise provided a praise break. The energetic and soulful performance of Unrestrained Praise’s female lead not only left several audience members slain in the spirit but she brought herself to briny tears of ecstasy.
Donald Lawrence also stopped by to promote his new project. Subsequently, soloists Steven Hurd and Melonie Daniels provided more praise break moments; Daniels rendered Thomas Whitfield’s “Precious Jesus” with strength and beauty.
Sheilah Belle of the Belle Report spoke on the power of media to spread the gospel of gospel. She outlined a number of steps for artists and producers to follow when approaching the media for attention. The Belle Report now has 50,000 email subscribers. She and Lee Michaels will be inducted into the Broadcast Hall of Fame.
The Central South Distribution showcase later in the afternoon featured performances by Ken Reynolds, Ami Rushes (whose new project, Covering, is taking old-school gospel and redoing it for a contemporary audience). The female ensemble Witness was one of the standout artists to perform during my stay at the showcase. They are the Pointer Sisters of gospel music (or are the Pointers the RnB version of Witness?). Their rendition of “Touch Your Promise” from their new project, Speak to the Generations, wrecked the place, making me rethink my recommendation that “Clap Your Hands” is the top track on the CD. So moving was their performance that the audience kept singing “Promise” after the ladies left the stage, and compelled the ensemble to return to sing more.
The Evereadys from Detroit were also on hand. As thirty-year veterans, they know their quartet singing. They wowed me at GMWA last year with their a cappella singing and they are back with a cool, Northern Soul sound.
Wednesday evening I attended the Quartet Division’s annual Banquet at which a galaxy of quartet pioneers are recognized. The event was sponsored by Miracle 4 Life Records, a label started by former New Orleans Saints player Joe Horn. Horn founded the label to right the wrongs that quartets have suffered in the past. Via DVD, Horn said he “wants to change the industry” by providing top-quality treatment of artists in both their accommodations and remuneration. “If we fail, we will fail trying to change the industry.”
During dinner, the Evereadys performed with enough gusto to tilt a speaker off the stage (ironically during “I’m Learning to Lean,” the speaker leaned down on the shoulder of a banquet attendee). Though still young men on the quartet circuit and performing in the presence of such legends as the Mighty Clouds of Joy and the Gospel Keynotes, the Soul Seekers followed the Evereadys and not only held their own but tore the place apart.
After saluting such superstars as Joe Ligon, Evangelist Shirley Caesar, Mildred Clark, Robert Dixon of the Salem Travelers, and the industry’s “radio angels,” Ligon and Caesar duetted, backed by the Mighty Clouds of Joy and members of the Christianaires (the quartet’s Tyrone Porter was banquet host). The winners of the quartet talent search were Reggie and Company. Everyone received a CD featuring vintage recordings of the honorees, said recordings coming via the collection of yours truly.
Though the banquet ended at 12:30 a.m., the GMWA was still very much in full force. The “marriage” of Gospo Centric and Verity Records was taking place in the Hyatt Grand Ballroom. While I headed up to my room, assuming that the ceremony was well underway, it turns out it had just begun. In fact, I woke up around 4:30 a.m. to the sound of heavy bass and gospel singing emanating somewhere from the hotel. Thinking it was someone playing CDs on my floor, I went back to bed. I learned Thursday morning that what I heard was the showcase still going strong, eight floors below me, with Kirk Franklin performing at around 4 a.m. and concluding around 4:30. And they say rock and blues musicians can turn night into day!
Famous last words. I put head to pillow for just a few moments before heading back out the door to check out the EMI Gospel showcase at 11:30 a.m. I woke up two hours later, at 1:30 a.m. The showcase was probably still going on, but my energy was gone, and I was out for the evening/morning.
Wednesday was another day, Scarlett O’Hara, and with it brought more Milestone Moments on Kingdom Road. Early in the first Gospel Announcers Guild session, GAG Chaplain Juandolyn Stokes proved why all you need to raise the roof is a Hammond Organ, drums, and a serious singing voice. As she does every morning to start the GAG sessions, Juandolyn brought the message down upon the souls in the room with such indelibility that the words cannot ever be erased. Together, she and the drum and organ turned the room into church.
But that’s the power of gospel music. If anyone doubts the genre’s ability to turn the heart and mind, tell me what other musical style requires an army of nurses to minister to those slain in the spirit during the singing!
More special guests dropped in the GAG meeting, among them Daryl Coley who is now National Spokesperson for the American Diabetes Association. Diabetes is particularly rampant among the African-American community, and almost caused Daryl himself to undergo amputation. But “I’m still here,” Daryl says, “and we need to rethink our eating habits and get checked out.” Daryl reminded us that diabetes took the life of stalwart artists such as Mattie Moss Clark and Rev. Issac Douglas. Legendary producer Michael Brooks was in the audience to lend his support of Coley’s work, which included a CD of PSAs for announcers to take back to their respective stations.
Dewayne Harvey and Unrestrained Praise provided a praise break. The energetic and soulful performance of Unrestrained Praise’s female lead not only left several audience members slain in the spirit but she brought herself to briny tears of ecstasy.
Donald Lawrence also stopped by to promote his new project. Subsequently, soloists Steven Hurd and Melonie Daniels provided more praise break moments; Daniels rendered Thomas Whitfield’s “Precious Jesus” with strength and beauty.
Sheilah Belle of the Belle Report spoke on the power of media to spread the gospel of gospel. She outlined a number of steps for artists and producers to follow when approaching the media for attention. The Belle Report now has 50,000 email subscribers. She and Lee Michaels will be inducted into the Broadcast Hall of Fame.
The Central South Distribution showcase later in the afternoon featured performances by Ken Reynolds, Ami Rushes (whose new project, Covering, is taking old-school gospel and redoing it for a contemporary audience). The female ensemble Witness was one of the standout artists to perform during my stay at the showcase. They are the Pointer Sisters of gospel music (or are the Pointers the RnB version of Witness?). Their rendition of “Touch Your Promise” from their new project, Speak to the Generations, wrecked the place, making me rethink my recommendation that “Clap Your Hands” is the top track on the CD. So moving was their performance that the audience kept singing “Promise” after the ladies left the stage, and compelled the ensemble to return to sing more.
The Evereadys from Detroit were also on hand. As thirty-year veterans, they know their quartet singing. They wowed me at GMWA last year with their a cappella singing and they are back with a cool, Northern Soul sound.
Wednesday evening I attended the Quartet Division’s annual Banquet at which a galaxy of quartet pioneers are recognized. The event was sponsored by Miracle 4 Life Records, a label started by former New Orleans Saints player Joe Horn. Horn founded the label to right the wrongs that quartets have suffered in the past. Via DVD, Horn said he “wants to change the industry” by providing top-quality treatment of artists in both their accommodations and remuneration. “If we fail, we will fail trying to change the industry.”
During dinner, the Evereadys performed with enough gusto to tilt a speaker off the stage (ironically during “I’m Learning to Lean,” the speaker leaned down on the shoulder of a banquet attendee). Though still young men on the quartet circuit and performing in the presence of such legends as the Mighty Clouds of Joy and the Gospel Keynotes, the Soul Seekers followed the Evereadys and not only held their own but tore the place apart.
After saluting such superstars as Joe Ligon, Evangelist Shirley Caesar, Mildred Clark, Robert Dixon of the Salem Travelers, and the industry’s “radio angels,” Ligon and Caesar duetted, backed by the Mighty Clouds of Joy and members of the Christianaires (the quartet’s Tyrone Porter was banquet host). The winners of the quartet talent search were Reggie and Company. Everyone received a CD featuring vintage recordings of the honorees, said recordings coming via the collection of yours truly.
Though the banquet ended at 12:30 a.m., the GMWA was still very much in full force. The “marriage” of Gospo Centric and Verity Records was taking place in the Hyatt Grand Ballroom. While I headed up to my room, assuming that the ceremony was well underway, it turns out it had just begun. In fact, I woke up around 4:30 a.m. to the sound of heavy bass and gospel singing emanating somewhere from the hotel. Thinking it was someone playing CDs on my floor, I went back to bed. I learned Thursday morning that what I heard was the showcase still going strong, eight floors below me, with Kirk Franklin performing at around 4 a.m. and concluding around 4:30. And they say rock and blues musicians can turn night into day!
John Jefferson, former Nightingale, goes on home
From David April, host of "The Gospel Train":
John Jefferson, a former bass with the Sensational Nightengales, passed away this evening. I'll post more information as soon as I get it. Mr. Jefferson joined the The Gales c. 1951, replacing William Henry, and can be heard on many of their early Peacock recordings.
David April
Roots of Rhythm and Blues
The Gospel Train
Tuesdays, 7-10 PM
WRDV-FM & WLBS-FM
89.3 Warminster/107.3 Philadelphia
107.9 Bensalem/91.9 Levittown
Listen Live www.wrdv.org
John Jefferson, a former bass with the Sensational Nightengales, passed away this evening. I'll post more information as soon as I get it. Mr. Jefferson joined the The Gales c. 1951, replacing William Henry, and can be heard on many of their early Peacock recordings.
David April
Roots of Rhythm and Blues
The Gospel Train
Tuesdays, 7-10 PM
WRDV-FM & WLBS-FM
89.3 Warminster/107.3 Philadelphia
107.9 Bensalem/91.9 Levittown
Listen Live www.wrdv.org
Tuesday, August 16, 2005
Blogging from the Gospel Music Workshop of America: August 16
Yesterday's Late Night Showcase was presented by New Haven Records, Kingdom Records and Gospel Warehouse Records. Sporting a birthday party motif to celebrate the Gospel Announcers Guild’s 35th anniversary -– a party that included ice cream, cake, and a balloon-stretching clown named Bingo -- the showcase could easily have been touted as a Chicago showcase. Windy City artists were represented a-plenty, including the dynamic Leanne Faine, a powerful shouter who bears more than a passing comparison to Dot Coates; Shekinah Glory, which dazzled with its trademark multi-visual theatrics and peaceful, hypnotic version of its hit “Yes;” and Chicago Mass Choir, whose concluding number, “I’m so glad I found Him,” turned the Hyatt into church. The always effervescent Lemmie Battles took part in the program as did Eric Carrington, among others.
The real surprise for me was the female quintet Zie’l. I'd heard them briefly earlier this year on Gospel Warehouse's "411" sampler, but I was not prepared for what I heard last night. These five college co-eds from Shreveport, Louisiana whose fathers sang with the Bright Star Male Chorus owned the audience, chairs, tables and all, with its fortissimo a cappella harmonies and arrangement of the Ward Singers’ “Surely God is able,” which they modernized but still managed to keep true to the original. For fun the quintet even attempted an imitation of the Clark Sisters with impressive accuracy.
Tuesday's Gospel Announcers Guild sessions were filled with trade news and tips. Kerry and Fatiyah Douglas of Gospel Truth Magazine announced that their periodical – which was first put together in their living room and has grown from 10 pages to more than 100 pages – is now being distributed to mainstream retailers such as Wal-Mart. Gospel Truth is now the “largest faith-based magazine in the market,” according to the Douglas’.
Prof. Reggie Miles of Howard University shared with the group that the Olympus WS-2005 digital voice recorder is an excellent product for collecting drops and downloading them into a computer for airing.
Dorinda Clark Cole dropped in unexpectedly near the end of the GAG afternoon session to thank the announcers for their support and to remind them of another project that will be released at the end of the month. She will also be hosting a singers and musicians conference as a way to give something back to the industry.
During the day, I had a chance to speak with a couple of gospel pioneers. Kenneth Woods, who was Sallie Martin's accompanist, shared stories of his experiences with the Sallie Martin Singers and recording for Vee Jay Records in the early 1960s. He was purchasing new copies of old gospel songbooks originally published in the 1950s, at least one which featured a song he had arranged back in the day. “Gospel Memories” hopes to have him as a guest later this fall or early in the winter.
I also caught up with John Phillips who was honored by the GAG for spending fifty years as an announcer in Los Angeles. I told him that I had recently programmed a recording by his late wife, Vermya; she had been his partner on the air during those many decades. John verified the date of that recording (1960). He has witnessed a lot of radio history and I suspect is a veritable warehouse of stories and remembrances of West Coast gospel music activity. After all, L.A. was home to the Echoes of Eden of St. Paul Baptist Church, Specialty Records, Brother Henderson, Cora Martin-Moore (who died this past July 10), and the list goes on.
We finished out the afternoon by taking a bus to a local theater to preview The Gospel. The film stars Boris Kodjoe, Clifton Powell, Omar Gooding, Keshia Knight Pulliam, as well as a cavalcade of gospel stars, including Donnie McClurkin and Delores “Mom” Winanss well as performances by Yolanda Adams (whose “Victory” gets lots of exposure in the film), Martha Munizzi, Fred Hammond, and new songs by Kirk Franklin. The film is metaphorically based on the Prodigal Son story and seemed to satisfy the nearly 300 announcers who attended, though none of them were alight with enthusiasm as they were after previewing Ray last year. I thought the opening sequence -- a church service in full motion interruped by quick cuts to a variety of yellowed photos of church scenes from many eras -- was the most fascinating piece of the film. The Gospel is slated for national opening later this fall.
Tonight’s Late Night Showcase will be sponsored by EMI Gospel and if the old eyes and feet can make it, I will be there.
The real surprise for me was the female quintet Zie’l. I'd heard them briefly earlier this year on Gospel Warehouse's "411" sampler, but I was not prepared for what I heard last night. These five college co-eds from Shreveport, Louisiana whose fathers sang with the Bright Star Male Chorus owned the audience, chairs, tables and all, with its fortissimo a cappella harmonies and arrangement of the Ward Singers’ “Surely God is able,” which they modernized but still managed to keep true to the original. For fun the quintet even attempted an imitation of the Clark Sisters with impressive accuracy.
Tuesday's Gospel Announcers Guild sessions were filled with trade news and tips. Kerry and Fatiyah Douglas of Gospel Truth Magazine announced that their periodical – which was first put together in their living room and has grown from 10 pages to more than 100 pages – is now being distributed to mainstream retailers such as Wal-Mart. Gospel Truth is now the “largest faith-based magazine in the market,” according to the Douglas’.
Prof. Reggie Miles of Howard University shared with the group that the Olympus WS-2005 digital voice recorder is an excellent product for collecting drops and downloading them into a computer for airing.
Dorinda Clark Cole dropped in unexpectedly near the end of the GAG afternoon session to thank the announcers for their support and to remind them of another project that will be released at the end of the month. She will also be hosting a singers and musicians conference as a way to give something back to the industry.
During the day, I had a chance to speak with a couple of gospel pioneers. Kenneth Woods, who was Sallie Martin's accompanist, shared stories of his experiences with the Sallie Martin Singers and recording for Vee Jay Records in the early 1960s. He was purchasing new copies of old gospel songbooks originally published in the 1950s, at least one which featured a song he had arranged back in the day. “Gospel Memories” hopes to have him as a guest later this fall or early in the winter.
I also caught up with John Phillips who was honored by the GAG for spending fifty years as an announcer in Los Angeles. I told him that I had recently programmed a recording by his late wife, Vermya; she had been his partner on the air during those many decades. John verified the date of that recording (1960). He has witnessed a lot of radio history and I suspect is a veritable warehouse of stories and remembrances of West Coast gospel music activity. After all, L.A. was home to the Echoes of Eden of St. Paul Baptist Church, Specialty Records, Brother Henderson, Cora Martin-Moore (who died this past July 10), and the list goes on.
We finished out the afternoon by taking a bus to a local theater to preview The Gospel. The film stars Boris Kodjoe, Clifton Powell, Omar Gooding, Keshia Knight Pulliam, as well as a cavalcade of gospel stars, including Donnie McClurkin and Delores “Mom” Winanss well as performances by Yolanda Adams (whose “Victory” gets lots of exposure in the film), Martha Munizzi, Fred Hammond, and new songs by Kirk Franklin. The film is metaphorically based on the Prodigal Son story and seemed to satisfy the nearly 300 announcers who attended, though none of them were alight with enthusiasm as they were after previewing Ray last year. I thought the opening sequence -- a church service in full motion interruped by quick cuts to a variety of yellowed photos of church scenes from many eras -- was the most fascinating piece of the film. The Gospel is slated for national opening later this fall.
Tonight’s Late Night Showcase will be sponsored by EMI Gospel and if the old eyes and feet can make it, I will be there.
Good news for Kenny Taylor
From the Taseis Media Group:
Indianapolis, IN - Monday, August 15, 2005:
Taseis Media Group is excited to announce that Kenny Taylor (formerly of AIR Gospel) has joined the Taseis team as the new Marketing Manager. Kenny adds a wealth of knowledge in marketing of gospel records. Kenny will consult with Taseis’ labels on the development of the marketing plans for their releases, as well as overseeing Taseis’ radio promotions, publicity, and marketing personnel.
Indianapolis, IN - Monday, August 15, 2005:
Taseis Media Group is excited to announce that Kenny Taylor (formerly of AIR Gospel) has joined the Taseis team as the new Marketing Manager. Kenny adds a wealth of knowledge in marketing of gospel records. Kenny will consult with Taseis’ labels on the development of the marketing plans for their releases, as well as overseeing Taseis’ radio promotions, publicity, and marketing personnel.
Monday, August 15, 2005
Blogging from the Gospel Music Workshop of America: Monday, August 15
The Gospel Music Workshop of America -- held in Milwaukee, Wisconsin this year -- is a conglomeration of many different conferences happening all at the same time. Within the GMWA are the quartet division, education division, vocal and instrumental instruction, chapter choir performances, mass choir rehearsals and performances, divisions for church volunteers, exhibitors, and the like.
One of the bigger sections of the GMWA is the Gospel Announcers Guild. In its 35th year, the GAG is comprised of gospel radio announcers, record labels, artists, promoters, distributors, publications...basically anybody who helps put gospel music into the hands of the public. As a gospel announcer in Chicago, I fit in here.
The theme of the Gospel Announcers Guild of the Gospel Music Workshop of America’s 35th Anniversary is “Milestone Moments on Kingdom Road.” For me, this title is especially fitting. Although this is only my second year of participation in the GMWA, I have learned that it is the sum total of awe-inspiring moments that just happen throughout the multi-tasking convention that give you an unforgettable experience of the power of gospel music and the African-American church that gave the genre life.
Some of the convention’s moments are humorous, as when Gospel Announcers Guild Chairman Al “The Bishop” Hobbs reminded attendees of the irony in holding a convention of clean-living Saints in a city (Milwaukee) well known for its beer production. “They’re trying to save souls in a room in this hotel that's called the Pabst Room!” Other moments are stirring, as when Gospel Announcers Guild chaplain and announcer Juandolyn Stokes preached with such firepower and in-your-face honesty that several in attendance were reduced to speaking in tongues.
Yet other moments are refreshing, as when Nona Hendrix, former member of LaBelle (remember “Lady Marmalade”?) introduced a twelve year-old gospel singer named Najihah Threet (pronounced like “street”). Najihah rendered a simple but room-stopping version of “His Eye is on the Sparrow” that assured all of us that there is hope left for the world. At twelve, she can sing better than some artists will ever achieve in decades of performance.
Before lunch, the Rance Allen Group received the GAG’s Legends of Gospel award, after which they sang as if no time had passed since they were strutting their stuff and trendsetting for Stax Records back in the 1970s. Rance reveled in bobbing and weaving vocally and physically to the delight of attendees, including the Queen of Gospel Albertina Walker and Gene Viale, former Cleveland Singer and dear friend of the Caravans.
The music is, of course, the main reason for being at the GMWA. It’s an opportunity to hear superstars as well as hopefuls, all appearing in intimate settings, getting immediate response from the announcers, and pouring appreciation on the gospel announcers who play a major role in deciding what gets heard on gospel radio.
The most incredible musical moment of the day was provided by Malcolm Williams and Great Faith who completed their short performance with a head-spinning medley of holy-dancing, old-church songs woven together by snippets of Will Smith’s “Switch.” They sang and danced so hard, and the band played so powerfully, that I imagined the floor would be smoking by the time they were done. Bishop Sam Williams encouraged the band to continue playing the rousing church music after Great Faith left the stage and many of its members were still caught up very much in the throes of spirit possession.
In the afternoon, GAG members were treated to a showcase of talent courtesy of Atlantic/Word Records. Featured were American Idol finalist George Huff, who told the audience, “A year ago I was flipping omelettes in Oklahoma. And look where I am today.” Huff worked hard despite a largely unresponsive audience, worn down by the day but enjoying the hot hors d’oeuvres. Gospel superstars Karen Clark-Sheard and Yolanda Adams closed out the showcase, promoting their new CDs and demonstrating the kind of charisma that is the trademark of gospel’s top performers. Clark-Sheard ended her part of the showcase with some old-school gospel music that was reminiscent of her mother's work with the Southwest Michigan State Choir of the COGIC. And as for Yolanda Adams: she can sing any kind of music she wants; that she chooses to sing gospel moves the genre to a whole new level of professionalism.
The Late Night showcase, courtesy of New Haven and Gospel Warehouse Records, is yet to occur, and will be reported on in Tuesday's missive. Until then, O sleep, where art thou?
One of the bigger sections of the GMWA is the Gospel Announcers Guild. In its 35th year, the GAG is comprised of gospel radio announcers, record labels, artists, promoters, distributors, publications...basically anybody who helps put gospel music into the hands of the public. As a gospel announcer in Chicago, I fit in here.
The theme of the Gospel Announcers Guild of the Gospel Music Workshop of America’s 35th Anniversary is “Milestone Moments on Kingdom Road.” For me, this title is especially fitting. Although this is only my second year of participation in the GMWA, I have learned that it is the sum total of awe-inspiring moments that just happen throughout the multi-tasking convention that give you an unforgettable experience of the power of gospel music and the African-American church that gave the genre life.
Some of the convention’s moments are humorous, as when Gospel Announcers Guild Chairman Al “The Bishop” Hobbs reminded attendees of the irony in holding a convention of clean-living Saints in a city (Milwaukee) well known for its beer production. “They’re trying to save souls in a room in this hotel that's called the Pabst Room!” Other moments are stirring, as when Gospel Announcers Guild chaplain and announcer Juandolyn Stokes preached with such firepower and in-your-face honesty that several in attendance were reduced to speaking in tongues.
Yet other moments are refreshing, as when Nona Hendrix, former member of LaBelle (remember “Lady Marmalade”?) introduced a twelve year-old gospel singer named Najihah Threet (pronounced like “street”). Najihah rendered a simple but room-stopping version of “His Eye is on the Sparrow” that assured all of us that there is hope left for the world. At twelve, she can sing better than some artists will ever achieve in decades of performance.
Before lunch, the Rance Allen Group received the GAG’s Legends of Gospel award, after which they sang as if no time had passed since they were strutting their stuff and trendsetting for Stax Records back in the 1970s. Rance reveled in bobbing and weaving vocally and physically to the delight of attendees, including the Queen of Gospel Albertina Walker and Gene Viale, former Cleveland Singer and dear friend of the Caravans.
The music is, of course, the main reason for being at the GMWA. It’s an opportunity to hear superstars as well as hopefuls, all appearing in intimate settings, getting immediate response from the announcers, and pouring appreciation on the gospel announcers who play a major role in deciding what gets heard on gospel radio.
The most incredible musical moment of the day was provided by Malcolm Williams and Great Faith who completed their short performance with a head-spinning medley of holy-dancing, old-church songs woven together by snippets of Will Smith’s “Switch.” They sang and danced so hard, and the band played so powerfully, that I imagined the floor would be smoking by the time they were done. Bishop Sam Williams encouraged the band to continue playing the rousing church music after Great Faith left the stage and many of its members were still caught up very much in the throes of spirit possession.
In the afternoon, GAG members were treated to a showcase of talent courtesy of Atlantic/Word Records. Featured were American Idol finalist George Huff, who told the audience, “A year ago I was flipping omelettes in Oklahoma. And look where I am today.” Huff worked hard despite a largely unresponsive audience, worn down by the day but enjoying the hot hors d’oeuvres. Gospel superstars Karen Clark-Sheard and Yolanda Adams closed out the showcase, promoting their new CDs and demonstrating the kind of charisma that is the trademark of gospel’s top performers. Clark-Sheard ended her part of the showcase with some old-school gospel music that was reminiscent of her mother's work with the Southwest Michigan State Choir of the COGIC. And as for Yolanda Adams: she can sing any kind of music she wants; that she chooses to sing gospel moves the genre to a whole new level of professionalism.
The Late Night showcase, courtesy of New Haven and Gospel Warehouse Records, is yet to occur, and will be reported on in Tuesday's missive. Until then, O sleep, where art thou?
Sunday, August 14, 2005
TBGB Pick of the Week: August 14, 2005
"Clap Your Hands" - Witness
from Speak to the Generations (Axiom, 2005)
Stellar Award-winning female ensemble Witness has been traversing the gospel highway since the 1980s, producing several CDs for a variety of labels, most recently for the Axiom imprint. Witness' current membership is Laeh Jones, Lou Stewart, and Lisa C. Brooks.
The high point of the group's latest project, Speak to the Generations, is the bonus track, "Clap Your Hands." "Clap" is an energetic, infectious track with heavy beats and a dynamic rap from ROCKLYN; here, Witness sounds like a gospel version of Destiny's Child.
"Clap Your Hands" is sure to appeal most to urban gospel radio outlets, and will no doubt be heard at gospel dance clubs and gospel skates, as well. Announcers looking for another excellent track from Speak to the Generations should also check out the Latin-tinged "No Good Thing." Michael A. Brooks (Lisa's husband and a gospel star in his own right) produced the CD.
from Speak to the Generations (Axiom, 2005)
Stellar Award-winning female ensemble Witness has been traversing the gospel highway since the 1980s, producing several CDs for a variety of labels, most recently for the Axiom imprint. Witness' current membership is Laeh Jones, Lou Stewart, and Lisa C. Brooks.
The high point of the group's latest project, Speak to the Generations, is the bonus track, "Clap Your Hands." "Clap" is an energetic, infectious track with heavy beats and a dynamic rap from ROCKLYN; here, Witness sounds like a gospel version of Destiny's Child.
"Clap Your Hands" is sure to appeal most to urban gospel radio outlets, and will no doubt be heard at gospel dance clubs and gospel skates, as well. Announcers looking for another excellent track from Speak to the Generations should also check out the Latin-tinged "No Good Thing." Michael A. Brooks (Lisa's husband and a gospel star in his own right) produced the CD.
Saturday, August 13, 2005
Essential Gospel -- Classic Recordings: No. 127
“Rock-A-Ma-Soul” Paul Breckenridge and the Four Heavenly Knights
King 4182
1947
[hear it on www.group-harmony.com/I_Shall.htm]
Paul Breckenridge was gospel’s answer to the Ravens’ Maithe Marshall: both possessed uncannily high voices with similar coloring and timbre. Both men sang notes that soared effortlessly above their respective mortal vocal ensemble brethren.
A member of the famed spiritual and gospel choir Wings Over Jordan, Breckenridge also worked as a vocalist with Lucky Millinder’s Orchestra during the late 1940's. Denizens of late night television might even catch Breckenridge with Millinder in the 1948 musical/variety film Boarding House Blues.
“Rock My Soul in the Bosom of Abraham” is always given a lively treatment, but it is even more fun and exciting in the care of Breckenridge and the Four Heavenly Knights. A performance King Records termed appropriately a “rhythm spiritual,” “Rock-A-Ma-Soul” features Breckenridge floating vocally above the Four Heavenly Knights, also known as the Reliable Gospel Singers of “Tell Me Why You Like Roosevelt” fame: Thomas Delaney, Kelly Williams, Anderson Shaw, and Thomas Hines. A steady drum beat accompanies this recording three years before percussion gained a position of greater prominence on recordings of gospel artists such as the Original Five Blind Boys and the Bells of Joy.
Most impressive on “Rock-A-Ma-Soul” is Breckenridge’s ability to leap athletically from rough baritone to glass-shattering falsetto in the space of one beat. While the dominance of the high tenor would become de rigeur during the doo-wop Fifties and early Sixties, it must have been thrilling to hear such prodigious singing during the dawn of the black vocal group era.
***************
Want to check out other “Essential Gospel” tracks? See more of them elsewhere on this blog or at "Gospel".
King 4182
1947
[hear it on www.group-harmony.com/I_Shall.htm]
Paul Breckenridge was gospel’s answer to the Ravens’ Maithe Marshall: both possessed uncannily high voices with similar coloring and timbre. Both men sang notes that soared effortlessly above their respective mortal vocal ensemble brethren.
A member of the famed spiritual and gospel choir Wings Over Jordan, Breckenridge also worked as a vocalist with Lucky Millinder’s Orchestra during the late 1940's. Denizens of late night television might even catch Breckenridge with Millinder in the 1948 musical/variety film Boarding House Blues.
“Rock My Soul in the Bosom of Abraham” is always given a lively treatment, but it is even more fun and exciting in the care of Breckenridge and the Four Heavenly Knights. A performance King Records termed appropriately a “rhythm spiritual,” “Rock-A-Ma-Soul” features Breckenridge floating vocally above the Four Heavenly Knights, also known as the Reliable Gospel Singers of “Tell Me Why You Like Roosevelt” fame: Thomas Delaney, Kelly Williams, Anderson Shaw, and Thomas Hines. A steady drum beat accompanies this recording three years before percussion gained a position of greater prominence on recordings of gospel artists such as the Original Five Blind Boys and the Bells of Joy.
Most impressive on “Rock-A-Ma-Soul” is Breckenridge’s ability to leap athletically from rough baritone to glass-shattering falsetto in the space of one beat. While the dominance of the high tenor would become de rigeur during the doo-wop Fifties and early Sixties, it must have been thrilling to hear such prodigious singing during the dawn of the black vocal group era.
***************
Want to check out other “Essential Gospel” tracks? See more of them elsewhere on this blog or at "Gospel".
Thursday, August 11, 2005
Dorothy Norwood Nominated For Soul Train Lady Of Soul Award
From D.A. Johnson at Malaco Records:
"The Malaco Music Group would like to congratulate Ms. Dorothy Norwood for her 10th Annual Soul Train Lady Of Soul Award nomination in the category of
BEST GOSPEL ALBUM for Stand On The Word."
TBGB seconds those congratulations and will be rooting for Ms. Norwood to win!
"The Malaco Music Group would like to congratulate Ms. Dorothy Norwood for her 10th Annual Soul Train Lady Of Soul Award nomination in the category of
BEST GOSPEL ALBUM for Stand On The Word."
TBGB seconds those congratulations and will be rooting for Ms. Norwood to win!
Tuesday, August 09, 2005
Blogging from the GMWA in Milwaukee
Just to let TBGB readers know that I'll be blogging live from the Gospel Music Workshop of America in Milwaukee next week, Monday through Thursday, August 15 - 18. I'll try to capture as many highlights of each day as I can.
If it's anything like last year, and I have every confidence that it will be, each day brings more memorable moments: whether it's hearing Rizen do "View the City" live; hearing the Williams Brothers, Christianaires, and Joe Ligon all singing together ad hoc during the quartet banquet; or witnessing newcomers like LaShell Griffin and stars such as Israel and New Breed performing for the gospel announcers.
Tune in next Monday night, the 15th of August, for the first official blog message from GMWA in the convention's history!
If it's anything like last year, and I have every confidence that it will be, each day brings more memorable moments: whether it's hearing Rizen do "View the City" live; hearing the Williams Brothers, Christianaires, and Joe Ligon all singing together ad hoc during the quartet banquet; or witnessing newcomers like LaShell Griffin and stars such as Israel and New Breed performing for the gospel announcers.
Tune in next Monday night, the 15th of August, for the first official blog message from GMWA in the convention's history!
Saturday, August 06, 2005
Essential Gospel -- Classic Recordings: No. 126
“Heavenly Father” - Patterson Singers
1963
Vee Jay
From VJ LP 5046: Songs of Faith
[also available on CD: The Best of Vee Jay Gospel: Volume 3 - Collectables Records: www.oldies.com]
Not to be confused with Edna McGriff’s 1952 secular hit of the same name, in which a young but mature sounding McGriff prays to the Almighty for the love of a man, this “Heavenly Father” is a straight-up love song about God. Where the two songs are similar are in their simple, lovely melodies and plaintive female lead vocals.
“Heavenly Father” by the Patterson Singers is charming, a cross between the religious gravity of the Caravans and the watery-eyed innocence of the Chantels (“Maybe”) or the Quintones (“Down the Aisle of Love”). The recording is clearly influenced by the girl group sound that by 1963 was emanating from transistor radios and record changers all across America. As such, it does not have much in common with more popular Patterson Singers recordings, many that featured aggressive, strident vocalizing (e.g., "I am Bound for the Promised Land").
I am not certain what member of the Pattersons leads "Heavenly Father," but she was obviously aware of McGriff's classic, as she delivers the song in the same wistful manner. Perhaps TBGB readers can help solve the mystery as to the song's female lead.
Why Vee Jay chose not to release “Heavenly Father” as a single may have had to do with it not sounding like the kind of gospel music then dominating the charts or record sales. Or it may have remained an album selection and not issued as a single for radio because it wouldn’t have been featured much, if ever, during the ensemble’s programs, not being the type of performance that would wreck a church or auditorium. Then again, perhaps it was, to paraphrase a comment once made by the late, great Alan Freed, simply too beautiful for radio.
Want to check out other “Essential Gospel” tracks? See more of them on this blog or at "Gospel": www.island.net/~blues/gospel.htm.
1963
Vee Jay
From VJ LP 5046: Songs of Faith
[also available on CD: The Best of Vee Jay Gospel: Volume 3 - Collectables Records: www.oldies.com]
Not to be confused with Edna McGriff’s 1952 secular hit of the same name, in which a young but mature sounding McGriff prays to the Almighty for the love of a man, this “Heavenly Father” is a straight-up love song about God. Where the two songs are similar are in their simple, lovely melodies and plaintive female lead vocals.
“Heavenly Father” by the Patterson Singers is charming, a cross between the religious gravity of the Caravans and the watery-eyed innocence of the Chantels (“Maybe”) or the Quintones (“Down the Aisle of Love”). The recording is clearly influenced by the girl group sound that by 1963 was emanating from transistor radios and record changers all across America. As such, it does not have much in common with more popular Patterson Singers recordings, many that featured aggressive, strident vocalizing (e.g., "I am Bound for the Promised Land").
I am not certain what member of the Pattersons leads "Heavenly Father," but she was obviously aware of McGriff's classic, as she delivers the song in the same wistful manner. Perhaps TBGB readers can help solve the mystery as to the song's female lead.
Why Vee Jay chose not to release “Heavenly Father” as a single may have had to do with it not sounding like the kind of gospel music then dominating the charts or record sales. Or it may have remained an album selection and not issued as a single for radio because it wouldn’t have been featured much, if ever, during the ensemble’s programs, not being the type of performance that would wreck a church or auditorium. Then again, perhaps it was, to paraphrase a comment once made by the late, great Alan Freed, simply too beautiful for radio.
Want to check out other “Essential Gospel” tracks? See more of them on this blog or at "Gospel": www.island.net/~blues/gospel.htm.
Victory for Traditional Gospel Music
What does Marion Williams have in common with the White Stripes, Michael Buble, Kelly Clarkson, and Coldplay?
She's in the top 50 of Amazon.com's top music sellers as of August 6, 2005!
Producer Anthony Heilbut's recent interview on NPR's "All Things Considered" provided some extra octane for Remember Me, a compilation of Williams' later material, to rise to the top 50 on Amazon.com's best selling music CD list.
Better yet, it is the number one selling black gospel CD on Amazon.com and Barnes and Noble's on-line portal.
Congratulations to Anthony and, posthumously, to Marion Williams. Would that she could witness this renewed interest in her body of work!
Heilbut will be a guest on TBGB's "Gospel Memories" Sunday morning, August 7 at 4:00 a.m. Central Time US. The show is broadcast live in Chicago on 88.7 WLUW, and via webcast at www.wluw.org.
She's in the top 50 of Amazon.com's top music sellers as of August 6, 2005!
Producer Anthony Heilbut's recent interview on NPR's "All Things Considered" provided some extra octane for Remember Me, a compilation of Williams' later material, to rise to the top 50 on Amazon.com's best selling music CD list.
Better yet, it is the number one selling black gospel CD on Amazon.com and Barnes and Noble's on-line portal.
Congratulations to Anthony and, posthumously, to Marion Williams. Would that she could witness this renewed interest in her body of work!
Heilbut will be a guest on TBGB's "Gospel Memories" Sunday morning, August 7 at 4:00 a.m. Central Time US. The show is broadcast live in Chicago on 88.7 WLUW, and via webcast at www.wluw.org.
"Gospel Memories" -- Next Broadcast: Sunday, August 7
Hello, everyone! Just a reminder that "Gospel Memories" will be broadcast on Sunday, August 7 from 2:00 - 6:30 a.m. Central Time US on Chicago's WLUW 88.7 FM. As always, it will be webcast live on www.wluw.org.
Highlights of the August 7 Broadcast:
-- Words and Music with Anthony Heilbut, gospel music historian, author of the seminal work The Gospel Sound: Good News and Bad Times, and producer of several gospel music compilations. Anthony, who was interviewed recently by NPR on "All Things Considered," will talk with "Gospel Memories" at 4:00 a.m. about his involvement in gospel music and his latest releases on the incomparable Marion Williams and a compilation featuring the great gospel pioneers.
-- August heralds the annual Gospel Music Workshop of America convention, which will be held this year in Milwaukee, Wisconsin. To pay tribute to this event, we'll listen to recordings of GMWA mass and chapter choirs of the past as well as recordings of other festivals and conventions where gospel music was on the stage, such as the National Convention of Gospel Choirs and Choruses, the Newport Folk Festival, the Fort Valley Festival, etc.
-- A couple of tracks from Blackberry's new "Best of" CD by the Williams Brothers.
-- Gospel recordings that were inducted into the National Recording Register this spring;
-- An Apartheid-era South African quartet sings in the beautiful a cappella gospel tradition, demonstrating the power of music to soothe the wounded soul during difficult times;
-- Preacher Feature: Calvin P. Dixon, aka "Black Billy Sunday" (1925) - his first recorded sermon: "As An Eagle Stirreth Her Nest."
...and much more!
So tune in and turn on to the great sound of "Gospel Memories": think of it as a classic gospel music collection set on "random!"
www.gospelmemories.com
Highlights of the August 7 Broadcast:
-- Words and Music with Anthony Heilbut, gospel music historian, author of the seminal work The Gospel Sound: Good News and Bad Times, and producer of several gospel music compilations. Anthony, who was interviewed recently by NPR on "All Things Considered," will talk with "Gospel Memories" at 4:00 a.m. about his involvement in gospel music and his latest releases on the incomparable Marion Williams and a compilation featuring the great gospel pioneers.
-- August heralds the annual Gospel Music Workshop of America convention, which will be held this year in Milwaukee, Wisconsin. To pay tribute to this event, we'll listen to recordings of GMWA mass and chapter choirs of the past as well as recordings of other festivals and conventions where gospel music was on the stage, such as the National Convention of Gospel Choirs and Choruses, the Newport Folk Festival, the Fort Valley Festival, etc.
-- A couple of tracks from Blackberry's new "Best of" CD by the Williams Brothers.
-- Gospel recordings that were inducted into the National Recording Register this spring;
-- An Apartheid-era South African quartet sings in the beautiful a cappella gospel tradition, demonstrating the power of music to soothe the wounded soul during difficult times;
-- Preacher Feature: Calvin P. Dixon, aka "Black Billy Sunday" (1925) - his first recorded sermon: "As An Eagle Stirreth Her Nest."
...and much more!
So tune in and turn on to the great sound of "Gospel Memories": think of it as a classic gospel music collection set on "random!"
www.gospelmemories.com
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