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"description" => "<p><p align=justify>"La voix et la ferveur extraordinaires de Mahalia Jackson lui permettent de transcender tout ce qu’elle chante : les hymnes traditionnels comme les standards et les chants de Noël.<br />Ce 6ème volume de l'Intégrale Mahalia Jackson couvre les années 1955 et 1956." <strong>Jean Buzelin et Patrick Frémeaux</strong><br /><em>"Mahalia Jackson’s voice and extraordinary passion enabled her to transcend everything she sang, whether traditional hymns, standards or Christmas carols. This Complete Mahalia Jackson 6th volume presents years 1955 and 1956." </em><br /><strong>Jean Buzelin & Patrick Fremeaux</strong><br /></p><br />1955 (Columbia) : Silent Night, Holy Night • O Little Town Of Bethlehem • Go Tell It On The Mountain • White Christmas • I Wonder As I Wander • Sweet Little Jesus Boy • The Holy Babe • No Room At The Inn • Joy To The World • O Come All Ye Faithful • A Satisfied Mind • The Bible Tells Me So • I Asked The Lord • I’m Grateful • Down By The Riverside - Take 1 • Trouble In My Way - Take 1 • Without A Song • Joshua Fit The Battle Of Jericho • The Lord Is A Busy Man • 1956 (Columbia) : ‘Round The Rainbow.<br />Droits : Frémeaux& Associés</p><br><br>"
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"dwf_livret" => "<h3>COMPLETE MAHALIA JACKSON VOL.6</h3><p align=justify><span class=Texte><span class=Soustitre2>COMPLETE MAHALIA JACKSON</span> <br /><strong>INTÉGRALE MAHALIA JACKSON VOL. 6 1955-1956</strong> <br />Nous avons quitté Mahalia Jackson, à la fin du volume 5 de notre intégrale, pour ainsi dire entre deux portes, au soir du 1er juin 1955, après une séance de studio pendant laquelle elle venait d’enregistrer trois morceaux avec le soutien d’une grande formation dirigée par le chef d’orchestre Ray Ellis. Retrouvons-là, la veille pour une première série de chants destinés à composer un album pour Noël. À côté du célèbre Silent Night, qu’elle a déjà enregistré pour Apollo en 1950, et qui a fini par être assimilé à un “vrai” spiritual grâce à quelques grandes voix noires qui ont donné quelque poids à cette Douce nuit, Mahalia doit se coltiner quelques mélodies qu’adorent les Américains. On y trouve l’inévitable White Christmas créé par Bing Crosby(1), O Little Town Of Bethlehem, Joy To The World, l’hymne latin Adeste Fideles, etc, et autres rengaines familiales que l’on chante autour du sapin ! Il est toutefois curieux que Mahalia Jackson, qui a toujours refusé de chanter un répertoire de jazz, accepte de se plier aux exigences de ses producteurs en interprétant des chansons qui n’ont rien à voir avec la tradition afro-américaine. À partir du moment où il s’agit de chansons (vaguement) religieuses, doit-elle accepter de tout chanter ? Évidemment, pour ajouter au côté grandiose de l’opération, des arrangements ont été commandés à Sid Bass qui, lors de la pre­mière séance, dirige, sur deux morceaux, un grand orchestre de studio avec une large section de cordes. Par chance, un petit espace de liberté à été laissé à Mahalia qui en a profité, en l’absence de l’orchestre, pour reprendre notamment un vieux negro spiritual traditionnel, Go Tell It On The Mountain (également enregistré pour Apollo en 1950), donnant libre cours à son grand talent, sa ferveur et sa foi authentique. Mahalia revient le surlendemain pour terminer l’enregistrement de ses chants de Noël. Heureusement, la pianiste Mildred Falls et l’organiste Ralph Jones ont repris leur place derrière leurs claviers respectifs, et l’on voit poindre la silhouette inattendue de Lionel Hampton soi-même derrière son vibraphone. Foin de cordes, de cuivres et de bois, mais une chorale destinée probablement à accentuer l’aspect confraternel de la Fête de la Nativité. Bon. Encore une fois, l’éclectisme est de rigueur. Mahalia chante Joy To The World, composé par Haendel sur le psaume 98, et recueilli par le Dr. Isaac Watts dans son “Hymns & Spiritual Songs” publié en Amérique en 1739 et qui, depuis plus de deux siècles, constitue la base du répertoire des spirituals chez les Blancs comme chez les Noirs. Elle interprète également l’hymne latin Adeste Fideles, que tout petit chanteur, avec ou sans croix de bois, a chanté durant sa jeunesse ; écrit en 1740 par John Francis Wade, il a été traduit en anglais par Frederick Oakley sous le titre O Come All Ye Faithful. Trois chants cependant peuvent se rattacher à la tradition afro-américaine : Sweet Little Jesus Boy, œuvre de Robert McGimsey, l’auteur du célèbre Shadrack, le grand succès du Golden Gate Quartet(2), The Holy Babe, adapté du negro spiritual traditionnel Go Where I Send Thee, et No Room At The Inn. Deux mois plus tard, Mahalia Jackson enregistre exceptionnellement dans sa ville de Chicago, la Cité des Vents qu’elle n’a jamais quitté en dépit des appels de New York, la capitale de l’industrie musicale, et malgré les vexations racistes. Par exemple quand elle “trouva difficile d’admettre que des Blancs qui étaient venus l’écouter en grand nombre, autant aux Etats-Unis qu’à l’étranger, pouvaient se sentir plus ou moins solidaires de ceux qui, en 1955, avaient criblé de balles ses vitres, lorsqu’elle acheta une maison dans un quartier de Chicago, occupé auparavant par des Blancs”(3). En compagnie de Mildred Falls, de Ralph Jones et d’une section rythmique locale, elle retrouve les Jack Halloran Singers qui ont participé à ses émissions de radio. Si ce quartette vocal blanc est, professionnellement, au-delà de toute critique, qu’il nous soit permis de regretter que l’on n’ait pas songé, ou voulu, faire appel à un vrai quartette de gospel pour lui donner la réplique, comme autrefois les Selah Singers ou les Southern Harmonaires. A Satisfied Mind/The Bible Tells Me So font l’objet d’un nouveau single (4-40554), tandis que The Lord’s Prayer, rejeté, sera réenregistré l’année suivante. <br />Après sans doute quelques obligations et tournées harassantes, Mahalia retombe malade et doit être hospitalisée le 10 septembre. Trois semaines plus tard, la chanteuse est sur pieds pour retourner en studio. Et cette fois, changement de décor, de répertoire et de musiciens puisqu’une section rythmique d’excellents jazzmen se joint à la paire Mildred Falls-Ralph Jones. Dans cet environnement stimulant, Mahalia Jackson laisse libre cours à son swing naturel, à son allant et à sa générosité, en recréant quelques vieux negro spirituals connus de tous comme Down By The Riverside et Joshua Fit The Battle Of Jericho qu’elle n’avait pas encore gravé sur disque, ou encore le superbe Trouble In My way composé par Roberta Martin (1907-1969). Grande pionnière du gospel associée autrefois à Thomas A. Dorsey, elle venait d’enregistrer ce titre sur Apollo avec ses Roberta Martin Singers et son chanteur soliste Norsalus McKissick. Un standard joliment interprété, Without A Song, figure également au programme, de même que I’m Grateful, non publié à l’époque, et qui contient une formidable partie de piano de Mildred Falls. Quelques mois plus tard, Mahalia donnera d’autres versions de quelques-uns de ces titres, ainsi que son medley réunissant Summertime et Sometimes I Feel Like A Motherless Child(4) dont la mouture enregistrée ce jour n’a pas dû suffisamment convaincre. Par contre, elle demande en vain d’enregistrer Precious Lord, Take My Hand, la célèbre et bouleversante composition de Thomas A. Dorsey — notre Irving Berlin, comme elle l’appelle — qu’elle chante depuis toujours et dont elle n’a pas encore laissé la trace dans la cire ou le vinyle. Elle devra encore patienter pour interpréter, derrière les micros, “ce chant qui, pour elle, signifie réellement quelque chose pour les gens qui ont été opprimés”(5). Quelques jours après, la chanteuse se retrouve au studio en tout autre compagnie, puisque le chef Sid Bass est de retour avec un orchestre jazzy. Des quatre titres engrangés ce jour-là, seul The Lord Is A Busy Man, imposé comme il se doit par Mitch Miller, sera publié et rejoindra You’re Not Living In Vain sur un 45 tours (4-40610). Par chance, Down By The Riverside et Trouble In My way, essayés dans ce contexte, ne seront pas retenus. Un petit examen des 45 tours de Mahalia Jackson publiés pour le marché pop permet de constater qu’ils disparaîtront du catalogue et que la plupart des titres de ces disques “commerciaux” ne seront pas repris en 33 tours ! De là à conclure qu’ils n’étaient destinés qu’à la consommation immédiate… <br />Avant les fêtes de fin d’année, le fameux album de chants pour Noël paraît enfin. Il est intitulé d’abord “Sweet Little Jesus Boy”(Columbia CL 702) puis réédité, en Europe, sous le titre “Joy To The World“. Apprécié par les uns, il est critiqué par les autres qui le considèrent comme un disque de jazz ! Chacun jugera à l’écoute, un demi-siècle plus tard, du degré de “jazzité” de ces interprétations. Mais tous s’accorderont pour constater que, à un ou deux morceaux près, elles n’ont qu’un lointain rapport avec les negro spirituals et les gospel songs authentiques. Mais il y la voix, évidemment… Au début de l’année 1956, Mahalia Jackson se produit au Massey Hall de Toronto puis effectue plusieurs tournées dans le centre et le sud du pays, en compagnie notamment de son vieux partenaire, le chanteur et pianiste Robert Anderson. Ses prestations scéniques s’accompagnent souvent d’invitations aux chaînes de télévision. Ces émissions permettront par ailleurs à de nombreux Blancs du Sud, en général pas très accueillants envers les artistes de couleur, à commencer à s’intéresser au “phénomène” Mahalia Jackson. Le 7 mars, la chanteuse, de retour à New York, enregistre quatre morceaux qui seront rejetés par les producteurs et réenregistrés trois semaines plus tard. Deux des trois titres tournés le 19 subissent le même sort provisoire. Seul ‘Round The Rainbow sera conservé. Quelques jours plus tard, le 23 mars, Mahalia est invitée à la Maison-Blanche pour l’anniversaire de Madame la Présidente. Le Général républicain Eisenhower a pris ses fonctions depuis peu. Qu’à cela ne tienne, la chanteuse se rendra ensuite, en compagnie du révérend C.L. Franklin (le père d’Aretha), à la Convention nationale démocrate où elle retrouvera le Dr. Martin Luther King, autrefois rencontré à Birmingham, en Alabama. En ce milieu des années 50, Mahalia Jackson est devenue l’une des grandes figures de l’Amérique noire, et même des Etats-Unis en général. Sans aucun doute, au sein de l’establishment et de la société, majoritairement blanche, elle s’est présentement installée comme l’une des ambassadrices de sa communauté et de la culture noire en général. Grâce à sa voix, sa présence, sa personnalité et son immense talent qui transcende tous les genres, Mahalia Jackson a largement mérité la place qu’elle occupe aujourd’hui, place si chèrement et durement payée. Son chemin n’est pas terminé, loin de là… <br /><em>Jean Buzelin <br />Auteur de Negro Spirituals et Gospel Songs, Chants d’espoir et de liberté (Ed. du Layeur/Notre Histoire, Paris 1998).</em> <br />© 2008 FRÉMEAUX & ASSOCIÉS <br /><u>Notes :</u> <br />1) Sister Rosetta Tharpe avait également été “obligée“ d’enregistrer Silent Night et White Christmas quelques années auparavant ; voir Complete Sister Rosetta Tharpe Vol.3 (FA 1303). <br />2) Voir Golden Gate Quartet Vol.2 (FA 5093). <br />3) In Phyl Garland : Les Dieux du Soul (Buchet/Chastel, Paris 1972), traduit par Yvonne et Maurice Cullaz. <br />4) George Gershwin a repris la trame harmonique de Sometimes I Feel pour écrire Summertime, l’un des airs majeurs de « Porgy and Bess ». <br />5) In Mahalia de Laurraine Goreau. <br /><u>Ouvrages consultés : <br /></u>Laurraine Goreau : <em>Mahalia</em> (Lion Pub., UK 1976 – 2e édition) <br />Jules Schwerin : <em>God To Tell It</em> : Mahalia Jackson (Oxford University Press, 1992) <br />Anthony Heilbut : <em>The Gospel Sound</em> (Limelight Ed., NYC 1992 – 4e édition) <br />Nous remercions Friedrich Mühlöcker, Étienne Peltier et Robert Sacré pour le prêt de certains disques rares de leur collection, ainsi que Jean-Paul Guiter, Robert Laughton et Gayle Wald. <br />Photos & collections : X (D.R.) <br /><span class=Soustitre><em>ENGLISH NOTES</em></span><br />At the end of volume 5 of our complete series we left Mahalia Jackson on 1 June 1955 in the evening at, as it were, a turning point in her career, after a studio session during which she had just recorded three titles, including two with the backing of a big band conducted by band leader Ray Ellis. We find her now the previous evening for the first session of songs destined to form a Christmas album. In addition to the well known Silent Night which she had already recorded for Apollo in 1950 and that was now considered a true spiritual thanks to several great interpretations by black artistes, Mahalia was landed with some tunes beloved by the American public: the inevitable White Christmas created by Bing Crosby(1), O Little Town Of Bethlehem, Joy To The World, the Latin carol Adeste Fideles and other hackneyed family favourites always sung around the Christmas tree! However, it is curious that Mahalia Jackson, who had always refused to sing a jazz repertoire, accepted the demands of her producers by interpreting songs that had nothing to do with the Afro-American tradition. When it was a question of even faintly religious songs, was she forced to agree to sing everything? Obviously to add a certain dignity to the whole undertaking, the arrangements were by Sid Bass who, during the first session, on two titles, conducted a big studio band with a large string section. By chance, a tiny bit of freedom was left for Mahalia who took the opportunity, in the absence of the big band, to reprise notably the old traditional Negro spiritual Go Tell It On The Mountain (also recorded for Apollo in 1950), giving free rein to her outstanding talent, her fervour and her true beliefs. <br />Mahalia returned two days later to finish her recordings of Christmas carols. Fortunately, pianist Mildred Falls and organist Ralph Jones had taken up their places at their respective keyboards and, looming in the background, there was the unexpected silhouette of Lionel Hampton himself behind his vibraphone. No more strings, brass or woodwinds but a choir probably intended to underline the all-embracing aspect of Christmas. Good. The choice of titles is once more wide ranging. Mahalia sings Joy To The World, composed by Handel based on Psalm 98 and included by Dr. Isaac Watts in his “Hymns & Spiritual Songs” published in America in 1739 and which, for over two centuries, has formed the basis of the repertoire of spirituals for white Americans as well as black. She also interprets the Latin hymn Adeste Fideles that all young children have sung in their youth; John Francis Wade wrote the words and music in 1740 and it was translated into English by Frederick Oakley under the title O Come All Ye Faithful. However, three songs are part of the Afro-American tradition: Sweet Little Jesus Boy, a work by Robert McGimsey, composer of the famous Shadrack; a big hit for the Golden Gate Quartet(2); The Holy Babe, an adaptation of the traditional Negro spiritual Go Where I Send Thee, and No Room At The Inn. Two months later Mahalia recorded exceptionally in her home town of Chicago, the Windy City that she had never left, in spite of repeated appeals from New York, the capital of the music industry, and racial problems. For example she “found it hard to accept that some of the white men who flocked to hear her, in the States as well as abroad, could more or less support those who, in 1955, riddled her window panes with bullet holes when she bought a house in a district of Chicago previously occupied by whites”(3). Accompanied by Mildred Falls, Ralph Jones and a local rhythm section, she teamed up again with the Jack Halloran Singers who had taken part in her radio shows. While this white vocal quartet is professionally above criticism, it is nevertheless regrettable that no-one thought (or wanted to?), of calling on a true gospel quartet to support her, as the Selah Singers or the Southern Harmonaires had once done. A Satisfied Mind/The Bible Tells Me So were the subject of a new single (4-40554), while The Lord’s Prayer, rejected, would be recorded the following year. After some doubtless exhausting engagements and tours, Mahalia fell ill again and had to be hospitalised on the 10 September. <br />Three weeks later the singer was fit enough to return to the studio. And, this time, there was a change of setting, repertoire and musicians as a rhythm section of excellent jazzmen joined the Mildred Falls/Ralph Jones duo. In this stimulating environment Mahalia Jackson gave free rein to her natural swing, to her drive and generosity of spirit, by recreating several old familiar Negro spirituals such as Down By The Riverside and Joshua Fit The Battle Of Jericho that she had not yet recorded, plus the superb Trouble In My Way composed by Roberta Martin (1907-1969). This latter great Gospel pioneer, who had once worked with Thomas A. Dorsey, had just recorded the title on Apollo with her Roberta Martin Singers and her soloist singer Norsalus McKissick. A nicely interpreted standard, Without A Song, was also part of the programme as was I’m Grateful, unissued at the time and that contains a wonderful piano part from Mildred Falls. A few months later Mahalia did different versions of some of these titles, as well as her medley combining Summertime and Sometimes I Feel Like A Motherless Child(4) of which the remake recorded that day could not have been sufficiently convincing. On the other hand, she asked in vain to record Precious Lord, Take My Hand, Thomas A. Dorsey’s deeply moving composition - our Irving Berlin as she called him - that she had always sung and had still never recorded. She had to wait some time longer before being able to cut “this song that, for her, really represented something for all the people who were oppressed”(5). A few days later the singer found herself back in the studio in quite different company for bandleader Sid Bass was back with a jazzy orchestra. Of the four titles stored up on this date only The Lord Is A Busy Man, insisted on of course by Mitch Miller, would be issued as a 45 (4-40610). By chance Down By The Riverside and Trouble In My Way, also tried out in this context, were not kept. A brief examination of Mahalia Jackson’s 45s issued for the pop market reveals that they disappeared from the catalogue and that most of these commercial records were not reissued as 33s! One can only conclude that they were intended for immediate consumption only… <br />In time for the festive season, the famous album of Christmas carols finally appeared. It was originally entitled “Sweet Little Jesus Boy” (Columbia CL702) then reissued in Europe under the title “Joy To The World”. Appreciated by some, it was criticised by others who considered it a jazz record! Listeners can judge for themselves the degree of jazziness in these interpretations. However, all agree that, apart from a couple of pieces, they have only a vague connection with true Negro spirituals and gospel songs. Of course, there is always the voice… At the beginning of 1956 Mahalia Jackson appeared at the Massey Hall in Toronto before undertaking several tours in the mid and southern states, accompanied notably by her old partner, singer and pianist Robert Anderson. Her stage appearances often resulted in invitations from TV stations. Moreover, these broadcasts enabled numerous white Southerners, generally not very open to coloured artistes, to become interested in the Mahalia Jackson “phenomenon”. On 7 March, back in New York, she recorded four titles that were rejected by the producers and recorded again three weeks later. Two of these three titles cut on the 19 suffered the same fate. Only ‘Round The Rainbow was retained. A few days later, on the 23 March, Mahalia was invited to the White House for the First Lady’s birthday. Republican General Eisenhower had not been in office long. So that nothing might be read into this the singer, accompanied by the Reverend C.L. Franklin (Aretha’s father), then went to the national Democratic convention where she met Dr. Martin Luther King whom she had already met in Birmingham, Alabama. By the mid-50s Mahalia Jackson had become one of the great figures of black America, even of the United States in general. There is no doubt that she was now firmly installed within the white establishment as an ambassadress of her community and back people overall. Thanks to her voice, her presence, her personality and immense talent which transcends all genres, Mahalia Jackson fully deserves the place she occupies today, a place so dearly paid for. Her journey is still not finished, not by a long way… <br /><em>Adapted from the French text of Jean BUZELIN by Joyce WATERHOUSE <br />© 2008 FRÉMEAUX & ASSOCIÉS</em> <br /><u>Notes: <br /></u>1) Sister Rosetta Tharpe had also been “obliged” to record Silent Night and White Christmas a few years previously: see Complete Sister Rosetta Tharpe Vol. 3 (FA 1303). <br />2) See Golden Gate Quartet Vol. 2 (FA 5093). <br />3) In Phyl Garland: Les Dieux du Soul (The Sound of Soul) (Buchet/Chastel, Paris 1972). <br />4) George Gershwin took the harmonic theme of Sometimes I Feel Like A Motherless Child when he wrote Summertime, one of the great tunes from “Porgy and Bess”. <br />5) In Mahalia by Laurraine Goreau. <br /><u>Works consulted: <br /></u>Laurraine Goreau: Mahalia (Lion Pub. UK 1976 – 2nd edition). <br />Jules Schwerin: God To Tell It: Mahalia Jackson (O.U.P., 1992). <br />Anthony Heilbut: The Gospel Sound (Limelight Ed., NYC 1992 – 4th edition) <br />Grateful thanks to Friedrich Mühlöcker, Etienne Peltier and Robert Sacré for the loan of certain rare records from their collections, and Jean-Paul Guiter, Robert Laughton and Gayle Wald. <br />Photos & collections: X (D.R.) <br /><span class=Soustitre>discographie</span><br /><strong>01. SILENT NIGHT, HOLY NIGHT</strong> (F. Grüber - Mohr - arr. M. Jackson) CO56462 <br /><strong>02. O LITTLE TOWN OF BETHLEHEM</strong> (L. Phillips Brooks - Redner) CO no mx <br /><strong>03. GO TELL IT ON THE MOUNTAIN</strong> (Trad.) CO no mx <br /><strong>04. WHITE CHRISTMAS</strong> (I. Berlin) CO no mx <br /><strong>05. I WONDER AS I WANDER</strong> (L. Berio) CO no mx <br /><strong>06. SWEET LITTLE JESUS BOY</strong> (R. McGimsey) CO59085 <br /><strong>07. THE HOLY BABE</strong> (Trad. - arr. M. Jackson) CO no mx <br /><strong>08. NO ROOM AT THE INN</strong> (Stoess - Sterrett) CO no mx <br /><strong>09. JOY TO THE WORLD</strong> (G.F. Haendel) CO no mx <br /><strong>10. O COME ALL YE FAITHFUL</strong> (J.F. Wade - transcription F. Oakley - Reading) CO no mx <br />1<strong>1. A SATISFIED MIND</strong> (R. Hayes - J. Rhodes) CO5588 <br /><strong>12. THE BIBLE TELLS ME SO</strong> (D.R.) CO5589 <br /><strong>13. I ASKED THE LORD</strong> (J. Lange - Duncan) CO53947-1 <br /><strong>14. I’M GRATEFUL</strong> (Trad.) CO53948 <br /><strong>15. DOWN BY THE RIVERSIDE</strong> (Trad.) CO53949-1 <br /><strong>16. TROUBLE IN MY WAY</strong> (Kenwood - R. Martin) CO53950-1 <br /><strong>17. WITHOUT A SONG</strong> (W. Rose - E. Ellison -V. Youmans) CO53951 <br /><strong>18. JOSHUA FIT THE BATTLE OF JERICHO</strong> (Trad. - arr. M. Jackson) CO53952 <br /><strong>19. THE LORD IS A BUSY MAN</strong> (D.R.) CO53946-2 <br /><strong>20. (THERE IS NO COLOR LINE) AROUND THE RAINBOW</strong> (D.R.) CO55823 <br /><strong>Mahalia Jackson</strong> (vocal) & <strong>The Falls-Jones Ensemble</strong> : (1-5) Mildred Falls (piano), Ralph Jones (organ), Milton Hinton (bass), Buster “Elden“ Bailey (vibes on 1, 3, 4, chimes on 1, 4), <strong>Orchestra dir. by Sid Bass</strong> (on 2, 5). New York, 31/05/1955. (6-10) Mildred Falls (piano), Ralph Jones (organ), poss. Milton Hilton (bass), Lionel Hampton (vibes on 7, 8, 10), Robert “Bob“ Prince (vibes on 6, 9, chimes on 9, 10), unknown choir (on 6, 9, 10). New York City, 02/06/1955. (11-12) Mildred Falls (piano), Ralph Jones (organ), Earl Backus (guitar), Duane Swalley (bass), Frank Rullo (drums), The Jack Halloran Singers (vocal group). Chicago, IL, 04/08/1955. (13-18) Mildred Falls (piano), Ralph Jones (organ, except on 14), Clifton “Skeeter“ Best (guitar, except on 14, 17), Walter Page (bass, except on 14, 17), Gordon “Specs“ Powell (drums, except on 17), unknown vocal group on 13. New York City, 03/11/1955. (19) Orchestra dir. by Sid Bass : Bert Pederson, Bernie Privin, Jimmy Nottingham (trumpet), Jack Satterfield, Frank Saracco, Al Godlis (trombone), Sam Musiker, Carl Prage, Philip Bodner (saxes), unknown (piano)(guitar)(bass)(chimes), Philip Kraus (drums), unknown choir. New York City, 07/11/1955. (20<strong>) The Falls-Jones Ensemble</strong> : Mildred Falls (piano), Ralph Jones (organ), Milton Hinton (bass), Gus Johnson (drums). New York City, 19/03/1956.­­­<br /><p class=MsoNormal><span class=Source>CD COMPLETE MAHALIA JACKSON VOLUME 6 1955-1956, MAHALIA JACKSON © Frémeaux & Associés (frémeaux, frémaux, frémau, frémaud, frémault, frémo, frémont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD à acheter, écouter des vieux enregistrements, albums, rééditions, anthologies ou intégrales sont disponibles sous forme de CD et par téléchargement.)</span></p></span></p>"
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"description" => "<p>Les premiers grands gospels de Louis Armstrong avant le Good Book de 1958. « L’idée d’offrir un premier volet au fameux “Good Book” que Satchmo publia en 1958 est en soi excellente. On y retrouve pour l’essentiel des enregistrements Decca comme les merveilleuses faces qu’Armstrong signa en 1938 en compagnie du Lynn Murra Choir (avec, en supplément, deux raretés enregistrées le 25 décembre au Carnegie Hall pour une soirée de Noël organisée par Paul Whiteman). Tout ce disque respire le bonheur. On y retrouve avec un plaisir toujours recommencé le grand fauve enroué, la trentaine triomphante, tour à tour jovial, recueilli, solennel. et par-dessus tout sa voix éraillée, rocailleuse, ensoleillée d’une formidable force de conviction. Il suffit d’écouter I hope gabriel likes my music pour que, sans l’ombre d’un doute, le révérend Louis nous fasse croire définitivement aux anges. Alleluiah ! » <br /><strong>Pascal Anquetil</strong>, Jazzman & Le Monde de la Musique<br /><strong><em>Droits : Groupe Frémeaux Colombini, CD et disques de Gospel et Negro spirituals, Art sacré noir américain.</em></strong></p><br><br><p>SHADRACK, R. MCGIMSEY • NOBODY KNOWS THE TROUBLE I’VE SEEN, TRADITIONAL • WHEN THE SAINTS GO MARCHIN’IN, TRADITIONAL • DEAR OLD SOUTHLAND, H. CREAMER, J.T. LAYTON • OLD MAN MOSE, L. ARMSTRONG, Z. RANDOLPH • LAWD, YOU MADE THE NIGHT TOO LONG, S.M. LEWIS, J. YOUNG • I’LL GET MINE BYE AND BYE, J. DAVIS • AS LONG AS YOU LIVE, B. HANNIGHEN • NOW YOU CALL THAT A BUDDY, DE RAYE, C. WILSON • I HOPE GABRIEL LIKES MY MUSIC, D. FRANKLIN • GOING TO SHOUT ALL OVER GOD’S HEAVEN, TRADITIONAL • CAIN AND ABEL, T. FENSTOCK, A. LOMAN • JONAH AND THE WHALE, R. MCGIMSEY • BYE AND BYE, TRADITIONAL • WHEN IT’S SLEEPY TIME DOWN SOUTH, C. MUSE, L. & O. RENÉ • SHADRACK, R. MC GIMSEY • NOBODY KNOWS THE TROUBLE I’VE SEEN, TRADITIONAL.</p>"
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"description" => "<p>La véritable histoire de la musique sacrée afro-américaine par les enregistrements historiques de ses plus grands interprètes. Dans un coffret de 2 CD avec un livret de 16 pages, Jean Buzelin a réalisé l'anthologie de référence du Gospel.<br /><strong>Patrick Frémeaux<br /></strong><br />Il serait vain de commenter chacun de ces chants, ils sont tous excellents, c’est un “must” pour tout le monde et le Livret, avec des photos superbes (et inédites) de Jacques Demêtre et le texte de Jean Buzelin vaut à lui seul le prix du coffret.<br /><strong>Robert Sacré, SOUL BAG<br /></strong><br />Inclus : The black diamond express to hell par le Rev A.W. Nix.<br /><em>Droits audio : Frémeaux & Associés - Le Patrimoine Sonore (01 43 74 90 24).</em></p><br><br><p>BLIND WILLIE JOHNSON, LET YOUR LIGHT SHINE ON ME • BLIND WILLIE JOHNSON, MOTHER’S CHILDREN HAVE A HARD TIME • ARIZONA DRANES, I’LL GO WHERE YOU WANT ME TO DO • REV. D.C. RICE, HE’S GOT HIS EYES ON YOU • REV. J.M. GATES, THE NEED OF PRAYER • REV. J.C. BURNETT, TRUE FRIENDSHIP • SISTER CALLY FANCY, GOIN’ ON TO HEAVEN IN THE SANCTIFIED WAY • HOLY GHOST SANCTIFIED SINGERS, THOU CAREST LORD FOR ME • MITCHELL’S CHRISTIAN SINGERS, SIGN OF THE JUDGEMENT • WASHINGTON PHILLIPS, TAKE YOUR BURDEN TO THE LORD... • REV. EDWARD CLAYBORN, THEN WE’LL NEED THAT TRUE RELIGION • ELDER CURRY, MEMPHIS FLU • BESSIE JOHNSON, HE GOT BETTER THINGS FOR YOU • NORFOLK JUBILEE QUARTET, NO HIDING PLACE • REV. A.W. NIX, THE BLACK DIAMOND EXPRESS TO HELL (I & II) • THOMAS A. DORSEY, IF YOU SEE MY SAVIOUR • HEAVENLY GOSPEL SINGERS, PRECIOUS LORD, TAKE MY HAND • HEAVENLY GOSPEL SINGERS, THE PRODIGAL SON • MAHALIA JACKSON, OH MY LORD • MAHALIA JACKSON, GOD SHALL WIPE ALL TEARS AWAY • SELAH JUBILEE SINGERS, I WHANT JESUS TO WALK AROUND MY BETSIDE • BLIND WILLIE DAVIS, WHEN THE SAINTS GO MARCHING IN • BLIND JOE TAGGART, WHEN I STAND BEFORE THE KING • CHICAGO SANCTIFIED SINGERS, TELL ME WHAT KIND OF MAN JESUS IS • ELDER CHARLES BECK, GABRIEL • REV. GARY DAVIS, TWELVE GATE TO THE CITY • BESSIE SMITH, MOAN, YOU MOANERS • LOUIS ARMSTRONG, NOBODY KNOWS THE TROUBLE I’VE SEEN • GOLDEN GATE QUARTET, THE VALLEY OF TIME • GOLDEN GATE QUARTET, THE SUN DID’NT SHINE • GEORGIA PEACH, DO LORD SEND ME • GOLDEN EAGLE GOSPEL SINGERS, SHAKE MOTHER’S HAND FOR ME • SISTER ROSETTA THARPE, THIS TRAIN • SISTER ROSETTA THARPE, ROCK ME • SOUTHERN SONS, I’M FREE AT LAST • CHARIOTEERS, WADE IN THE WATER.<br />'Notre ami Jean Buzelin a réussi une belle performance en compilant ce qui me paraît la meilleure anthologie de gospel d’avant 1943 sur CD à ce jour. Bien sûr, les collectionneurs acharnés qui ont suivi pas à pas les rééditions Earl/Document ont la plupart de ces faces dispersées ici et là mais non seulement l’essentiel se retrouve ici mais en plus chaque morceau est choisi avec un goût sûr et est bien représentatif de toutes les formes de musique religieuse noire-américaine de l’époque, des prêcheurs aux évangélistes, en passant par les groupes, les petites chorales et les solistes. Il serait vain de commenter chacun de ces chants, ils sont tous excellents, c’est un “must” pour tout le monde et le Livret, avec des photos superbes (et inédites) de Jacques Demêtre et le texte de Jean Buzelin vaut à lui seul le prix du coffret.' Robert SACRÉ, SOUL BAG</p>"
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"description" => "<p>L'anthologie des chanteuses de blues présentée par Jean Buzelin. De Mamie Smith à Dinah Washington, la naissance de l'expression noire américaine par les 36 chanteuses majeures de la première moitié du XXe siècle.<br /><strong>Patrick Frémeaux<br /></strong><br />Il y a compilations et compilations. Plus exactement, il y a les compilations et il y a les anthologies. Nuance. “Women in blues” est une anthologie. Une anthologie du blues féminin classique, rural et urbain. La plupart des artistes féminines noires présentes dans ce double disque de trente-six sélections sont inconnues du grand public : Mamie Smith, Martha Copelan, Memphis Minnie, Sara Martin sont aujourd’hui des noms oubliés. pourtant quelles voix, quelles présences, quelle musicalité dans ces chansons! “Women in blues” reprend une musique à sa source, là où elle est en symbiose avec l’histoire d’un peuple, là où elle reflète son devenir. Jean Buzelin, grand spécialiste, a constitué avec “Women in blues” un portrait sonore, douloureux et précieux, enthousiate et juste de “l’autre Amérique”. Et nous permet en prime d’apprécier “Crazy Blues” par Mamie Smith, le premier blues chanté de l’histoire du disque en 1920 ! Un travail d’édition admirable. <br /><strong>ROCK SOUND <br /></strong><br /><em>Droits audio : Groupe Frémeaux Colombini SAS.</em></p><br><br><p>MAMIE SMITH CRAZY BLUES • LUCILLE HEGAMIN LAND OF COTTON BLUES • ALBERTA HUNTER NOBODY KNOWS THE WAY I FEEL DIS MORNIN’ • SARA MARTIN LATE LAST NIGHT • MA RAINEY SEE SEE RIDER BLUES • CLARA SMITH SHIPWRECKED BLUES • MARTHA COPELAND NOBODY ROCKS ME LIKE MY BABY DO • PEARL DICKSON LITTLE ROCK BLUES • MATTIE DELANEY TALLAHATCHIE RIVER BLUES • LOTTIE BEAMAN ROLLING LOG BLUES • ETHEL WATERS MY HANDY MAN • LIZZIE MILES MY MAN O’ WAR • IDA MAY MACK MR MOORE BLUES • LILLIAN GLINN CRAVIN’ A MAN BLUES • BERTHA CHIPPIE HILL SOME COLD RAINY DAY • ROSA HENDERSON CAN’T BE BOTHERED WITH NO SHEIK • EDITH WILSON MY HANDY MAN AIN’T HANDY NO MORE • MEMPHIS MINNIES ME AND MY CHAUFFEUR BLUES • LUCILLE BOGAN RECKLESS WOMAN • LIL JOHNSON THAT BONUS DONE GONE THRU • ALICE MOORE MY MAN BLUES • HATTIE MCDANIEL I THOUGHT I’D DO IT • VICTORIA SPIVEY DIRTY TEE BEE BLUES • MILDRED BAILEY DOWN HEARTED BLUES • IDA COX DEATH LETTER BLUES • GEORGIA WHITE THE BLUES AIN’T NOTHIN’ BUT? • MERLINE JOHNSON PALLET ON THE FLOOR • ROSETTA HOWARD HOW LONG DADDY • BILLIE HOLIDAY LONG GONE BLUES • LIL GREEN WHY DON’T YOU DO RIGHT? • TINY MAYBERRY MAILMAN BLUES • ROSETTA THARPE TROUBLE IN MIND • WEE BEA BOOZE UNCLE SAM COME AND GET HIM • HELEN HUMES GONNA BUY ME A TELEPHONE • DINAH WASHINGTON SALTY PAPA BLUES.</p>"
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"description" => "<p>Le blues a été, dès ses débuts, pratiqué par des musiciens blancs sudistes, les “Hillbillies”, (“péquenots”). Ce Hillbilly blues s’inspire certes du blues noir mais possède de nombreuses caractéristiques originales et un feeling particulier. Il a été constamment présent dans toute la Country Music. Cette anthologie de “Hillbilly blues” réalisée par Gérard Herzhaft, présente certains des meilleurs moments d’un genre injustement négligé.<br /><strong>Patrick Frémeaux<br /></strong><br /><em>Droits audio : Groupe Frémeaux Colombini SAS.</em></p><br><br><p>JIMMIE RODGERS: BLUE YODEL • DARBY & TARLTON: HEAVY HEARTED BLUES • DARBY & TARLTON: FREIGHT TRAIN RAMBLE • JIMMIE DAVIS: ARABELLA BLUES • JIMMIE DAVIS: SEWING MACHINE BLUES • DELMORE BROTHERS: LONESOME JAILHOUSE BLUES • RILEY PUCKETT: CHAIN GANG BLUES • JIMMIE DAVIS: EASY RIDER BLUES • ALLEN BROTHERS: NEW DEAL BLUES • MILTON BROWN: SOMEBODY’S BEEN USING THAT THING • MILTON BROWN: TEXAS HAMBONE BLUES • HARTMAN’S HEARTBREAKERS: NO HUGGIN’ OR KISSIN’ • HARTMAN’S HEARTBREAKERS: GRANDMA AND GRANDPA • BOB WILLS: SWING BLUES #1 • BUDDY JONES: MEAN OLD LONESOME BLUES • HELEN HUNT: MARRIED MAN BLUES • ADOLPH HOFNER: I’LL KEEP MY OLD GUITAR • RAMBLING RANGERS: GETTIN’ TIRED • SHELTON BROTHERS • SUNSHINE BOYS: WORRIED MAN’S BLUES • BOB WILLS: HONEY WHAT YOU GONNA DO? • ERNEST TUBB: MEAN MAMA BLUES • SUNSHINE BOYS: WHAT’S THE MATTER WITH DEEP ELM? • MOON MULLICAN: LAY ME DOWN BESIDE MY DARLING • LES PAUL: MIDNIGHT SPECIAL • JOHNNIE LEE WILLS: MILK COW BLUES • ERNEST TUBB: FORT WORTH JAIL • MERLE TRAVIS: THAT’S ALL • T. TEXAS TYLER: T. TEXAS’ BLUES • BUSTER COWARD: DRIFTIN’ TEXAS SAND • DELMORE BROTHERS: GOING BACK TO THE BLUE RIDGE MOUNTAIN • JACK GUTHRIE: THE CLOUDS RAINED TROUBLE DOWN • CHET ATKINS: GUITAR BLUES • BILL MONROE: BLUE YODEL #4 • GENE SULLIVAN: KANSAS CITY BLUES • SPADE COOLEY: YOU BETTER DO IT NOW.</p>"
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"dwf_livret" => "<h3>GOLDEN GATE QUARTET GOSPEL 1937 - 1941 FA 057</h3> <span class=Soustitre2>GOLDEN GATE QUARTET GOSPEL </span><span class=Texte><br /></span><span class=Soustitre>1937 - 1941 </span><span class=Texte> <br /></span><p align=justify><br /><span class=Soustitre>L’histoire du Golden Gate Quartet</span><br /><span class=Texte>Il existe en 1930, dans la petite ville de Berkeley (Virginie), un barbershop quartet qui chante des negro spirituals traditionnels. Autour du coiffeur A.C. “Eddie” Griffin (ténor), se trouvent réunis trois autres chanteurs, Robert “Peg” Ford (basse) et deux jeunes élèves de la Booker T. Washington High School de Norfolk, ville importante des environs, Willie Johnson (baryton) et Henry Owens (ténor). Le Golden Gate Jubilee Quartet (c’est le nom du groupe) se produit souvent autour de Norfolk mais, lorsqu’il est engagé dans plusieurs églises de l’état voisin, la Caroline du Nord à la fin de 1935, Griffin préfère rester dans sa boutique et cède sa place de ténor à William Langford. En 1936, Robert Ford s’en va à son tour et c’est un ami de Langford, alors âgé de seize ans, qui le remplace : Orlandus Wilson.Et le Golden Gate ainsi constitué prend la route. C’est d’abord une tournée d’églises en Caroline du Nord en mai 1936 puis, en juin, un enregistrement à la radio WIS à Columbia (Caroline du Sud), et enfin un contrat avec la station WBT, une radio de Charlotte (Caroline du Nord) où les Gates resteront les fidèles pensionnaires pendant trois ans. En 1937, leur émission est reprise par le réseau NBC qui leur arrure une audience beaucoup plus étendue. Il n’en faut pas plus pour que la compagnie Victor, de passage à Charlotte avec son matériel de prise de son pour y enregistrer quelques artistes (dont les Heavenly Gospel Singers, groupe vedette de la firme), décide de convoquer le Golden Gate Jubilee Quartet dans les chambres de l’hôtel où elle a planté ses micros. Le 4 août 1937, entre 11 h 15 et 13 h 15, quatorze titres (presque tous en une seul prise) sont mis en boîte par les Gates. <br />Dès la publication du premier disque : Golden Gate Gospel Train / Gabriel Blows His Horn (sous étiquette Bluebird B7126), le succès est immédiat. Tous les morceaux paraissent avant la fin de l’année 1937 et certains seront continuellement réédités sur 78 tours jusqu’en 1949.Le Golden Gate, qui partage habituellement son répertoire entre les pop songs, à la Mills Brothers pour la radio et les negro spirituals dans les églises, a choisi pour ses disques de privilégier l’orientation religieuse. Ce qui fera son succès. Au mois de janvier 1938, une seconde séance d’enregistrement est organisée dans les mêmes conditions. Puis les Gates vont partager leur temps entre Charlotte – émissions de radio obligent – et New York où ils sont invités à deux reprises, en août et en novembre 1938, pour graver de nouveaux disques, cette fois dans de vrais studios. En février 1939, au cours d’une grande tournée sur la Côte Est, ils croisent les techniciens de la Victor et enregistrent une nouvelle série de pièces dans un hôtel de Rock Hill en Caroline du Sud. Déjà les Gates ajoutaient toujours, durant leurs séances, une ou deux chansons traditionnelles ou populaires à leur répertoire de chants religieux et William Langford avait même pris quelques leçons de guitare (sommaires!). Pour se rapprocher des Mills Brothers? Sans doute, mais surtout pour tenter de concurrencer les Inks Spots, nouvelle coqueluche des foules. Ainsi, à la demande de Victor/Bluebird, ils enregistrent, au cours d’une session new yorkaise le 6 octobre 1939, une série de thèmes populaires sous le nom des Four Chocolate Bars. Finalement, les disques paraîtront sous le nom du Golden Gate Quartet (sur ces entrefaits, Jubilee a disparu).<br />Grand découvreur de talents, le critique et producteur John Hammond fait programmer le groupe au fameux Café Society de New York. C’est la première fois qu’un quartette vocal de ce type est ainsi proposé à la clientèle chic et huppée des night-clubs. Il les engage également au Carnegie Hall pour ses concerts, devenus historiques, “From Spirituals To Swing”, le 23 décembre 1938, et le 26 décembre 1939 le Golden Gate réalise une nouvelle séance d’enregistrement à New York. Dès lors, Willie Johnson, Henry Owens, William Langford, Orlandus Wilson et Clyde Riddick, qui a rejoint le groupe en cours d’année, quittent pour de bon la Caroline du Nord et les ondes de la radio de Charlotte où ils sont remplacés par les Four Knights, et s’installent à demeure à New York.En juin 1940, les Gates joignent leur voix à celle du songster Leadbelly pour une série de work songs publiés par Victor et, à la fin de l’année, ils rencontrent Josh White, un autre chanteur-guitariste avec qui ils enregistrent quatre titres, restés inédits, pour la Bibliothèque du Congrès. Entre temps, un premier changement important s’est produit dans la composition du groupe : William Langford est entré chez les Southern Sons. Après un passage au sein des Selah Jubilee Singers, il formera, à la fin des années 40, les Landfordaires puis le Bill Landford Quartet. Devenu disc-jockey de musique religieuse, il mourra en 1969. William Langford est remplacé par Clyde Riddick qui connaît le groupe depuis l’école de Norfolk. A partir de 1941, les Gates changent de compagnie et enregistrent désormais sur label Okeh, filiale de la Columbia.Après son passage au Café Society, le Golden Gate Quartet est devenu une “attraction” nationale. En 1941, il se produit aux cérémonies (retransmises dans tout le pays) marquant l’investiture du Président Roosevelt après sa réélection. Pendant la durée de la guerre, le Golden Gate participera à plusieurs song fests anti-nazi à la Maison Blanche ainsi qu’à plusieurs grands shows radiophoniques (à la CBS). La même année 1941, le groupe est invité au Pan-American Music Festival de Mexico. <br />Or, en 1943, Willie Johnson puis Orlandus Wilson sont mobilisés. Le premier est remplacé par Alton Bradley et, brièvement, par le leader des Trumpeteers, Joe Johnson; le second par la grande basse Clifford Givens des Southerns Sons. Malgré l’interruption des enregistrements commerciaux due à la grève du syndicat des musiciens, cette période mouvementée s’avère très prolifique pour le Golden Gate Quartet qui, par ailleurs, grave un V-Disc (disque de la Victoire) en août 1943. A l’instar des plus célèbres groupes vocaux pop, les Gates participent à plusieurs films : Star-Spangled Rhythm (en 1943), Hit Parade of 1943 (retitré plus tard Change of Heart), Hollywood Canteen, Bring on the Girls et A Song is Born (en 1947 avec Dany Kaye, Bonny Goodman, Lionel Hampton et Mel Powell). Entre temps, Willie Johnson et Orlandus Wilson ont repris leur place dans le quartette qui s’assure désormais les services du pianiste Conrad Frederik. Les séances de disques reprennent en juin 1946 et, en 1947, un premier microsillon 33 tours est publié sous étiquette Columbia. C’est cette même année qu’ils obtiennent leur plus grand succès discographique avec Shadrack.En 1948, le soliste Willie Johnson quitte, cette fois pour de bon, le Golden Gate Quartet pour entrer chez les Jubalaires. Johnson, qui chantait encore occasionnellement à la fin des années 70 est mort au début de la décennie suivante. Ce départ de Willie Johnson va entraîner un changement dans le style du quartette. C’est Orville Brooks qui échange sa place chez les Jubalaires avec Johnson. Malgré une dernière séance pour Columbia en 1950, les Gates sont passés en 1948 chez Mercury sous la houlette du producteur Bob Shad qui publiera plusieurs disques du Golden Gate sur son label Sittin-In-With en direction du marché Rhythm & Blues. En 1950, c’est le retour de Alton Bradley, cette fois-ci au poste de ténor à la place de Henry Owens qui devient preacher soliste (Owens meurt en 1970). Bradley cède sa place l’année suivante à Eugene Mumford, transfuge du groupe de R&B, The Larks. <br />L’évolution des modes musicales déjà sensible après la fin de la guerre s’accélère avec les nouvelles formes très rythmées qui annoncent déjà le rock’n’roll. A l’instar du blues, la musique gospel devient plus expressionniste, débridée, torride souvent et les nouveaux quartettes laissent s’exprimer au premier plan des preachers qui sont souvent de véritables shouters (hurleurs). En quelques années, la musique hyper-soignée, aux harmonies subtiles et à la mise en place parfaite des jubilee quartets, passe de mode. Les Gates résistent bien mais concerts et engagements se raréfient. En 1954, Orville Brooks est remplacé par Bill King puis par Frank Todd, et Eugene Mumford, qui reforme les Larks, cède sa place à Clyde Wright, transfuge des Selah Jubilee Singers.1955 : le Golden Gate Quartet, à la veille de son départ pour une première tournée européenne, retrouve un baryton qui reprend le rôle de “narrateur” autrefois tenu par Willie Johnson : J. Caleb Ginyard qui a derrière lui une fructueuse carrière. Membre original des Jubalaires en 1944 quand ce groupe remplaça le Golden Gate au Café Society, Ginyard dirigea ensuite les Dixieaires puis le groupe profane The Du-Droppers. <br />L’aventure européenne du Golden Gate Quartet s’avère être un succès. Dès novembre 1955, ils enregistrent à Paris pour Pathé Marconi, sous étiquette Columbia française, sous l’instigation de Jean-Paul Guiter. Les deux années suivantes se dérouleront presque totalement à travers le vieux continent avant que les Gates choisissent de s’installer définitivement en France en 1959 pour honorer un contrat de deux ans au Casino de Paris. Dès lors, leur renommée internationale ne cesse de croître. Et si, en 1971, Caleb Ginyard et Clyde Wright cèdent leur place à Paul Brembly (petit-neveu de Wilson) et à Calvin Williams, le second reviendra en 1985. Ginyard, qui est mort en 1978, effectuera une carrière en soliste.Tous, aux côtés de Orlandus Wilson, le directeur du groupe depuis 1936, et de Clyde Riddick, présent depuis 1939, auront contribué au rayonnement mondial du Golden Gate Quartet, lequel, ambassadeur illustre des negro spirituals et des gospel songs, aura porté bien haut la parole et le chant sacrés.<br /><em>Jean Buzelin</em><br />© FRÉMEAUX & ASSOCIÉS SA 1997<br /></span><span class=Soustitre2>LA PLACE DU GOLDEN GATE QUARTET ET SA MUSIQUE</span><span class=Texte><br />Le Golden Gate Quartet appartient à une longue tradition, celle des quartettes vocaux masculins (*). A l’intérieur de la grande histoire de la musique religieuse afro-américaine, commencée dès le XVIIIe siècle avec l’évangélisation des esclaves, les quartettes vocaux se sont probablement constitués, avant la fin du XIXe siècle, à partir des grandes chorales religieuses qui interprétaient des psaumes de la Bible et des hymnes protestants. Ainsi le Fisk University Male Quartet qui dépendait des célèbres Fisk Jubilee Singers. L’évolution de l’interprétation du chant religieux de la grande chorale à la petite formation fait ressortir la place prépondérante du soliste (lead vocal) qui reprend le rôle du preacher face à sa congrégation. Ainsi fonctionne le procédé responsorial (question/réponse) directement hérité de l’Afrique.Alors que le premier quartette connu pour avoir imité vocalement les instruments à vent (**) semble avoir été le Bell Quartet, c’est à la même époque, en 1894, que sont gravés les premiers cylindres d’une formation noire de ce type, le Standard Quartette qui sera suivi par le Dinwiddie Colored Quartet en 1902 et quelques autres en 1910 et 1912. Mais il faut attendre 1921 pour qu’une politique d’édition permette une exploitation plus cohérente (et commerciale) des quartettes qui interprètent aussi bien des airs profanes que des chants religieux, ainsi le Norfolk Jazz (puis Jubilee) Quartet qui sera le plus ensemble vocal des années 20.En 1931, le succès phénoménal des Mills Brothers ramène la musique populaire (les airs de variété à la mode) sur le devant de la scène. <br />Contrairement aux quartettes religieux, les Mills sont issus de la tradition des barbershop quartets (formations d’origine anglo-saxonne qui interprètent des chansons populaires dans les offices des coiffeurs et barbiers!). Avec un répertoire essentiellement composé de pop tunes, les Mills Brothers débordent largement du cadre de la musique afro-américaine et deviennent d’immenses vedettes aux Etats-Unis. Leur style rompt totalement avec celui des ensembles vocaux de la décennie précédente. En dehors de leurs particularité d’imiter à merveille les instruments à vent, ils s’expriment avec des voix lisses, travaillées, et soignent le fini de leurs interprétations. Leur influence est énorme et leurs imitateurs sont légions. Au sein du Golden Gate Quartet naissant, Willie Johnson et Orlandus Wilson ne sont pas longs à entrevoir les possibilités qu’apporte cette formule vocale qu’ils transposent, en l’adaptant, dans le domaine de la musique sacrée. Reprenant les arrangements “instrumentaux”, les imitations de trompette bouchée, la perfection de l’exécution, ils accentuent, et c’est là leur grande originalité, la “négritude” de leur musique. Le swing et surtout la structure rythmique de leurs morceaux apparaissent beaucoup plus nettement, leur musique est enlevée, l’interprétation nerveuse. A la nonchalance et au côté aimable du répertoire (pop) des frères Mills, ils répondent avec l’authenticité et la force expressive des chants religieux noirs. Tout cela aboutit à une fusion d’harmonies, de phrases en scat (onomatopées), d’histoires chantées avec une force dramatique accrue grâce, en particulier, au talent “narratif” du soliste Willie Johnson et sa manière qu’il appelait “vocal percussion”. <br />Si, dans ses premiers disques, le Golden Gate prolonge encore la lignée des Mills, le groupe trouve rapidement son style car il ne peut ignorer ces grands quartettes religieux, originaires comme lui de la Côte Est : les Norfolk Jubilee Singers, les Mitchell’s Christian Singers et surtout les Heavenly Gospel Singers avec lesquels ils se sont “frottés” lors de contests à Charlotte en 1936. Ces groupes, au contraire des Mills, restaient très ancrés dans les racines profondes de la musique noire.Mais l’arrivée du Golden Gate Quartet provoque une véritable révolution dans le domaine de la musique religieuse et leur influence, à leur tour, est considérable sur ceux que l’on va appeler les jubilee quartet (***) ou les harmonizing quartets : les Alphabetical Four, Selah Jubilee Singers, Jubalaires, Dixiaires, Southern Sons, Trumpeteers, Harmonizing Four... sans parler des pop groups tels que les Delta Rhythm Boys, Charioteers, Deep River Boys, Four Vagabonds, etc., qui leur doivent autant qu’aux Mills Brothers. Mais en est-il qui ont porté l’harmonisation des voix et leur mise en place rythmique à un tel degré de perfection? Ne serait-ce que par leurs enregistrements de la fin des années 30, et sans même tenir compte de l’exceptionnelle longévité de la formation, le Golden Gate Quartet peut être considéré parmi les ensembles les plus considérables de toute l’histoire de la musique religieuse afro-américaine, voire de la musique populaire noire en général.<br /></span><span class=Soustitre2>Les chants du Golden Gate Quartet</span><span class=Texte><br />L’essentiel du répertoire du Golden Gate Quartet se compose de chants religieux qui proviennent de plusieurs sources. Il y a d’une part de vieux negro spirituals comme Everytime That I Feel The Spirit ou Preacher And The Bear (sous-titré That Ol’ Time Religion). Les épisodes tirés de la Bible sont fort nombreux, ainsi les histoires de l’Arche de Noé (Noah), de Jonas dans la baleine (Jonath In The Whale), du prophète Daniel (Daniel Saw the Stone), de l’Ange Gabriel (Gabriel Blows His Horn)... s’ajoutent des thèmes moralisateurs qui incitent à se préparer à la “vie éternelle” comme Take Your Burdens To God (Prenez votre fardeau pour aller vers le Seigneur). Cette “Marche vers le Ciel” est fréquemment évoquée : Packing Up - Getting Ready To Go, I Looked Down The Road And Wondered où il est dit : “à quelle distance me trouverai-je de ma maison?”. Dans Lead Me On And On, c’est l’appel : “des Anges sont venus vers moi, Seigneur, laisse-moi prendre ta main” alors que dans Born Ten Thousand Years Ago, le narrateur est successivement témoin de tous les événements bibliques. Les pièces les plus significatives font souvent appel à “l’imagerie” afro-américaine, laquelle a développé, transposé, adapté les thèmes religieux traditionnels; ainsi le train devient un formidable moyen de transport pour accéder au Paradis (et par la même occasion quitter le Sud et l’esclavage). Golden Gate Gospel Train offre une saisissante illustration de ce thème, renforcée par les effets vocaux qui imitent le train, la locomotive, les coups de sifflet – entendez les avertissements aux passagers afin qu’ils mettent leurs “affaires en ordre” car le train va les emmener cette nuit. C’est aussi le thème de la mort qui appelle successivement le père et la mère (qui sont prêts à partir) alors que le pécheur résiste, ne veut pas mourir, car il n’a pas ses “chaussures de voyage” (Travelin’ Shoes).<br />Tous ces thèmes, loin d’être interprétés de façon traditionnelle, y compris les airs jubilee, sont totalement recréés par le Golden Gate Quartet. De nombreux morceaux, exécutés sur tempos rapides, montrent bien la symbiose qui règne entre les membres du groupe, entre les chœurs, tantôt à l’unisson, tantôt murmurés, tantôt “instrumentaux”, souvent subtilement décalés avec une précision extraordinaire, et le lead vocal qui ne se détache qu’à peine de ce merveilleux enchevêtrement que produisent les voix savamment harmonisées. Le plus souvent, le rôle de soliste est tenu par le baryton Willie Johnson, lequel “raconte” l’histoire de façon très rythmique, saccadée, percussive (avec des accents que l’on retrouvera cinquante ans plus tard dans le rap!), alors que, dans les réponses, se détache parfois un high ténor. D’autres fois, Henry Owens tient la fonction de lead tenor et en profite pour accentuer le preaching, avec des inflexions plus soul, plus churchy; tandis que l’imperturbable et irremplaçable Orlandus Wilson donne la “présence”, relançant fréquemment le récit ou bien fournissant l’assise avec sa basse “bourdonnante”. De tous ces enregistrements du Golden Gate se dégage une fraîcheur et un entrain (drive) auxquels la patine du temps n’a pas la moindre prise. Plus rares sont les pièces plus lentes, plus recueillies mais aussi plus “chargées” comme l’hymne Remember Me ou Anyhow qui annonce le gospel moderne, tandis que Jonah, en forme de chanson-sketch, anticipe curieusement ce que feront plus tard les Coasters.Si les soli imitant la trompette wha wha sont fréquents dans les premiers disques, ils seront bientôt réservés aux chansons pop comme Sweet Adeline, Who Babe ou My Walking Stick. Les enregistrements choisis pour figurer dans ce coffret devraient permettre d’apprécier à la fois la diversité du répertoire et toutes les facettes de l’extraordinaire talent du seul et unique Golden Gate Quartet.<br />© FRÉMEAUX & ASSOCIÉS SA 1997<br /></span><span class=Source>(*) Un quartette ne signifie pas quatre chanteurs mais quatre voix : soliste (lend vocal), ténor, baryton, basse; le soliste doublant souvent dans les ensemble une des autres voix. Aussi n’est-il pas rare d’entendre des quartettes vocaux qui comprennent cinq, voire six, sept ou même huit chanteurs !<br />(**) Donc de lointain ancêtre des Mills Brothers et du Golden Gate Quartet.<br />(***) Remis à la mode, le therme jubilee venait d’une façon d’interpréter les plantations hymns et les works songs en les rapprochant des critères occidentaux.</span><span class=Texte><br /><strong>GOLDEN GATE GOSPEL TRAIN</strong><br /><em>Seigneur, elle siffle, (*)<br />Montez en voiture,<br />Il vaut mieux prendre votre billet maintenant, <br />Seigneur, elle siffle.<br />Le train de la Parole arrive,<br />Il vaut mieux prendre votre billet maintenant, <br />Il vaut mieux mettre votre maison en ordre, amis,<br />Vous savez, le train sera là aujourd’hui.<br />N’entendez-vous pas le bruit du sifflet?<br />Entendez-vous les cloches sonner?<br />N’entendez-vous pas le soupir de la machine, amis?<br />Vous savez, le train sera là aujourd’hui.<br />Ne pouvez-vous pas imaginer que vous essayez<br />D’atteindre le Ciel?<br />N pouvez-vous pas imaginer que vous pouvez entendre<br />Partir le train?<br />Elle siffle si haut, elle siffle si bas,<br />Vous savez, le train sera là aujourd’hui.<br />_____ Le train sera là aujourd’hui.<br />_____ Le train sera là aujourd’hui.<br />Ah, pécheur,<br />Ne manque pas ce train,<br />Tu ferais mieux de mettre ta maison en ordre, ami,<br />Tu sais, le train sera là aujourd’hui.<br />_____ Le train sera là aujourd’hui.<br />_____ Le train sera là aujourd’hui.<br />Seigneur tout puissant, elle siffle.</em><br /></span><span class=Source>(*) la locomotive.</span><span class=Texte><br />***************<br /><strong>GOLDEN GATE GOSPEL TRAIN</strong><br /><em>My Lord, she blows,<br />Get on board,<br />Better get your ticket now,<br />Me Lord, she blows.<br />Gospel train is comin’,<br />You’d better get your ticket now,<br />You’d better set your house in order, frriends,<br />You know the train gonna be here today.<br />Don’t you hear the whistle blowing?<br />Hear the bells a-ring?<br />Don’t you heart the engine exhaustion, friends?<br />You know the train gonna be here today.<br />Can’t you imagine that you’re trying to get to Heaven?<br />Can’t you imagine that you can hear this train go?<br />She blows so high, she blows so low,<br />You know the train gonna be here today.<br />_____ The train gonna be here today.<br />_____ The train gonna be here today.<br />Ah, sinner man,<br />Don’t you miss this train,<br />You’d better set your house in order, frriends,<br />You know the train gonna be here today.<br />_____ The train gonna be here today.<br />_____ The train gonna be here today.<br />Mighty Lord, she blows.</em><br /></span><span class=Texte>***************<br /><strong>english notes</strong><br /></span><span class=Soustitre2>THE GOLDEN GATE QUARTET</span><span class=Texte><br />Back in 1930 in the little American town of Berkeley, Virginia, a barbershop quartet began making a big reputation for itself singing Negro Spirituals. The barber was A.C. “Eddie” Griffin (tenor), and his partners were Robert “Peg” Ford (bass) and two young high-school students from the neighbouring town of Norfolk, Willie Johnson (baritone) and Henry Owens (tenor). They called themselves The Golden Gate Jubilee Quartet.In 1935-36, with the group performing ever further afield, both Griffin and Ford were obliged to opt out, ceding their places to William Langford and the 16-year-old Orlandus Wilson. This revised quartet, in addition to its live appearances, soon found itself a familiar attraction on local radio networkd, particulary the WBT network of Charlotte, North Carolina. But by 1937 it was already reaching a national audience over the airwaves of the NBC, thus coming to the attention of the Victor Record company.The famous recording giant lost no time. On 4 August 1937, its mobile studio equipment installed in the rooms of a Charlotte Hotel, within the space of a couple of hours it had cut no fewer than 14 titles, among them Golden Gate Gospel Train and Gabriel Blows His Horn, a 78rpm coupling that scored an instant hit.It would no be long before the quartet was booked to appear in New York, and following appearances at the renowned Café Society and the eminently serious Carnegie Hall in 1938, its members decide to settle in the city, for the past decade the capital of the jazz world. Soon after, Victor recorded them in a series of worksongs with that now legendary songster, leadbelly.In late 1940 Langford was replaced by Clyde Riddick, who had known the group since his high-school days in Norfolk (and present since mid 1939). <br />The quartet then went on to take part in anti-nazi songfests at the White House, as welle as on a coast-to-coast radio link-up for Franklin D. Roosevelt’s 1941 inaugural care­mony. The Golden Gate Quartet had become national stars.Over the years, a number of personnel changes took place, one of the most significent being the arrival in 1954 – the year before the quartet’s first trip to Europe – of tenor Clyde Whight, along with Wilson and Riddick still with the group today. Engagements in Europe multiplied, and by 1959, faced with a two-year booking at the Casino de Paris, The Golden Gate Quartet settled in France. Only one change has been made in the line-up since then, Paul Brembly, grandnephew of Orlandus baritone spot in 1971 from J. Caleb Ginyard.Today, 62 years after their first tentative efforts, The Golden Gate Quartet desservedly find thermselves an established international attraction. Here for you now is their music.<br /><em>Don Waterhouse</em>, based on the French text of <em>Jean Buzelin.</em><br />© FRÉMEAUX & ASSOCIÉS SA 1997.<br /></span><span class=Soustitre2>Discographie </span><span class=Texte><br /><strong>1. MASSA’ IN THE COLD COLD GROUND</strong> 011942-1 TRAD 2,45<br />Charlotte, NC, August 4, 1937 <br /><strong>2. SAINTS GO MARCHING IN</strong> 024367-1A TRAD 2,11<br />Charlotte, New York City, August 10, 1938 <br /><strong>3. GOLDEN GATE GOSPEL TRAIN</strong> 011931-1 TRAD 2,34<br />Charlotte, NC, August 4, 1937 <br /><strong>4. GABRIEL BLOWS HIS HORN</strong> 011932-1 TRAD 2,21<br />Charlotte, NC, August 4, 1937 <br /><strong>5. LEAD ME ON AND ON</strong> 018630-2 TRAD 2,05<br />Charlotte, NC, January 24, 1938 <br /><strong>6. SWEET ADELINE</strong> 018631-1 <br />(H. ARMSTRONGCharlotte, NC, January 24, 1938 R.H. GERAD) 2,22 <br /><strong>7. PREACHER AND THE BEAR</strong> 011935-1 TRAD 2,30<br />Charlotte, NC, August 4, 1937 <br /><strong>8. NOAH </strong> 031980-1 TRAD 2,33<br />New York City, October 6, 1939 <br /><strong>9. TAKE YOUR BURDENS TO GOD</strong> 018634-1 TRAD 3,15<br />Charlotte, NC, January 24, 1938<br /><strong>10. TRAVELIN’ SHOES</strong> 018624-1 TRAD 1,51<br />Charlotte, NC, January 24, 1938<br /><strong>11. PACKING UP - GETTING READY TO GO</strong> 028967-1A TRAD 1,55<br />Charlotte, Yew York City, November 15 , 1938<br /><strong>12. BORN TEN THOUSAND YEARS AGO</strong> 011936-2 TRAD 1,51<br />Charlotte, NC, August 4, 1937<br /><strong>13. JONAH IN THE WHALE </strong> 042916-1A TRAD 2,22<br />New York City, October 6, 1939 <br /><strong>14. I LOOKED DOWN THE ROAD AND WONDERED</strong> 042905-1A TRAD 2,49<br />New York City, October 6, 1939<br /><strong>15. EVERYTIME I FEEL THE SPIRIT </strong> 042910-1A TRAD 2,46<br />New York City, October 6, 1939<br /><strong>16. MY WALKING STICKS </strong> 046124-1A TRAD 2,16<br />New York City, December 26, 1939<br /><strong>17. DANIEL SAW THE STONES</strong> 30282-1 TRAD 2,40 <br />New York City, April 18, 1941<br /><strong>18. WHOA BABE </strong> 042911-1A TRAD 2,38<br />Rock Hill, SC, February 2, 1939 <br />GOLDEN JUBILEE QUARTET : HENRY OWENS (1RST TENOR), WILLIAM LANGFORD (2ND TENOR, GUITAR ON N°14-16-18), WILLIE JOHNSON (BARITONE, LEAD VOCAL), ORLANDUS WILSON (BASS), VOCAL EFFECTS ON 1, 3, 4, 6, 7, 12, 16, 18.<br /></span><span class=Source><br />CD Golden Gate Quartet Gospel 1937 - 1941 © Frémeaux & Associés (frémeaux, frémaux, frémau, frémaud, frémault, frémo, frémont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD à acheter, écouter des vieux enregistrements, albums, rééditions, anthologies ou intégrales sont disponibles sous forme de CD et par téléchargement.)</span></p>"
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