DOCSLIB.ORG

Black Music Research Bulletin, Fall 1990

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Black Music Research Bulletin, Fall 1990 Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Fall 9-1-1990 Black Music Research Bulletin, Fall 1990 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Bulletin, Fall 1990" (1990). Center for Black Music Research: Black Music Research Newsletter. 31. https://digitalcommons.colum.edu/cbmrnews/31 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH BULLETIN < B \I R COLUMBIA COLLEGE CHICAGO Vol. 12, No. 2 ISSN 0898-8536 Fall 199C Contents A Historical Overview of Soul Music in Chicago A Historical Overview of 1 Soul Music in Chicago 1,y Robert Pruter, Elmhurst, fllinois Robert Pruter Chicago Gospel 4 Chicago was once a major center soul factories as Detroit, Memphis, Horace Clarence Boyer for the production and recording of and New York. soul music, that "gospelized" variant Michigan Avenue, just south of Jazz in Chicago: A Historical 8 of rhythm and blues that emerged in Chicago's downtown, was the city's Overview the early 1960s and dominated black "Record Row" and the center of its Richard Wang music for the next decade. During flourishing music scene (Dachs 1964, Florence B. Price and 11 the 1960s and 1970s Chicago-style 176). There the offices of Chess, Vee Margaret Bonds: The soul music was produced by such Jay, One-derful, ABC-Paramount, Chicago Years major labels as Vee Jay, Chess, ABC­ and a host of record distributors Rae Linda Brown Pararnount, Curtom, Okeh (a Colum­ were located. The distribution firms bia subsidiary), Brunswick (a Decca and the local radio stations worked Chicago Imprints in the 14 subsidiary.), and Mercury. There were in symbiotic fashion to contribute im­ CBMR Database numerous lesser lights, many mere measurably to the growth of the local Samuel A. Floyd, Jr., mom-and-pop operations, that also record industry. Black Musicians in the 15 helped fuel the soul explosion in the In the Black Belt of the city's south Claude Barnett Papers city-Brainstorm, Formal, Cortland/ and west sides were the theaters and Otha Day Witch, Nike/Tip T-0p, St. Lawrence/ nightclubs that were the venues from Jubilee Singing Groups in 17 Satellite, Giant, Four Brothers, .One­ which the record companies discov­ Illinois: A Research Note derful- a veritable laundry list of ered and drew their talent. The big• Robin Hough names. gest and brightest venue was the Many of the world's major soul Regal Theater (47th and King Drive), 1991 National Conference on 19 acts-such as Jerry Butler, the Im­ which was the equivalent of New Black Music Research: pressions, Gene Chandler, the Chi­ York's Apollo Theater. Other theaters Abstracts of Papers lites, and the Dells----called Chicago of note were the Capitol (79th and Portrait of a Black Flutist 25 their home. At one time, as many as Halsted), the Tivoli (63rd and Cot­ Charles Walthall one-third of all the records spun on tage Grove), and the Trianon Ball­ the city's black radio stations were lo­ room (62nd and Cottage Grove). The Dvorak and African- 26 cally produced (Pruter 1987). Interna­ most famous clubs were the High American Musicians, tionally, Chicago was putting as Chaparral (77th and Stoney Island), 1892- 1895 many records on the charts as such the Club (55th and State), and the Maurice Peress Sutherland (47th and Drexel). The first Chicago company to ex­ A full-length book treating this subject, OiicJlgo perience great success in the emerg­ Soul, by the author, Is scheduled to be pub­ lished by the University of Illinois Press in N<>­ ing soul market was Vee Jay, vember 1990. founded in 1953 by Vivian and James 2 Bracken. For most of its history, as "Just Be True" (1964), and "Nothing The company could hardly be said to the largest black-owned record label Can Stop Me" (1965), most of which be ready for the corning soul era. But before Motown, the company was were composed by Curtis Mayfield the Chess brothers adapted by bring­ headed by Ewart Abner, Jr., but in and produced by Carl Davis. ing in from Detroit 'Billy Davis as 1963 he left to form Constellation. Okeh waS Columbia's long-time, A&R head and by beefing up their Several of Vee Jay's key artists independently distributed R&B sub­ in-house production, arranging, and moved to Constellation. sidiary. By the early 1960s, however, writing staff. When the 1960s arrived, Vee Jay the label was practically moribund, Etta James was Chess Records' first was one of the nation's largest inde­ and in 1962 Columbia hired Carl' big soul star. She hit with such melo­ pendents, and the company's cre­ Davis to serve as producer and A&R dramatic ballads as "At Last'' (1961} ative department, under the direction director of the label. He brought his and "Stop the Wedding" (1962) and of Calvin Carter, was in a strong po­ own team of musicians and arrang­ such soul shouters as "Pushover" sition to make its presence felt in ers (principally Johnny Pate, Riley (1963) and "Tell Mama" (1967). soul music. Some observers claim Hampton, and most importantly, James was followed by a host of that Chicago's first soul record had writer Curtis Mayfield) and within a gospelized wailers, notably Mitty indeed come out of Vee Jay- "For year rejuvenated Okeh. Collier, who hit with "I Had a Talk Your Precious Love" (1958} by Jerry with My Man" (1964) and "No Faith Butler and the Impressions (McEwen No Love" (1964), among others, and 1980, 143}. The company was so im­ Many of the world's major soul Sugar Pie DeSanto, who hit with pressed with Butler's soulful baritone acts- such as Jerry Butler, the "Slip-in Mules" (1964). that within months Carter split the In the softer soul vein was Billy young singer from the group and Impressions, Gene Chandler, Stewart, a Washington, D.C., native promoted him as a single artist. He t11e Chi~lites, and the Dells­ whose recordings were virtually all went on to become one of Chicago's called Chicago their home. done at Chess. His unique style of biggest hitmakers, scoring with such vocalizing, which he called doubling standouts as "He Will Break Your of words, was put to marvelous use Heart" (1960), "Need to Belong" The most sucCESSful Okeh artist on "Strange Feeling" (1963), "1 Do (1963), and "Giving Up on Love" was Major Lance, for whom Davis Love You" (1965), and "Sitting in the (1964). employed a deep brass sound to en­ Park" (1965). The Dells were a vet­ Dee Clark was Vee Jay's biggest hance Lance's reedy vocals. The most eran group of some fifteen years by act of the late 1950s, but most of his memorable Lance hits were "Monkey the time they began a magnificent hit best hits were soul-styled songs from Time" (1963}, "Hey Little Girl" string at Chess in the late 1%0s with the 1960s. At Vee Jay, Clark hit with (1963}, "Um Um Um Um Um Um" "Ooo I Love You" (1967), "There Is" "Raindrops" (1961), among others; (1964), and "Rhythm" (1964). Davis (1968}, and "Stay in My Corner" and at Constellation, he hit with also discovered Billy Butler, brother (1968). "Come Closer" (1964), "Warm Sum­ of Jerry Butler. Working with his The Radiants were one of the earli­ mer Breezes" (1964}, and "Heart­ neighborhood pals in a vocal group, est pacesetters in the emerging Chi­ break" (1964). For a time in the the Chanters, Butler hit with "Found cago soul sound. At Chess they cre­ 1960s, another Vee Jay star, Betty Ev­ True Love" (1963), "I Can't Work No ated a spirited and highly melodic, erett, was one of the hottest female Longer" (1965), and "Right Track" yet sophisticated form of soul. Their vocalists in the soul field, with such (1966). Another Okeh artist was De­ best work was done when the group classics to her credit as "You're No troit native Walter Jackson, the mas­ consisted of a trio-Maurice Mc­ Good" (1%3), '1t's in His Kiss" ter of the love ballad, whose best re­ Alister, Leonard Caston, Jr., and Wal­ (1964}, and "Let It Be Me" (1964), the cords include '1t's All Over" (1964}, lace Sampson-which used marvel­ latter a duet with Jerry Butler. "Welcome Home" (1965), and "Speak ous switch-off lead work to create Gene Chandler's one claim to rock Her Name" (1967}. durable hits in "Voice Your Choice" 'n' roll fame is "Duke of Earl" (1962); After a dispute with Columbia ex­ (1964} and '1t Ain't No Big Thing" but as a soul star Chandler was a ecutive Len Levy, Davis left Okeh in (1965}. giant, having had more than twenty­ late 1965. Following several years of Chess picked up a number of acts five national pop hits during the futile attempts to maintain the label, from St. Louis, all associated with the 1960s and 1970s. His best records Columbia shut it down in 1970. Oliver Sain Band. Teaming the acts with Vee Jay besides the "Duke" When the 1960s began, Chess Re­ with Chess writers, arrangers, and were "Rainbow" (1963} and "Man's cords, owned by Leonard and Phil producers resulted in a load of hits, Temptation" (1963).
Load more

Recommended publications
  • Oral History T-0001 Interviewees: Chick Finney and Martin Luther Mackay Interviewer: Irene Cortinovis Jazzman Project April 6, 1971
    ORAL HISTORY T-0001 INTERVIEWEES: CHICK FINNEY AND MARTIN LUTHER MACKAY INTERVIEWER: IRENE CORTINOVIS JAZZMAN PROJECT APRIL 6, 1971 This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. Today is April 6, 1971 and this is Irene Cortinovis of the Archives of the University of Missouri. I have with me today Mr. Chick Finney and Mr. Martin L. MacKay who have agreed to make a tape recording with me for our Oral History Section. They are musicians from St. Louis of long standing and we are going to talk today about their early lives and also about their experiences on the music scene in St. Louis. CORTINOVIS: First, I'll ask you a few questions, gentlemen. Did you ever play on any of the Mississippi riverboats, the J.S, The St. Paul or the President? FINNEY: I never did play on any of those name boats, any of those that you just named, Mrs. Cortinovis, but I was a member of the St. Louis Crackerjacks and we played on kind of an unknown boat that went down the river to Cincinnati and parts of Kentucky. But I just can't think of the name of the boat, because it was a small boat. Do you need the name of the boat? CORTINOVIS: No. I don't need the name of the boat. FINNEY: Mrs. Cortinovis, this is Martin McKay who is a name drummer who played with all the big bands from Count Basie to Duke Ellington.
    [Show full text]
  • Art Ensemble of Chicago Thelonious Sphere Monk
    Art ensemble of chicago thelonious sphere monk Find a Art Ensemble Of Chicago* With Cecil Taylor - Thelonious Sphere Monk: Dreaming Of The Masters Vol.2 first pressing or reissue. Complete your Art. Thelonious Sphere Monk: Dreaming of the Masters Series Vol. 2 is an album by the Art Ensemble of Chicago and Cecil Taylor released on the Japanese DIW. Art Ensemble of Chicago, Cecil Taylor - Thelonious Sphere Monk: Dreaming of the Masters, Vol.2 - Music. This CD promises much more than it delivers, appearing to be a tribute to Thelonious Monk that features the Art Ensemble of Chicago and guest pianist Cecil. Find album release information for Thelonious Sphere Monk: Dreaming of the Masters, Vol. 2 - The Art Ensemble of Chicago on AllMusic. Thelonious Sphere Monk - Dreaming of the Masters Vol. 2 Recorded in , at Systems Two Studios, Brooklyn. Thelonious Sphere Monk: Dreaming of the Masters, Vol. 2, an Album by Art Ensemble of Chicago With Cecil Taylor. Released in on (catalog no. CK Albuminformatie voor Thelonious Sphere Monk: Dreaming of the masters ; vol.2 van Art Ensemble of Chicago. ART ENSEMBLE OF CHICAGO WITH CECIL TAYLOR ~ Thelonious Sphere Monk - Dreaming Of The Masters Vol. 2 []. C'est comme un. Thelonious Sphere Monk: Dreaming of the Masters, Vol. 2 by The Art Ensemble of Chicago release on May 06, Thelonious Sphere Monk: Dreaming of the. "Dreaming of the Masters"、"Intro to Fifteen"、"Excerpt from Fifteen, Pt. 3A" とその他を含む、アルバム「Thelonious Sphere Monk」の曲を聴こう。 . Acquista il CD album Thelonious Sphere Monk di Art Ensemble Of Chicago in offerta; album e dischi in vendita online a prezzi scontati su La Feltrinelli.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Music at the Gardner Fall 2019
    ISABELLA STEWART GARDNER MUSEUM NON-PROFIT ORG. 25 EVANS WAY BOSTON MA 02115 U.S. POSTAGE PAID GARDNERMUSEUM.ORG PERMIT NO. 1 BOSTON MA JOHN SINGER SARGENT, EL JALEO (DETAIL), 1882 MUSIC AT THE GARDNER FALL 2019 COVER: PHOENIX ORCHESTRA FALL the Gardner at Music 2019 MEMBER CONCERT MUSIC AT THE GARDNER TICKET PRESALE: FALL 2019 JULY 24 – AUGUST 5 WEEKEND CONCERT SERIES / pg 2 The Gardner Museum’s signature series HELGA DAVIS GEORGE STEEL DANCE / pg 15 South Korean dance duo All Ready, 2019 Choreographers-in-Residence, FROM THE CURATOR OF MUSIC dazzles with a series of performances, including a world premiere The Gardner Museum is today much as it was in Isabella’s time — at once a collection of her treasures from around the world and a vibrant place where artists find inspiration and push forward in new creative directions. AT-A-GLANCE / pg 16 TICKET INFORMATION / inside back cover This fall’s programming embodies that spirit of inspiration and creative vitality. It’s a season of firsts — including the Calderwood Hall debut by Randall Goosby, a rising international star of the violin, and premieres of works by lesser-known composers Florence Price and José White Lafitte never before performed in Boston. 25 YEARS OF ARTISTS-IN-RESIDENCE This season also finds meaning through Isabella’s collection. Claremont Performances celebrating the Museum’s fall special Trio will help celebrate 25 years of our Artists-in-Residence program exhibition, which highlights our 25-year history with a selection of works distinctly connected to Isabella, and South of fostering relationships with contemporary artists Korean duo All Ready — 2019 Choreographers-in-Residence — will Monday, October 14, 10 am – 4 pm perform new works created especially for the Museum.
    [Show full text]
  • DUNWOODY Houston
    \1!W _- CONTENTS Volume 13. Number 12 June 5·11. 1987 Largest Beer Bust In Texas 4pm~2am days a week~ PAGE 44 J 11 TWT NEWS Dallas Baptists Blast Gays. Dara Gray ta Head THRF. $4 24 COMMENT Letters ta the Editor 27 VIEWPOINT Self-Love bV Michoel H. Wilson 29 HEALTH Effects of Stress on Heatlh bV Dr. Terru R. Watson 30 HIGHLIGHT Ten Years After With Anita Bryant (Part 2) bV Phil Johnson 35 CLASSIC TWT Six Years Ago This Week in Texas bV Don Maines 39 BOOKS The Wings of the Phoenix by Florine De Veer Reviewed bV David Fields 43 MOVIES River's edge With Dennis Hopper Reviewed bV O. Flores Alvarez 44 SHOWBIZ Diana Ross & Jackie Ross. The Supremes & The Beatles ... bV .lock Varsi 46 BACKSTAGE Horveo Milk. Delia Stewart. Eartha Kitt ... bv Donolevon Maines 55 HOT TEA Marty Single Wins Mr. Prime Choice. Tierra Michaels Wins Miss Gay South Texas .. 67 SPORTS Marion & Lynn's Rebels Still Ahead in Women's Softball League .. bV BobbV Miller 69 STARSCOPE Your June Lovescope bV Milton voo Stem 74 COVER/PHOTO ESSAY Houston's Marco Roberts Photographs bV G.W. Hing 78 CLASSIFIED Want Ads and Notices 89 CALENDAR Special One-Time Only & Non-Profit Community Events 91 THE GUIDE Texas Business/Club Directory TWT (This Week in Texas) is published by Texas Weekly Publishing Co., at 2205 Montrose, Houston, Texas 77006, phone: (713) 527-9111. Opinions expressed by columnists are not necessarily those of TWT or of its staff. Publication of the name or photograph of any person or organization in articles or advertising in TWT is not to be construed as any indication of the sexual orientation of said person or organization.
    [Show full text]
  • Top 500 List 500. Go Your Own Way – Fleetwood Mac 499
    Top 500 List 500. Go Your Own Way – Fleetwood Mac 499. Reach Out and I’ll Be There – Four Tops 498. Take It To The Limit – Eagles 497. Proud Mary – Creedance Clearwater 496. Too Late To Turn Back Now – Cornelius Bros. 495. Help Me, Rhonda – Beach Boys 494. Operator – Jim Croce 493. Let’s Spend The Night – Rolling Stones 492. One of a Kind Love Affair – Spinners 491. Lay Lady Lay – Bob Dylan 490. She’s Gone – Hall & Oats 489. Backstabbers – O’Jays 488. Sweet Talkin’ Woman – Elo 487. Black and White – Three Dog Night 486. Cracklin’ Rosie – Neil Diamond 485. How Sweet It Is – Marvin Gaye 484. Levon – Elton John 483. Love Will Find A Way – Pablo Cruise 482. My Cherie Amour – Stevie Wonder 481. Turn! Turn! Turn! – Byrds 480. Woman, Woman – Gary Puckett 479. Rock Your Baby – George McCrae 478. Moondance – Van Morrison 477. Photograph – Ringo Starr 476. Take Me In Your Arms – Doobie Brothers 475. Love Grows (Where My Rosemary Goes) – Edison Lighthouse 474. In My Life – Beatles 473. Bad Girls – Donna Summer 472. Only The Good Die Young – Billy Joel 471. You Wear It Well – Rod Stewart 470. But It’s Alright – J. J. Jackson 469. Jet Airliner – Steve Miller 468. No Time – Guess Who 467. Isn’t She Lovely – Stevie Wonder 466. Hello It’s Me – Todd Rundgren 465. O-O-H Child – Five Stairsteps 464. The Long and Winding Road – Beatles 463. Ain’t No Mountain High Enough – Marvin Gaye 462. Ruby Tuesday – The Rolling Stones 461. I Got My Mind Set On You – George Harrison 460.
    [Show full text]
  • “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
    “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
    [Show full text]
  • Black History Trivia Bowl Study Questions Revised September 13, 2018 B C D 1 CATEGORY QUESTION ANSWER
    Black History Trivia Bowl Study Questions Revised September 13, 2018 B C D 1 CATEGORY QUESTION ANSWER What national organization was founded on President National Association for the Arts Advancement of Colored People (or Lincoln’s Birthday? NAACP) 2 In 1905 the first black symphony was founded. What Sports Philadelphia Concert Orchestra was it called? 3 The novel Uncle Tom’s Cabin was published in what Sports 1852 4 year? Entertainment In what state is Tuskegee Institute located? Alabama 5 Who was the first Black American inducted into the Pro Business & Education Emlen Tunnell 6 Football Hall of Fame? In 1986, Dexter Gordan was nominated for an Oscar for History Round Midnight 7 his performance in what film? During the first two-thirds of the seventeenth century Science & Exploration Holland and Portugal what two countries dominated the African slave trade? 8 In 1994, which president named Eddie Jordan, Jr. as the Business & Education first African American to hold the post of U.S. Attorney President Bill Clinton 9 in the state of Louisiana? Frank Robinson became the first Black American Arts Cleveland Indians 10 manager in major league baseball for what team? What company has a successful series of television Politics & Military commercials that started in 1974 and features Bill Jell-O 11 Cosby? He worked for the NAACP and became the first field Entertainment secretary in Jackson, Mississippi. He was shot in June Medgar Evers 12 1963. Who was he? Performing in evening attire, these stars of The Creole Entertainment Show were the first African American couple to perform Charles Johnson and Dora Dean 13 on Broadway.
    [Show full text]
  • The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
    The Impressions, circa 1960: Clockwise from top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden. Inset: Original lead singer Jerry Butler. PERFORMERS Curtis Mayfield and the Impressions BY J O E M cE W E N from the union of two friends, Jerry Butler and Curtis Mayfield of Chicago, Illinois. The two had sung together in church as adolescents, and had traveled with the Northern Jubilee Gospel Singers and the Traveling Souls Spiritual Church. It was Butler who con­ vinced his friend Mayfield to leave his own struggling group, the Alfatones, and join him, Sam Gooden, and brothers Richard and Arthur Brooks— the remnants of another strug­ gling vocal group called the Roosters. According to legend, an impressive performance at Major Lance, Walter Jackson, and Jan Bradley; he also a Chicago fashion show brought the quintet to the at­ wrote music that seemed to speak for the entire civil tention of Falcon Records, and their debut single was rights movement. A succession of singles that began in recorded shortly thereafter. “For Your 1964 with “Keep On Pushing” and Precious Love” by “The Impressions SELECTED the moody masterpiece “People Get featuring Jerry Butler” (as the label DISCOGRAPHY Ready” stretched through such exu­ read) was dominated by Butler’s reso­ berant wellsprings of inspiration as nant baritone lead, while Mayfield’s For Your Precious Love.......................... Impressions “We’re A Winner” and Mayfield solo (July 1958, Falcon-Abner) fragile tenor wailed innocently in the recordings like “(Don’t Worry) If background. Several follow-ups He Will Break Your Heart......................Jerry Butler There’s A Hell Below We’re All Going (October 1960, Veejay) failed, Butler left to pursue a solo ca­ To Go” and “Move On Up,” placing reer, and the Impressions floundered.
    [Show full text]
  • Gospel Music and the Sonic Fictions of Black Womanhood in Twentieth-Century African American Literature
    “UP ABOVE MY HEAD”: GOSPEL MUSIC AND THE SONIC FICTIONS OF BLACK WOMANHOOD IN TWENTIETH-CENTURY AFRICAN AMERICAN LITERATURE Kimberly Gibbs Burnett A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the degree requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the Graduate School. Chapel Hill 2020 Approved by: Danielle Christmas Florence Dore GerShun Avilez Glenn Hinson Candace Epps-Robertson ©2020 Kimberly Gibbs Burnett ALL RIGHTS RESERVED ii ABSTRACT Kimberly Burnett: “Up Above My Head”: Gospel Music and the Sonic Fictions of Black Womanhood in TWentieth-Century African American Literature (Under the direction of Dr. Danielle Christmas) DraWing from DuBois’s Souls of Black Folk (1903), which highlighted the Negro spirituals as a means of documenting the existence of a soul for an African American community culturally reduced to their bodily functions, gospel music figures as a reminder of the narrative of black women’s struggle for humanity and of the literary markers of a black feminist ontology. As the attention to gospel music in texts about black women demonstrates, the material conditions of poverty and oppression did not exclude the existence of their spiritual value—of their claim to humanity that was not based on conduct or social decorum. At root, this project seeks to further the scholarship in sound and black feminist studies— applying concepts, such as saturation, break, and technology to the interpretation of black womanhood in the vernacular and cultural recordings of gospel in literature. Further, this dissertation seeks to offer neW historiography of black female development in tWentieth century literature—one which is shaped by a sounding culture that took place in choir stands, on radios in cramped kitchens, and on stages all across the nation.
    [Show full text]
  • Savoy and Regent Label Discography
    Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli.
    [Show full text]
  • Newsletternewsletter March 2015
    NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered.
    [Show full text]