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Category: gospel

Sunday, 11/29/09

Few performances, in any genre, pack this much punch.

Brother Joe May & Jackie [AKA Jacqui] Verdell, “You’re Gonna Need Him After A While,” live (TV broadcast)

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[Brother Joe May was] the most powerful male soloist in a day when gospel singers had the greatest voices in America.

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. . . Aretha Franklin’s delivery has Jacqui [Verdell] stamped all over it . . .

—Anthony Heilbut, The Gospel Sound: Good News and Bad Times (1975 ed.)

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I considered . . . Jackie Verdell . . . one of the best and most underrrated soul singers of all time. It was through Jackie that I learned the expression, ‘Girl, you peed tonight,’ meaning you were dynamite. Several nights Jackie sang so hard she literally had a spot or two on her robe from peeing. Singing far too hard, I also peed here and there in the early days; I quickly realized no one should sing that hard.—Aretha Franklin (in Aretha Franklin & David Ritz, Aretha: From These Roots [1999])

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This clip, I just learned, is included in a recent Sam & Dave DVD, The Original Soul Men, in a part called “The Roots of Sam & Dave.” (As one review notes: “Sam Moore was supposed to be Sam Cooke’s replacement in the Soul Stirrers, after Cooke made his historic decision to pursue pop music. But then Moore saw Jackie Wilson, and everything changed.”)

Sunday, 11/15/09

This music, like Bach’s Six Suites for Unaccompanied Cello and music for unaccompanied violin, I first heard nearly forty years ago, when I was in college—and like Bach’s music, I’ve been listening to it ever since.

classic, n. 1. An artist, author, or work generally considered to be of the highest rank or excellence, especially one of enduring significance. E.g., Johann Sebastian Bach, Blind Willie Johnson.

Blind Willie Johnson (1897-1945)

“God Don’t Never Change” (1929, New Orleans)

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“John the Revelator” (1929, Atlanta)

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“Trouble Will Soon Be Over” (1929, Atlanta; video from “The Soul of a Man,” part 4 of Martin Scorsese’s PBS series “The Blues”)

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“Dark Was The Night – Cold Was The Ground” (1927, Dallas)

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[Blind Willie Johnson’s ‘Dark Was The Night – Cold Was The Ground’] is the most soulful, transcendent piece in all American music.—Ry Cooder

Sunday, 11/8/09

After three Sundays of Aretha, let’s listen to her father.

Reverend C. L. Franklin (1915-1984; Pastor, New Bethel Baptist Church, Detroit, Michigan, 1946-1979), “The Old Ship Of Zion”

Want more? Here.

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[Growing up in the Mississippi Delta, C. L. Franklin] listened to all sorts of music. Even though his family was very poor, they owned a stand up Victrola. He loved listening to Roosevelt Sykes, and he listened to other blues singers. He also listened to a preacher out of Atlanta, J. M. Gates, who ultimately recorded an enormous number of three minute sermons in the twenties and thirties. . . .

The social pattern surrounding the use of the Victrola was very interesting. It was not unusual for the people who didn’t own a Victrola to buy the records and bring them to the home of a friend who did. It became another way of socializing. Even in very strict religious households, children were allowed to listen to music as long as they didn’t dance or cross their legs. They listened to the blues as well as recorded hymns and sermons. B.B. King tells the story about how, as a child, there was no distinction between Saturday night and Sunday morning—that the same people who were at the juke joints were in church pews on Sunday morning. . . .

King said that whenever he was in Detroit, no matter how late he was up on Saturday night playing a gig, he was in the first row at New Bethel Baptist—C. L. Franklin’s church—at 10:45 Sunday morning. He called Reverend Franklin ‘my main preacher.’—Nick Salvatore (author of Singing in a Strange Land: C. L. Franklin, the Black Church, and the Transformation of America [2005])

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reading table

The “Chicago” issue of Granta arrived in the mail this week, and it looks awfully promising. Let’s see: Don DeLillo (on Nelson Algren), Aleksander Hemon (on [I think] playing soccer in the city’s parks), Thom Jones (on working at a General Mills factory in West Chicago), Richard Powers (on the Great Flood of 1992), etc. Oh, and there are some stunning photos, too—not of the city’s grand historic architecture, but of Cabrini Green and the Robert Taylor Homes and the Henry Horner Homes. (A shout-out to my brother Don for tipping me off to this issue.)

Sunday, 11/1/09

Aretha didn’t have to wait until she was grown to be great. She was great when she was 14.

Aretha Franklin (at 14, vocal and piano), “Precious Lord,” live, Detroit (New Bethel Baptist Church, where her father, Rev. C. L. Franklin, was pastor), 1956

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reading table

The film rights to Zeitoun, mentioned a while back, have been acquired by Jonathan Demme, who’s going to make an animated movie of it.

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I’m nearing the end of Billy Sothern’s Down in New Orleans: Reflections from a Drowned City. It’s a mixed bag. Some sections are weighed down by political observations that quickly become predictable. But others are alive with the sights and sounds and smells of the streets.

Sunday, 10/25/09

When someone sounds as good as Aretha did last Sunday, only one word seems to fit: more.

Aretha Franklin (joined on the second number by Billy Preston and Little Richard), “Surely God Is Able,” “Packin’ Up,” live (Tribute to Marion Williams), Washington, D.C., 1993

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My heart is still there in gospel music. It never left.—Aretha Franklin

Sunday, 10/18/09

Here—at the funeral service for Bishop David L. Ellis, pastor of Detroit’s Greater Grace Temple of the Apostolic Faith—Aretha testifies.

Aretha Franklin, “Never Grow Old,” live, Detroit, 1996

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[A] lengthy service was perceived to be an honor to the deceased—a testimony to the great impact of his or her life. Consider the 1996 funeral of Bishop David Ellis Sr., pastor of Detroit’s Greater Grace Temple of the Apostolic Faith, whose services stretched over three days. His body was laid to rest in a $30,000 gold-plated casket that was ‘propped at an angle in the church aisle so mourners could see his body resting on red velvet cushions.’—Karla FC Holloway (in Passed On: African American Mourning Stories [2002])

Sunday, 10/11/09

Here, at Luther Vandross’s funeral, Stevie testifies.

Stevie Wonder, “I Won’t Complain,” live, New York (The Riverside Church), 2005

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For as long as you’ve got a harp in your heart, God’s got a hymn for your hurt. And as long as you’ve got a hymn, then you’ve got hope.—Maurice O. Wallace (funeral sermon, quoted in Karla FC Holloway, Passed On: African American Mourning Stories [2002])

Sunday, 10/4/09

On July 22, 1955, Sam Cooke took the stage at Los Angeles’s Shrine Auditorium. He was 24 years old. He sang that day with the Soul Stirrers, the gospel group he joined—as the new lead singer—when he was 19.

Sam Cooke with the Soul Stirrers, “Nearer My God To Thee,” live, 1955, Los Angeles

More:

Sam Cooke with the Soul Stirrers, “Be With Me Jesus,” live, 1955, Los Angeles

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Sam [Cooke] was shaped in large measure by the Soul Stirrers during their rehearsals. He reacted to them as they pushed him, like a good rhythm section inspires an instrumentalist.—Art Rupe (in Peter Guralnick, Dream Boogie: The Triumph of Sam Cooke [2005])

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Of course, Sam did his best work in gospel. How you gonna take somebody who loves what he’s doing and turn him around and put him in something unfamiliar and he’s gonna be as free and natural as he was at home?—Dorothy Love Coates (in Anthony Heilbut, The Gospel Sound: Good News and Bad Times [1971])

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How astonishing to see, yesterday, for the first time, a film snippet (the only known to exist) of Anne Frank.

This  apparently dates from 1941, when Anne was 13. The couple walking out of the building are newlyweds—the woman’s a neighbor. That’s Anne leaning out the window.

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Yesterday I also heard this episode of the radio show “This American Life,” which features people whose lives were changed by books.

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Also yesterday (big day), while driving around doing this and that, I heard bits and pieces of this interview with the great Nick Hornby (author of, among other things, High Fidelity).

Sunday, 9/27/09

Sometimes, as in yesterday’s performance by Sam and Dave, more is more. Other times, as here, what drives a performance is the power of restraint.

Mahalia Jackson, joined by Nat King Cole, “Steal Away,” TV performance, 1957

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“Without a song, each day would be a century.”—Mahalia Jackson

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In the baseball/music trivia department, I learned yesterday, while listening to the radio broadcast of the Cubs/Giants game, that both of Barry Zito’s parents worked with Nat King Cole—his mother as a singer and his father as a conductor/arranger.

Sunday, 9/20/09

Saturday night he sings soul, Sunday morning gospel. Here, at Christian Tabernacle Church on the south side of Chicago, is Otis Clay, a label mate of Al Green at Hi Records.

Otis Clay, live, Chicago

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How can you sing of amazing grace and all God’s wonders without using your hands?”—Mahalia Jackson