Gospel jazz instrumental in Jazz Instrumental Music

"Great Gospel Performers (1937-50)" (11/14/2000) Jazz Instrument Various Artists, Document (USA)Includes liner notes by Chris Smith. Personnel: Sister Vera Copeland (vocals, guitar); Sister Lotta Peavey, Rev. Elder Lightfoot Solomon Michaux, Prophet B.W. West, Goldia Haynes, Sister Rosetta Winn, Madame Ernestine, Mahalia Jackson (vocals); Gene Phillips, Jesse Thomas (guitar); Pat Patton (banjo); Ellis Horne (clarinet); Bunk Johnson (trumpet); Turk Murphy (trombone); Estelle Allen (piano, organ); Joe Liggins, Burt Bales (piano); Squire Girsback, Eddie Davis (upright bass); Clancy Hayes (drums). Audio Remasterer: Gerhard Wessely. Liner Note Author: Chris Smith . Recording information: Chicago, IL (05/21/1937-04/18/1950); Hollywood, CA (05/21/1937-04/18/1950); Houston (05/21/1937-04/18/1950); Los Angeles, CA (05/21/1937-04/18/1950); New York, NY (05/21/1937-04/18/1950); San Francisco, CA (05/21/1937-04/18/1950). Great gospel divas Mahalia Jackson, Sister Goldia Haynes, Madame Ernestine, and others. ~ Opal Louis Nations

"The Gospel Truth" (10/17/2000) Jazz Instrument Gordon, Wycliffe, Criss Cross (Netherlands)Personnel includes: Wycliffe Gordon (trombone); Carrie Smith (vocals); Victor Goines (saxophone, clarinet); Marcus Printup (trumpet); Eric Reed (piano); Reuben Rogers (bass); Winard Harper (drums). Recorded at Systems Two Studios, New York, New York on May 31, 2000. Includes liner notes by Ted Panken. Personnel: Wycliffe Gordon (vocals, trombone, tuba); Marcus Printup (vocals, trumpet); Carrie Smith (vocals); Victor Goines (clarinet, tenor saxophone, baritone saxophone); Winard Harper (drums). Liner Note Author: Ted Panken. Recording information: Systems Two Recording Studios, NY (05/31/2000). Trombone player Wycliffe Gordon plays from his gospel roots on this CD entitled The Gospel Truth, released in the year 2000. Gordon grew up in a gospel church in his home state of Georgia. His father was the church pianist, assuring that his son's home and church life were filled with religious music. The gospel church musical experience draws on diverse elements, from traditional spirituals and hymns to blues to jazz, played on a variety of instruments and sung by voices dedicated to praising the Lord. It is no wonder, then, that Gordon sounds right at home with this music -- he is. Joining him on the album are trumpeter Marcus Printup and pianist Eric Reed, Reuben Rogers on bass, Winard Harper on drums, and Victor Goines on clarinet. These jazzmen are in a gospel mode, in which they are joined by a daughter of the church, Carrie Smith, on vocals. Together, they create a praise service that features traditional hymns, contemporary gospel tunes, and original compositions by Gordon. Listeners who love that old-time religion may especially enjoy "Jesus Loves Me," "The Lord's Prayer," "What a Friend We Have in Jesus," and "Take My Hand, Precious Lord." Gordon is quick to acknowledge that his talents are God-given, and he shows it, on "The Hallelujah Scat," "The Deacon's Moan," and the title cut, as he turns his trombone into an instrument of praise. Victor Goines follows that lead as he plays a soulful rendition of "The Battle Hymn of the Republic." Reed and Printup, Harper and Rogers are right on in their sensitive and joyous contributions to the recording. The most outstanding cut on this great album may be the selection that features all the musicians. Led by the mighty voice of Smith, the entire group sings and plays on the inspirational "There's a Tree." The album closes with a piece composed by Gordon entitled "The Message." There is a popular saying in the gospel tradition: The message is in the music. It is on this CD. ~ Rose of Sharon Witmer

"New & Old Gospel" (01/14/1998) Jazz Instrument McLean, Jackie, EMI Music DistributionPersonnel: Jackie McLean (alto saxophone); Ornette Coleman (trumpet); Lamont Johnson (piano); Scott Holt (bass); Billy Higgins (drums). Saxophonist Jackie McLean lays down the hard bop gospel on NEW AND OLD GOSPEL, which features the compositions "Lifeline" and "Midway," among others. Originally issued in 1967, NEW AND OLD GOSPEL is one of the final albums in jazz saxophonist Jackie McLean's long and impressive run on the iconic Blue Note label. What makes this adventurous hard-bop album even more significant, however, is the presence of the legendary Ornette Coleman, in a rare turn as both a sideman and a trumpet player. Although Coleman graciously lets McLean, a powerhouse player in his own right, retain the center spotlight, the free-jazz giant undeniably shapes the proceedings, as best evinced on his own composition "Old Gospel," a lively and fiercely funky showcase for McLean's formidable alto-sax lines. This 1967 session is notable for the presence of Ornette Coleman in the role of sideman, on trumpet no less. There are only three tunes on New and Old Gospel, one side-long piece by McLean, a four-part suite entitled "Lifeline," and two works by Coleman, including the title track and "Strange As It Seems." As a trumpet player, Coleman understands the psychology of McLean's playing and composing, in that they both come directly from the blues and it haunts everything they do. The other players on the session that make up the rhythm section -- drummer Billy Higgins, pianist Lamont Johnson and Scott Holt on bass -- understand this implicitly. No matter how knotty or abstract things get, they can dance back into the blues pocket and haul it all out again. Not that they have to, because, as is evidenced here, especially in the unbelievably complex intervallic world on "Lifeline," the front-line players know exactly where they are; they intersect across harmony and melody lines throughout and meet on a dime to offer a series of tonally challenging phrases and held notes that put one theme to bed and bring another one into play. The melodic interplay here is just stellar; it follows no convention or structure other than a blues feeling, and yet swings so wonderfully hard. On the title track, the most joyous thing on the disc, Ornette uses a simple rhythmic device that is found in round singing in Pentecostal churches and Johnson takes the ostinato and lets it rip, swinging up and down the aisle, as McLean and Coleman take the front line and move all over the scale (in C) and create a stomping, wailing, roaring work that is all stomping harmonic fury and no slack out excesses. The session ends on a glorious moody note, with McLean playing a melody and Coleman using his trumpet to play counterpoint by juxtaposing a free tempo against the rigid time signature of the bluesy lyric. In the solos both men switch places, and when the turnaround happens it's Holt who signals it and brings everyone home at the same time. This is one legendary Blue Note date that isn't mentioned often enough in that label's great history. (U.S. CD re-issue in 2007) ~ Thom Jurek

"Christmas in New Orleans - R&B, Jazz, & Gospel" (10/28/1997) Jazz Instrument Various Artists, Mardi Gras RecordsPersonnel: Charmaine Neville, Zion Harmonizers, Tommy Ridgley, Alton Carson, Ready Teddy McQuisten, Willie Humphrey, Joseph Butler (vocals); Milton Batiste (vocals, trumpet); Wayne Benette (guitar); Ernest Watson (saxophone); Rickie Monie (piano); Joseph Payton (drums); Ken Afro Williams (percussion). Recorded at Ultrasonic Studios, New Orleans, Louisiana in April 1992. Personnel: Wayne Bennett (guitar); Ernest Watson (saxophone); Milton Batiste (trumpet); Rickie Monie (piano); Alvin Jacques (drums); Kenneth "Afro" Williams (percussion). Recording information: Ultrasonic Studios, New Orleans, LA (04/1992). These thirteen tracks were recorded in New Orleans in April 1992 with a Dixieland arrangement of "Merry Christmas Baby" (featuring Willie Humphrey and Joseph Butler). There is a house band used throughout although the CD's outstanding track is the a cappella rendition of "Silent Night" by the gospel group, The Zion Harmonizers (who also turn in a unique "White Christmas" with minimal backing). If you are a Charmaine Neville fan, she gets the spotlight three times. Alton Carson and New Orleans R&B legend Tommy Ridgley get two tracks apiece but if you are looking for that "N'awlins Sound," you will be better off avoiding this CD. ~ Dennis MacDonald, Roundup newsletter

"The Gospel Truth" (10/17/2000) Jazz Instrument Gordon, Wycliffe, Criss Cross (Netherlands)Personnel includes: Wycliffe Gordon (trombone); Carrie Smith (vocals); Victor Goines (saxophone, clarinet); Marcus Printup (trumpet); Eric Reed (piano); Reuben Rogers (bass); Winard Harper (drums). Recorded at Systems Two Studios, New York, New York on May 31, 2000. Includes liner notes by Ted Panken. Trombone player Wycliffe Gordon plays from his gospel roots on this CD entitled The Gospel Truth, released in the year 2000. Gordon grew up in a gospel church in his home state of Georgia. His father was the church pianist, assuring that his son's home and church life were filled with religious music. The gospel church musical experience draws on diverse elements, from traditional spirituals and hymns to blues to jazz, played on a variety of instruments and sung by voices dedicated to praising the Lord. It is no wonder, then, that Gordon sounds right at home with this music -- he is. Joining him on the album are trumpeter Marcus Printup and pianist Eric Reed, Reuben Rogers on bass, Winard Harper on drums, and Victor Goines on clarinet. These jazzmen are in a gospel mode, in which they are joined by a daughter of the church, Carrie Smith, on vocals. Together, they create a praise service that features traditional hymns, contemporary gospel tunes, and original compositions by Gordon. Listeners who love that old-time religion may especially enjoy "Jesus Loves Me," "The Lord's Prayer," "What a Friend We Have in Jesus," and "Take My Hand, Precious Lord." Gordon is quick to acknowledge that his talents are God-given, and he shows it, on "The Hallelujah Scat," "The Deacon's Moan," and the title cut, as he turns his trombone into an instrument of praise. Victor Goines follows that lead as he plays a soulful rendition of "The Battle Hymn of the Republic." Reed and Printup, Harper and Rogers are right on in their sensitive and joyous contributions to the recording. The most outstanding cut on this great album may be the selection that features all the musicians. Led by the mighty voice of Smith, the entire group sings and plays on the inspirational "There's a Tree." The album closes with a piece composed by Gordon entitled "The Message." There is a popular saying in the gospel tradition: The message is in the music. It is on this CD. ~ Rose of Sharon Witmer

"Deep River: The Spirit of Gospel Music in Jazz" (10/27/1998) Jazz Instrument Cullum, Jim, River WalkPersonnel includes: Jim Cullum (cornet); Evan Christopher (clarinet); Howard Elkins (guitar); Clark Terry, Nicholas Payton, Topsy Chapman, Nina Ferro. Taken from some of Jim Cullum's "Riverwalk, Live From the Landing" radio shows, this set of hymns and religious-oriented music is performed by Cullum's jazz band in spirited and swinging fashion. The music is given Dixieland-ish and hot jazz treatments, with cornetist Cullum's band (featuring pianist John Sheridan, trombonist Mike Pittsley, and usually clarinetist Evan Christopher) in fine form. Flugelhornist Clark Terry guests on the opening "Nobody Knows the Trouble I've Seen," trumpeter Nicholas Payton is on "His Eye Is on the Sparrow," and Topsy Chapman has four vocals along the way. The music, which can easily be enjoyed by nonbelievers, is highlighted by "Deep River," "Ave Maria," "Just a Closer Walk With Thee" (a feature for Christopher), and "Down by the Riverside." ~ Scott Yanow

"Deep River: The Spirit of Gospel Music in Jazz" (10/27/1998) Jazz Instrument Cullum, Jim, River WalkPersonnel includes: Jim Cullum (cornet); Evan Christopher (clarinet); Howard Elkins (guitar); Clark Terry, Nicholas Payton, Topsy Chapman, Nina Ferro. Taken from some of Jim Cullum's "Riverwalk, Live From the Landing" radio shows, this set of hymns and religious-oriented music is performed by Cullum's jazz band in spirited and swinging fashion. The music is given Dixieland-ish and hot jazz treatments, with cornetist Cullum's band (featuring pianist John Sheridan, trombonist Mike Pittsley, and usually clarinetist Evan Christopher) in fine form. Flugelhornist Clark Terry guests on the opening "Nobody Knows the Trouble I've Seen," trumpeter Nicholas Payton is on "His Eye Is on the Sparrow," and Topsy Chapman has four vocals along the way. The music, which can easily be enjoyed by nonbelievers, is highlighted by "Deep River," "Ave Maria," "Just a Closer Walk With Thee" (a feature for Christopher), and "Down by the Riverside." ~ Scott Yanow