MP3 Sound Of New Orleans/Gospel Favorites - GOSPEL: Traditional Gospel

Traditional Gospel, Quartets, soloists and choirs

20 MP3 Songs
GOSPEL: Traditional Gospel, EASY LISTENING: Crooners/Vocals



Details:
âGospel Favoritesâ

In the city where jazz was born, âmajorâ recording companies have never shown much interest in the local gospel music scene. Since the 1960s, recordings of New Orleans gospel music have been produced almost entirely by small, locally owned labels like Booker, Wajo, Rosemont, and Gift. The Sound of New Orleans label is squarely in the tradition of these independent, hands-on enterprises. Basically a one-man operation, it was founded in 1972 by Gary Edwards, who had adventurously provided sound for the premier, 1969 edition of the New Orleans Jazz and Heritage Festival. While reaching out to a broad range of Louisiana artists, Gary began to assemble an especially strong catalogue of recordings by New Orleans church and community-based gospel quartets, soloists and ensembles. Groups like the Zion Harmonizers, the Spiritualettes, and the Mighty Chariots came to feel at home with Gary Edwards and his Sound of New Orleans label.

On August 29, 2005, Hurricane Katrina tore through New Orleans, and the levee system gave way. The floodwaters quickly reached Garyâs Sound of New Orleans studio on Canal Boulevard, and took it under. When the water finally stopped rising, eighty percent of the city was inundated. The humble little churches and neighborhoods that give life to the local gospel music scene were especially hard hit.

In the heat of Katrinaâs devastation, Gary thought to compile this emotional survey of âGospel Favorites,â as a way to stabilize himself amidst chaos all around him. âThese songs are the ones that I often sing to myself,â he confides. âThere is very little chance that I will be in a position to record this type of music again, so I decided that I needed to put out a sampler of the songs I think people should know about.â A fitting retrospective, Garyâs âGospel Favoritesâ includes at least one cut by every gospel artist he has recorded.

The Zion Harmonizers: This exemplary male quartet was founded in New Orleansâ old Zion City community in 1939. Under the guidance of Sherman Washington, the Zion Harmonizers have emerged as one of the cityâs great living cultural treasures. They sing comfortably in a âcontemporaryâ vein on âTrust in God,â which echoes the classic 1950s recording of that title by the Harmonizing Four. But the Zion Harmonizers shine brightest on their irresistible acappella, close harmony arrangements of slave spirituals. âSteal Awayâ and âSwing Low, Sweet Chariotâ are timeless examples of the gems brought forth from bondage. âEzekialâ and âOld Noahâ reflect the influence of the old Golden Gate Quartetâs innovative ârhythmic spirituals,â with Brother Washington ârappingâ on the trademark recitations.

The Spiritualettes: This popular female quartet was organized in 1957 by Ruby Ray, who had come up singing in her Centerville, Mississippi, hometown. On what may be the highlight of this sampler, the Spiritualetteâs powerful lead singer, Audrey Ferguson makes a tour de force of the old gospel theme, âNinety-Nine and a Half Wonât Do,â which calls for a full, one-hundred percent commitment to the Christian life:
What about ninety? Ninety wonât do!
Ninety-one; Iâve just begun,
Ninety-two; how about you?
Ninety-three; canât you see,
Ninety-four, Him standing at the door?
Ninety-five; thank God Iâm alive!
Ninety-six; my heart is fixed.
Ninety-seven; Iâm on my way to Heaven.
Ninety-eight; donât want to be late.
Ninety-nine; this heart of mine.
Ninety-nine and a half; donât block my path.
Donât block my path,
Cause ninety-nine and a half just wonât do!
The Spiritualettes also contribute a haunting acappella rendition of the Biblical number, âLittle Boy (How Old Are You?),â which only ends too soon; and a bench-breaking version of the gospel warhorse, âTwo Wings.â

The Bemiss Brothers: Al and Burnell Bemiss received their musical baptism at the Fifth African Baptist Church on South Robertson Street, where their father, Rev. Walter J. Bemiss, held the pulpit. They were blessed to come under the influence of the churchâs organist and choir director, William Houston, Jr., a legendary New Orleanian who also led his own society band, ran his own music school, and directed bands and choirs in the New Orleans public schools. The brothers have spent time on both sides of the aisle; Alâs experiences include a lengthy tenure with Clarence âFrogmanâ Henry. Here, with Al at the keyboards and Burnell singing ever so smoothly, the Bemiss Brothers offer refreshing versions of âI Bowed on My Knees and Cried Holyâ and the standard hymn by Fanny J. Crosby, âBlessed Assurance.â

The Mahogany Brass Band with the Gospel Dedicators: When the Mahogany Brass Band decided to include a gospel medley on their session, Gary convinced leader Brice Miller to let him bring in some singers, and he was fortunate in securing the services of the Bell Brothers, aka the Gospel Dedicators, of Malaco Records fame. The marriage of gospel singers to brass bands is somewhat novel, but not entirely unprecedented. Traditional jazz fans may recall Bunk Johnsonâs bandâs 1946 recordings with Sister Ernestine Washington; and Sister Elizabeth Eustisâ 1950s recordings for Southland with bands led by Percy Humphrey, Thomas Jefferson, and others. Clipping along at a breathless pace, the Mahogany Brass Bandâs âMedley for Thy Lordâ chains âGlory, Glory, Hallelujahâ to âThis Little Light of Mine,â âIâll Fly Away,â âIn the New Jerusalemâ and âJesus on the Mainline.â

The Heavenly Stars: Under the care of Alvin âBig Alâ Jackson, the Soulful Heavenly Stars have become one of the New Orleans gospel communityâs most successful cultural ambassadors. Their thoughtful arrangements of âOld Rugged Cross,â with its sparse piano and guitar backing; and âIâm So Glad,â fully acappella, leave no doubt about their ability to harmonize. Their particularly effective gospel arrangement of the slave spiritual, âRoll, Jordan, Roll,â pays homage to the Skylarks, whose 1962 recording of it features the penultimate quartet bass singer, Isaac âDickieâ Freeman.

The Voices of Distinction: The Spiritualetteâs veteran lead singer, Audrey Ferguson, and her daughter, Dee Dee, powerfully lead this ensemble of six female voices. They create enough tension in âWhat You Gonna Do (When the Worldâs on Fire)?â to bring any sinner to the altar.

Tara Darnell: Singer and composer Tara Darnell came through the trenches singing backup for the likes of Wanda Rouzan and blues diva Marva Wright, who also knows a thing or two about gospel singing. Tara also sings with Bishop Paul S. Morton, the visionary senior pastor of Greater St. Stephens Full Gospel Church. In her first outing as a soloist, she worries âAmazing Graceâ with the authority of a present-day Bessie Griffin. In her âGospel Medleyâ she moves from âThis Charge I Have (the World Didnât Give It to Me)â to âThis Little Light of Mine,â and then stretches out on âJesus on the Mainline.â

The Melody Clouds: Leo Jackson, Sr., organized this family quartet with his three sons, Leo, Jr., Carey and Melvin, in 1965, back in their hometown of Jayess, Mississippi. In New Orleans the Melody Clouds recorded for Rosemont and Gift before coming to Sound of New Orleans in 2001. Their original creation, âLord You Brought Me Through,â with its infectious electric guitar accompaniment, goes to the heart of making âa way out of no way.â

The Mighty Chariots: Founded in 1959, the Mighty Chariots were fine-tuned by guitarist and musical director William âPeteâ Walker. At this critical point in New Orleans history, their reading of âWade in the Waterâ seems to recall the darkest days of Hurricane Katrinaâs aftermath.

David and Roselyn: In the great tradition of itinerant troubadours, David and Roselyn often shine their light on Royal Street in the French Quarter. Their version of âThis Little Light of Mine,â serves to reprise this collection of Sound of New Orleans âGospel Favorites,â as they extemporize:
All over New Orleans
Iâm gonna let it shine
Over Louisiana
Iâm gonna let it shineâ¦
Let it shine, let it shine, let it shine!

In the wake of Hurricane Katrina, a question often pondered in gospel song has acquired specific import: will the circle be unbroken? Will the little community churches that provide the necessary context for a viable gospel tradition in New Orleans manage to overcome the cataclysmic flooding, the great Diaspora that followed, and the wandering in the wilderness that has yet to subside? Will the likes of the Zion Harmonizers, Spiritualettes, Bemiss Brothers, Melody Clouds, Mighty Chariots, etc., be able to maintain continuity? The fragile nature of our cultural heritage has been laid bare for all to see. Keeping it together is going to require a full measure of prayer and social commitment. Ninety-nine and a half just wonât doâ¦

- Lynn Abbott, 2006 New Orleans author

Producerâs dedication:

When I met Sherman Washington at the first New Orleans Jazz & Heritage festival, there was an immediate bond of kindred spirits. I was there to provide 4 little sound systems because I thought that it was a good idea to have such an event. Sherman was there to do what he had done for years, sing and praise the Lord. We both thought that a special stage for Gospel music should be included in any future events. As a young festival producer, Quint Davis would make a wise decision and took Shermanâs advice. The Gospel Tent has become a large part of the festival, a focal point for many visitors every year.
I had no idea that 40 years later, Sherman and I would still be working together. With his good will, I have been allowed to see a large part of the world that would never been possible without the spirit of Gospel Music. In my work, I have been blessed by my association with Dr. Bobby Jones and many of the other stars of Gospel music. No matter where I travel, there is always a moment when I am reminded that my friend Sherman Washington is still a giant of the Gospel music world.
Best wishes,
Gary J. Edwards

The voices of the wonderful singers and the sounds of the great musicians that are heard on this compilation are very special to me. I have been listening to these songs for years, and I know that many others have appreciated the talents of the artists. As the producer of all the music on this CD, I was overwhelmed by emotion every time that I worked on choosing the songs to be included. The time limitation on the CD has forced me to exclude some of my favorites. It is a difficult task to choose favorites from your âchildrenâ so to speak. It was even more painful to think that a tradition might be in danger.

If one combines the talents of Sherman Washington, Ms. Ruby Ray, Alvin Johnson, Audry Ferguson, Robert Lee, Tara Darnell, Nolan Washington, Helen Carter, Bernell Bemiss, Dee Dee Thrumond, Joseph âJBâ Warrick, Howard Bowie, Nories Louis, Leo Jackson, Joel Bell, Louis Jones, David & Roselyn and the many others whose vocals are an important part of the sound of each group and the skill and emotions of the musicians whose inspired performances are so much a part of New Orleans music:
the result should begin to represent a part of the spirit that is still alive in Gospel music, and in New Orleans.


Sound Of New Orleans statement:
Because of Katrina, only a few of our CDs are available at this time. We are hoping that we can rebuild the catalog in the future. This compilation CD of some of our favorite songs is intended to lift the spirits of all of the artists who have recorded for Sound Of New Orleans. We hope that this music will be an inspiration to all of those who have lost an important part of their lives and our City.
With a prayer for the future, we present a part of our past!

Producerâs note
Since Katrina, I have become aware of the things that I know, and hopefully, do best are CD production, assembling sound systems and Hammond organs. To use what I know to help, in some way, the many churches that have been hurt by the storm, I am going to create my own personal fund for helping rebuild them. So, I have earmarked the profits from this production to help provide the things that I can do best.
Gary J. Edwards