array:12 [
  0 => ProductListingLazyArray {#622
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    -link: Link {#163}
    -priceFormatter: PriceFormatter {#601}
    -productColorsRetriever: ProductColorsRetriever {#624}
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      -formatter: MessageFormatter {#56
        -selector: MessageSelector {#57}
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      -configCacheFactory: ConfigCacheFactory {#58
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    #settings: ProductPresentationSettings {#612
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        <p align="justify">« Une voix comme celle-ci, ça n’arrive qu’une fois par millénaire. » <br />Martin Luther KING<br />L’Intégrale chronologique Mahalia Jackson (de même que la série consa crée à Sister Rosetta Tharpe) offre l’oeuvre exhaustive de celle qui restera l’une des plus grandes artistes de Gospel, et par la même, l’une des grandes inspiratrices de la culture noire-américaine du XXe siècle. Les disques sources, en provenance de la collection de Jean Buzelin, auteur de l’Intégrale, aidé par l’ensemble des collectionneurs des oeuvres de Mahalia Jackson, font l’objet des meilleurs transferts analogiques et d’une restauration numérique utilisant les technologies les plus sophistiquées sans jamais recourir à une modification du son d’origine.</p>\n
        <p align="justify">Patrick FRÉMEAUX et Claude COLOMBINI</p>\n
        <p align="justify"></p>\n
        <p align="justify"><em>“A voice like here comes along once in a millenium.”<br />Martin Luther KING<br />The complete Mahalia Jackson recordings (presented chronologically as in the Sister Rosetta Tharpe series) reveal a personality who will remain one of the greatest-ever Gospel artists, a singer who   lled 20th century Afro-American culture with inspiration. The source of this vital music is the collection of Jean Buzelin, the author of this anthology, together with the aid of collectors of Mahalia Jackson’s work; all these recordings have been restored with the best analog transfers and most sophisticated technology available, to avoid any alteration of the original sound.<br />Patrick FRÉMEAUX &amp; Claude COLOMBINI</em></p>\n
        <p align="justify"></p>\n
        <p align="justify">WITH EDWARD ROBINSON : LORD, DON’T LET ME FAIL • I COULDN’T KEEP IT TO MYSELF • IT’S IN MY HEART • IT TOOK A MIRACLE • NO OTHER HELP I KNOW • WITHOUT GOD I COULD DO NOTHING. SONGS FOR CHRISTMAS WITH JOHN WILLIAMS : JOY TO THE WORLD! • O LITTLE TOWN OF BETHLEHEM • O COME, ALL YE FAITHFUL • WHAT CAN I GIVE • GO TELL IT ON THE MOUNTAIN • SILENT NIGHT, HOLY NIGHT • HARK! THE HERALD ANGELS SING • CHRISTMAS COMES TO US ALL ONCE A YEAR • A STAR STOOD STILL • SWEET LITTLE JESUS BOY.</p>\n
        <p><br /><br /></p>
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    -language: Language {#40
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      #table: "lang"
      #identifier: "id_lang"
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    -arrayAccessList: ArrayObject {#623
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      iteratorClass: "ArrayIterator"
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      "description" => "<p>Pas de Gospel Songs dans le nouvel album de Mahalia Jackson, mais des chants d&rsquo;amour et de foi sublim&eacute;s par l&rsquo;interpr&eacute;tation magnifique de la plus grande chanteuse am&eacute;ricaine du 20e si&egrave;cle.&nbsp;<p><strong>Jean BUZELIN<br /></strong><br />L&rsquo;Int&eacute;grale chronologique Mahalia Jackson (de m&ecirc;me que la s&eacute;rie consa cr&eacute;e &agrave; Sister Rosetta Tharpe) offre l&rsquo;oeuvre exhaustive de celle qui restera l&rsquo;une des plus grandes artistes de Gospel, et par la m&ecirc;me, l&rsquo;une des grandes inspiratrices de la culture noire-am&eacute;ricaine du XXe si&egrave;cle.<br />&nbsp;Les disques sources, en provenance de la collection de Jean Buzelin, auteur de l&rsquo;Int&eacute;grale, aid&eacute; par l&rsquo;ensemble des collectionneurs des oeuvres de Mahalia Jackson, font l&rsquo;objet des meilleurs transferts analogiques et d&rsquo;une restauration num&eacute;rique utilisant les technologies les plus sophistiqu&eacute;es sans jamais recourir &agrave; une modification du son d&rsquo;origine. <br /><strong>Patrick FRÉMEAUX et Claude COLOMBINI</strong></p><p><strong><br /></strong></p><p><p align=justify style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px;><strong>DIRECTION ARTISTIQUE : JEAN BUZELIN</strong></p><p align=justify style=font-family: arial, helvetica, sans-serif; font-size: 12px; line-height: 14px;><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES</strong></p><br />This new album of Mahalia Jackson does not include any Gospel Songs but songs of love and faith made sublime by the magni-&nbsp;&nbsp; cent interpretation of the greatest American vocalist of the 20th century.<br />The complete Mahalia Jackson recordings (presented chronologically as in the Sister Rosetta Tharpe series) reveal a personality who will remain one of the greatest-ever Gospel artists, a singer who&nbsp;&nbsp; lled 20th century Afro-American culture with inspiration. The source of this vital music is the collection of Jean Buzelin, the author of this anthology, together with the aid of collectors of Mahalia Jackson&rsquo;s work; all these recordings have been restored with the best analog transfers and most sophisticated technology available, to avoid any alteration of the original sound.<br /><strong>Patrick FRÉMEAUX &amp; Claude COLOMBINI</strong><br />WITH JOHN WILLIAMS : WHITHER THOU GOEST, I WILL GO &bull; MY TASK &bull; I&rsquo;VE DONE MY WORK &bull; THE ROSARY &bull; A PERFECT DAY &bull; BECAUSE &bull; TREES &bull; MY FRIEND &bull; THE HOUSE I LIVE IN &bull; DANNY BOY &bull; THE GREEN LEAVES OF SUMMER &bull; CRYING IN THE CHAPEL. WITH EDWARD ROBINSON &amp; THURSTON FRAZIER : SIGN OF THE JUDGEMENT &bull; THAT&rsquo;S ALL RIGHT &bull; SPEAK, LORD JESUS &bull; IN TIMES LIKE THESE &bull; HE IS BESIDE ME.<br /></p></p><br><br>"
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      "dwf_livret" => "<h3>FA1328 Mahalia vol.18</h3><span class=Soustitre><br /></span><p align=justify><p align=justify><span class=Soustitre>COMPLETE MAHALIA JACKSON</span><br /><span class=Soustitre><br />INTÉGRALE</span><br /><span class=Soustitre2>MAHALIA</span><br /><span class=Soustitre2>JACKSON</span><br /><span class=Soustitre>VOL. 18</span><br /><span class=Soustitre>1962</span><br /><span class=Soustitre2>INTÉGRALE MAHALIA JACKSON - VOL. 18 &ndash; 1962</span><br /><span class=Soustitre>Par Jean Buzelin</span><br /><span class=Texte>A l&rsquo;aube des ann&eacute;es 60, Mahalia Jackson est devenue une immense vedette, une artiste &agrave; la renomm&eacute;e consid&eacute;rable, une personnalit&eacute; du &laquo;&thinsp;gotha&thinsp;&raquo; am&eacute;ricain. Elle est donc abondamment sollicit&eacute;e, r&eacute;clam&eacute;e, honor&eacute;e&hellip; Invit&eacute;e, en janvier 1961, &agrave; l&rsquo;investiture de John F. Kennedy &ndash; elle y chante le Star Spangled Banner &ndash; elle y r&eacute;pond d&rsquo;autant plus volontiers qu&rsquo;elle met beaucoup d&rsquo;espoir en ce jeune pr&eacute;sident en ce qui concerne les luttes contre la s&eacute;gr&eacute;gation, le racisme et pour les droits civiques.</span><br /><span class=Texte>Plus tard dans l&rsquo;ann&eacute;e, apr&egrave;s sa triomphale tourn&eacute;e en Europe et au Moyen-Orient, et l&rsquo;enregistrement de ses chansons film&eacute;es pour la t&eacute;l&eacute;vision qui ont fait l&rsquo;objet de nos quatre pr&eacute;c&eacute;dents volumes1, elle participe, en compagnie de Sammy Davis Jr et du jeune com&eacute;dien Dick Gregory, &agrave; une op&eacute;ration en faveur de la SCLC (Southern Christian Leadership Conference), fond&eacute;e en janvier 1957 par Martin Luther King Jr dans sa lutte pour les droits civiques selon le principe de la non-violence.</span><br /><span class=Texte>Les concerts se suivent et se succ&egrave;dent, dans les stadiums et autres grandes salles, comme dans les &eacute;glises et les campus, et m&ecirc;me dans les prisons. Il n&rsquo;est pas dans notre propos, et cela sortirait largement du cadre de nos livrets, de d&eacute;tailler les multiples aventures et anecdotes que recueille et &eacute;num&egrave;re notamment Laurraine Goreau, la biographe &laquo;&thinsp;autoris&eacute;e&thinsp;&raquo; de la chanteuse. Relevons simplement quelques faits notables ou int&eacute;ressants. Ainsi, tandis que son ancienne productrice, Bess Berman, profite de la popularit&eacute; croissante de la chanteuse apr&egrave;s sa tourn&eacute;e europ&eacute;enne pour r&eacute;&eacute;diter en albums ses anciens disques Apollo, Mahalia participe &agrave; une grosse production t&eacute;l&eacute;vis&eacute;e &agrave; Hollywood, &ldquo;The Sound of the &lsquo;60s&rdquo;, anim&eacute;e par la baguette du chef Andr&eacute; Pr&eacute;vin &ndash; elle y chante Bless This House. R&eacute;guli&egrave;rement invit&eacute;e par son amie Dinah Shore, la chanteuse est d&rsquo;autant plus pr&eacute;sente sur le petit &eacute;cran que les 82 petits clips de la s&eacute;rie &ldquo;Mahalia Jackson Sings&rdquo; sont diffus&eacute;s sur la cha&icirc;ne WBKB de Chicago, &agrave; raison de trois s&eacute;quences de cinq minutes quotidiennes. Elle d&eacute;cide d&rsquo;aller f&ecirc;ter Thanksgiving2 &agrave; Atlanta avec &laquo;&thinsp;l&rsquo;homme le plus merveilleux du monde&thinsp;&raquo;, Martin Luther King, puis d&rsquo;aller passer les f&ecirc;tes de No&euml;l &agrave; la Nouvelle-Orl&eacute;ans dans le berceau familial. La chanteuse se rend &eacute;galement &agrave; la Cathedral of Tomorrow, &eacute;rig&eacute;e en 1958 &agrave; Cuyahoga Falls par le r&eacute;v&eacute;rend Rex Humbard. Mahalia et l&rsquo;acteur-chanteur-guitariste de country gospel Stuart Hamblen3 en sont les h&ocirc;tes d&rsquo;honneur, le chanteur d&eacute;clarant : &laquo;&thinsp;vous &ecirc;tes une l&eacute;gende vivante, Mahalia&thinsp;&raquo;. Celle-ci va chanter pendant deux heures.</span><br /><span class=Texte>L&rsquo;ann&eacute;e 1962 commence par plusieurs &eacute;missions de t&eacute;l&eacute;vision &agrave; Hollywood, suivies d&rsquo;un concert &agrave; Oakland le 30 janvier. La National Academy of Recording Arts and Sciences (qui vient d&rsquo;ouvrir une cat&eacute;gorie Gospel) d&eacute;cerne &agrave; Mahalia Jackson son premier Grammy. </span><br /><span class=Texte>Une nouvelle s&eacute;ance d&rsquo;enregistrement est alors programm&eacute;e par son producteur Irving Townsend, la premi&egrave;re en studio pour Columbia (mis &agrave; part la s&eacute;rie TV) depuis le mois de mars 1961, avant son d&eacute;part pour l&rsquo;Europe4. Pour ce faire, il fait &agrave; nouveau appel &agrave; Johnny Williams pour les orchestrations. D&eacute;cid&eacute;ment, le futur partenaire de Steven Spielberg a le vent en poupe. Les enregistrements vont se d&eacute;rouler &agrave; Los Angeles sur deux jours, les 16 et 17 mars. Douze chansons sont enregistr&eacute;es, lesquelles vont constituer l&rsquo;album &ldquo;Great Songs of Love and Faith&rdquo;, d&eacute;lib&eacute;r&eacute;ment destin&eacute; &agrave; un large public blanc, ou noir parmi les classes les plus ais&eacute;es.</span><br /><span class=Texte>&laquo;&thinsp;No Gospel Songs on New Mahalia Jackson Album&thinsp;&raquo;, annonce la promotion. Mahalia a-t-elle effectu&eacute; un changement de cap ? Face &agrave; la presse, elle se justifie, r&eacute;pondant notamment au critique, producteur et compositeur Leonard Feather qu&rsquo;on y trouve, certes, des chansons populaires, mais que The Rosary est un chant catholique, que deux belles &oelig;uvres de Carrie Jacobs-Bond y figurent, que Because se rapporte au 1er Commandement de l&rsquo;Évangile, etc.</span><br /><span class=Texte>Le texte de pochette, fort &eacute;logieux, consid&egrave;re que cet album marque un nouveau d&eacute;part pour Mahalia Jackson qui d&eacute;montre qu&rsquo;elle peut tout chanter (certains penserons ou esp&eacute;rerons qu&rsquo;il s&rsquo;agit plut&ocirc;t d&rsquo;une belle parenth&egrave;se). &Agrave; ses chants habituels c&eacute;l&eacute;brant l&rsquo;amour de Dieu, elle y ajoute celui de la campagne, de la nature, et m&ecirc;me l&rsquo;amour romantique. Ainsi la pr&eacute;sence de Dieu se manifeste dans Trees (chanson de Joyce Kilmer de 1922 abondamment reprise, tant par des interpr&egrave;tes classiques comme Paul Robeson ou Mario Lanza, que par de nombreux chan-teurs et ensembles de gospel), et dans The Green Leaves of Summer (cr&eacute;&eacute;e par les Brothers Four dans le film &laquo;&thinsp;Alamo&thinsp;&raquo; en 1960). Tandis que The House I Live In (immortalis&eacute;e par Frank Sinatra en 1942) exalte la fiert&eacute; nationale. Servi par les tr&egrave;s beaux arrangements de Johnny Williams, cet enregistrement constitue une preuve tangible &agrave; la mesure de la grandeur de la chanteuse, conclut l&rsquo;auteur du texte5.</span><br /><span class=Texte>Nous pr&eacute;sentons ici ce &laquo;&thinsp;r&eacute;cital&thinsp;&raquo;, pourrait-on dire, dans l&rsquo;ordre chronologique de la session d&rsquo;enregistrement, et non dans celui adopt&eacute; sur les deux faces du disque. Whither Thou Goest est une tr&egrave;s belle chanson dont les paroles font r&eacute;f&eacute;rence au Livre de Ruth (tir&eacute; du Zohar)&thinsp;; le duo Les Paul &amp; Mary Ford en firent un succ&egrave;s en 1954, pr&eacute;lude &agrave; de nombreuses interpr&eacute;tations allant de Bing Crosby &agrave; Leonard Cohen (en 2009). Mais elle n&rsquo;a pas s&eacute;duit les chanteurs de gospel, pas plus que My Task, publi&eacute;e &agrave; Londres en 1903. I&rsquo;ve Done My Work et A Perfect Day, pris&eacute;es par Mahalia Jackson, sont donc deux chansons &eacute;crites par Carrie Jabobs-Bond, la premi&egrave;re en 1920, la seconde en 1910. Jou&eacute;e sur le Titanic, cette derni&egrave;re fut &eacute;galement l&rsquo;un des airs favoris des soldats am&eacute;ricains en Europe durant la 1e Guerre mondiale&thinsp;; Mahalia l&rsquo;avait d&eacute;j&agrave; enregistr&eacute;e l&rsquo;ann&eacute;e pr&eacute;c&eacute;dente pour la s&eacute;rie t&eacute;l&eacute;vis&eacute;e &ldquo;Mahalia Jackson Sings&rdquo;, de m&ecirc;me que The Rosary, qui faisait &eacute;galement partie du song book Titanic6. Paul Robeson mit &eacute;galement ces deux chansons &agrave; son r&eacute;pertoire. Because est une &oelig;uvre de Guy D&rsquo;Hardelot, pseudonyme de la pianiste et compositeur Helen Guy, n&eacute;e au ch&acirc;teau d&rsquo;Hardelot, pr&egrave;s de Boulogne-sur-Mer&thinsp;; enseignante install&eacute;e &agrave; Londres, elle composa cette pi&egrave;ce en 1896 lors d&rsquo;une tourn&eacute;e aux États-Unis. Perry Como en fit un hit en 1948. Les plus grands interpr&egrave;tes classiques s&rsquo;y essay&egrave;rent, de Caruso &agrave; Placindo Domingo, et elle s&eacute;duisit aussi bien Sarah Vaughan que Sister Rosetta Tharpe. My Friend, &oelig;uvre plus r&eacute;cente des auteurs du c&eacute;l&egrave;bre I Believe, fut cr&eacute;&eacute;e par Eddie Fisher en 1954, et reprise notamment par Frankie Laine et par les Roberta Martin Singers. Publi&eacute;e &agrave; Bath en 1910, Danny Boy est une ballade &eacute;crite par Fredrick E. Weatherly sur une ancienne m&eacute;lodie irlandaise&thinsp;; &agrave; force d&rsquo;&ecirc;tre reprise par des chanteurs de tous genres (Mario Lanza, Bing Crosby, Johnny Cash, Sam Cooke, Elvis Presley, Harry Belafonte, les 5 Blind Boys of Alabama, Billy Preston, Tom Jones&hellip;), elle est devenue une &laquo;&thinsp;rengaine&thinsp;&raquo; que seule la qualit&eacute; de l&rsquo;interpr&eacute;tation r&eacute;ussit &agrave; sauver. On pourrait dire la m&ecirc;me chose de Crying In The Chapel, &eacute;crite en 1953 par Artie Glenn pour son fils, le chanteur country Darrell Glenn&thinsp;; les Orioles en firent un tube doo wop avant que Ella Fitzgerald, Elvis Presley, Little Richard, les Platters, Sister Rosetta Tharpe, les Staple Singers&hellip; et jusqu&rsquo;&agrave; Bob Marley s&rsquo;en emparent.</span><br /><span class=Texte>Avec ce r&eacute;pertoire, certes choisi avec soin et magnifiquement chant&eacute; avec foi, puissance, majest&eacute; et sans grandiloquence, nous nous situons en effet tr&egrave;s loin de l&rsquo;art sacr&eacute; afro-am&eacute;ricain &ndash; negro spirituals et gospel songs &ndash; mais le statut de Mahalia Jackson et ses exceptionnelles qualit&eacute;s vocales la mettent ipso facto sur le m&ecirc;me plan que les stars de la grande vari&eacute;t&eacute; (pop) am&eacute;ricaine. Elle doit donc tenir son rang au sein de ce club hupp&eacute; du show business, encore qu&rsquo;il soit permis de supposer qu&rsquo;elle y &eacute;met quelques r&eacute;sistances &ndash; souvenons-nous de son refus absolu d&rsquo;interpr&eacute;ter du jazz &ndash; et choisit elle-m&ecirc;me les chansons qu&rsquo;on lui propose, et non qu&rsquo;on lui impose. D&rsquo;ailleurs pourquoi l&rsquo;auditeur lui refuserait ce qu&rsquo;il accepte avec bonheur lorsque que ce r&eacute;pertoire b&eacute;n&eacute;ficie des voix de Bing Crosby, Frank Sinatra, Paul Robeson ou Harry Belafonte ?</span><br /><span class=Texte>Mais, en producteurs avis&eacute;s, les responsables de la Columbia organisent quelques jours plus tard, le 22 mars &agrave; Hollywood une nouvelle s&eacute;ance, moins d&eacute;routante pour ses fans et plus prompte &agrave; satisfaire son public habituel. La chanteuse lui offre donc un r&eacute;pertoire tout neuf de gospel songs. Un simple quintette instrumental est plac&eacute; sons la direction de Edward C. Robinson qui, pour l&rsquo;occasion, tient le piano et non l&rsquo;orgue comme pour les films-TV &ndash; Mildred Falls serait-elle en disgr&acirc;ce ? - tandis que Shelly Manne, &agrave; nouveau pr&eacute;sent, partage la batterie avec&hellip; Johnny Williams soi-m&ecirc;me. S&rsquo;ajoute un ch&oelig;ur dirig&eacute; par le chef afro-am&eacute;ricain Thurston Frazier.</span><br /><span class=Texte>Personnage int&eacute;ressant que ce Thurston Gilbert Frazier, n&eacute; &agrave; Houston en 1930 et qui fit partie de la chorale de la St.Paul Baptist Church Choir de Los Angeles dirig&eacute;e par le professeur James Earle Hines7. Il prend ensuite, en 1957 en compagnie de la pianiste Gwendolyn Cooper, les commandes des Voices of Hope. Cette mass choir, qui comprend une centaine de chanteurs, r&eacute;alisa plusieurs disques en 1961 et en 1966. Proche de James Cleveland, Thurston Frazier enregistrera &eacute;galement sous son propre nom en 1962. Consid&eacute;r&eacute; comme le plus important chef de ch&oelig;ur californien apr&egrave;s J. Earl Hines, Thurston Frazier sera assassin&eacute; en 1974 dans des circonstances qui n&rsquo;ont jamais &eacute;t&eacute; &eacute;lucid&eacute;es.</span><br /><span class=Texte>L&rsquo;organiste de la s&eacute;ance, Albert A. Goodson (1933-2003) n&rsquo;est pas non plus un inconnu. Membre &eacute;galement de la St.Paul Baptist Church, il fut au d&eacute;but des ann&eacute;es 50 le pianiste des Sallie Martin Singers, avant de devenir l&rsquo;organiste du Simmons-Akers Gospel Trio8, un ensemble proche de Mahalia Jackson qu&rsquo;il accompagne ici pour la premi&egrave;re fois&thinsp;; il sera &agrave; nouveau sollicit&eacute; l&rsquo;ann&eacute;e suivante.</span><br /><span class=Texte>Les onze titres de cette s&eacute;ance seront mis en bo&icirc;te dans la m&ecirc;me journ&eacute;e et rassembl&eacute;s dans l&rsquo;album &ldquo;Make a Joyful Noise Unto the Lord&rdquo;. Nous en pr&eacute;sentons ici une premi&egrave;re partie. </span><br /><span class=Texte>Contrastant avec les tempos lents des &laquo;&thinsp;Great Songs&thinsp;&raquo;, le premier titre, Sign Of The Judgement, adaptation originale par Mahalia Jackson elle-m&ecirc;me d&rsquo;un negro spiritual traditionnel, est interpr&eacute;t&eacute; sur un rythme tr&egrave;s enlev&eacute;. That&rsquo;s All Right, qui s&rsquo;appuie sur un tempo m&eacute;dium-lent bien marqu&eacute;, avait &eacute;t&eacute; &laquo;&thinsp;essay&eacute;&thinsp;&raquo; par la chanteuse pour sa s&eacute;rie t&eacute;l&eacute;vis&eacute;e9. Speak Lord Jesus, &eacute;crit par Sallie Martin pour le grand chanteur Brother Joe May, In Times Like Jesus (1944) qui s&eacute;duisit entre autres Robert Anderson, Martha Bass, Little Richard et Albertina Walker, et enfin He Is Beside Me, composition r&eacute;cente (1961) de Elizabeth Crawford, sont trois beaux exemples de gospel songs particuli&egrave;rement inspir&eacute;s.</span><br /><span class=Texte>La suite de la s&eacute;ance ouvrira le 19e volume de notre int&eacute;grale.</span><br /><span class=Texte>Trois semaines plus tard, le 15 avril, Mahalia Jackson participe &agrave; l&rsquo;Ed Sullivan Show, et re&ccedil;oit la m&eacute;daille du M&eacute;rite que lui d&eacute;cerne la ville de Chicago, la grande m&eacute;tropole o&ugrave; elle a &eacute;migr&eacute; &agrave; la fin des ann&eacute;es 20 et o&ugrave; elle demeure toujours. Le dimanche apr&egrave;s P&acirc;ques, elle chante &agrave; St-Louis au b&eacute;n&eacute;fice de la NAACP (National Association for the Advancement of Colored People), fond&eacute;e en 1909 notamment par l&rsquo;activiste noir W.E.B. DuBois, et toujours forte de l&rsquo;appui de 300&thinsp;000 membres.</span><br /><span class=Texte>Cette grande voix, &agrave; tous les sens du terme, de l&rsquo;Am&eacute;rique noire, continue de se faire entendre sur tous les fronts. Et ce n&rsquo;est pas fini&hellip;</span><br /><span class=Texte><strong>Jean BUZELIN</strong></span><br /><span class=Texte>Jean Buzelin est l&rsquo;auteur de Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998)&thinsp;; il collabore &agrave; la Gospel Discography&nbsp; de Cedric J. Hayes &amp; Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.).</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2018</span><br /><span class=Texte>Notes :</span><br /><span class=Texte>(1) Voir Complete Mahalia Jackson Vol. 14-15-16-17 (FA 1324-25-26-27).</span><br /><span class=Texte>(2) Thanksgiving est la grande f&ecirc;te d&rsquo;actions de gr&acirc;ce c&eacute;l&eacute;br&eacute;e le 4e jeudi de novembre; on y mange la dinde en famille.</span><br /><span class=Texte>(3) Stuart Hamblen est l&rsquo;auteur de plusieurs &oelig;uvres enregistr&eacute;es par Mahalia Jackson : It Is No Secret (Vol. 3 &amp; 15), </span><br /><span class=Texte>His Hands (Vol. 5), et You Must Be Born Again (Vol. 10).</span><br /><span class=Texte>(4) Voir Complete Mahalia Jackson Vol. 11 &amp; 12 (FA 1321-22).</span><br /><span class=Texte>(5) Rappelons toutefois que Mahalia avait d&eacute;j&agrave; enregistr&eacute; un disque dans le m&ecirc;me esprit en 1960 : &ldquo;The Power and The Glory&rdquo; </span><br /><span class=Texte>avec des arrangements beaucoup plus discutables de Percy Faith ; voir Complete Mahalia Jackson Vol. 10 &amp; 11 (FA 1320-21).</span><br /><span class=Texte>(6) Il est int&eacute;ressant de comparer ces versions avec orchestre avec les premi&egrave;res accompagn&eacute;es d&rsquo;un simple duo piano-orgue&thinsp;; </span><br /><span class=Texte>voir Complete Mahalia Jackson Vol. 14 &amp; 15 (FA 1324-25).</span><br /><span class=Texte>(7) Voir The Golden Age of Gospel (FA 5246) et le CD J. Earle Hines (Gospel Friend PN-1501).</span><br /><span class=Texte>(8) Chanteuse et amie de Mahalia Jackson, Doris M. Akers est l&rsquo;auteur de God Spoke To Me (Vol. 3), God Is So Good To Me </span><br /><span class=Texte>(Vol. 7), Trouble (Vol. 8 &amp; 11), Lead On Lord Jesus, He&rsquo;s A Light Unto My Pathway, Impatient Heart, Life Eternal (Vol. 8), </span><br /><span class=Texte>Lord Don&rsquo;t Move The Mountain (Vol. 9 &amp; 14), enregistr&eacute;es par Mahalia.</span><br /><span class=Texte>(9) Voir Complete Mahalia Jackson Vol. 16 (FA 1326).</span><br /><span class=Texte>Ouvrages consult&eacute;s :</span><br /><span class=Texte>Laurraine Goreau, Mahalia (Lion Pub. UK 1976 - 2e &eacute;dition)</span><br /><span class=Texte>Mahalia Jackson with Evan McLeod Wylie, Movin&rsquo; on up (Hawthorn Books, NY 1966)</span><br /><span class=Texte>Cedric J. Hayes &amp; Robert Laughton, Gospel Discography 1943-1970 (Eyeball Productions Inc., 2007)</span><br /><span class=Texte>Photos &amp; collections : Jean Buzelin, X (D.R.)</span><br /><span class=Soustitre2>COMPLETE MAHALIA JACKSON - VOL. 18 - 1962</span><br /><span class=Soustitre>By Jean Buzelin</span><br /><span class=Texte>By the early 60s Mahalia Jackson had become a huge star, widely acclaimed as one of the elite. Showered with honors, in January 1961 she was invited to take part in the swearing in ceremony of John F. Kennedy where she sang the Star Spangled Banner. She accepted readily as she really believed that this young president would support the civil rights movement against segregation and racism. </span><br /><span class=Texte>Later in the year, after a triumphant tour in Europe and the Middle East and the TV recordings which were the subject of our three preceding volumes1, alongside Sammy Davis Jr and the young comedian Dick Gregory she took part in a sell-out benefit show in the Sports Arena in Los Angeles, supporting the Southern Christian Leadership Conference, founded in January 1957 by Martin Luther King as part of his non-violent Civil Rights Movement. Numerous other concerts followed, in stadiums, churches halls and university campuses, even in prisons. It is not our aim here to include the numerous anecdotes told around these concerts by Laurraine Goreau in her official biography of the singer. Here is just an outline of events. While her previous producer Bess Berman took advantage of her growing popularity after her European tour to issue albums of her old Apollo recordings, Mahalia appeared in a big TV production in Hollywood &ldquo;The Sound of the Sixties&rdquo;, conducted by Andr&eacute; Pr&eacute;vin, when she sang Bless This House. Regularly invited by her friend Dinah Shore, she also appeared frequently on the Chicago WBKB channel which broadcast the 82 clips of &ldquo;Mahalia Jackson Sings&rdquo; in five minutes segments three times a day. Then she decided so spend Thanksgiving2 in Atlanta with &ldquo;the most marvelous man in the world&rdquo;, Dr. Martin Luther King Jr., before spending Christmas at home in New Orleans. On New Year&rsquo;s Eve she went to her old friend the Rev. Rex Humbard&rsquo;s church, the beautiful Cathedral of Tomorrow where she and country/gospel singer and guitarists Stuart Hamblen3 were guest of honour. He hugged her declaring &ldquo;You&rsquo;re a legend in your time Mahalia. I saw your name on the new Gallup Poll, for Most Admired Woman in the World&rdquo;. She sang every two hours throughout the night into the small hours. A concert at Oakland on the 30 January followed.</span><br /><span class=Texte>1962 began with several TV broadcasts in Hollywood, followed by a concert at Oakland on the 30 January. The National Academy of Recording Arts and Sciences had just created a Gospel category and awarded Mahalia its first Grammy. So a new studio recording session was set up by her producer Irving Townsend, the first for Columbia (apart from the TV series) since March 1961 she left for Europe4. Johnny Williams was invited to provide the orchestrations &ndash; decidedly a young man on the up who would eventually work with Steven Spielberg. Twelve tracks were recorded in Los Angeles over two days, the 16 and 17 March. These would make up an album &ldquo;Great Songs of Love and Faith&rdquo;, deliberately aimed at a wider white or more well-off black audience.</span><br /><span class=Texte>&ldquo;No Gospel Songs on New Mahalia Jackson Album&rdquo;. Had Mahalia decided to change direction? She defended herself in front of the press, responding in particular to critic, producer and composer Leonard Feather declaring that, although the album included popular titles, The Rosary was a Catholic song, that two beautiful works by Carrie Jacobs Bond featured and that Because referred to the 1st Commandment etc.</span><br /><span class=Texte>The sleeve notes praised the album highly, pointing out that it marked a new departure for Mahalia proving that she could sing any type of song (while others saw it as a simple digression) In addition to her usual hymns celebrating the love of God, she added some referring to the countryside, to nature and to romantic love. God is present in Trees (composed by Joyce Kilmer in 1922 and frequently covered, both by more classical interpreters such as Paul Robeson or Mario Lanza and numerous Gospel vocalists and choirs) as was The Green Leaves Of Summer (created by the Brothers Four in the film &ldquo;Alamo&rdquo; in 1960). The House I Live In (immortalized by Frank Sinatra in 1942) stirred feelings of national pride. The sleeve writer concludes that, backed by Johnny Williams&rsquo; excellent orchestrations, these recordings are abounding proof of the measure of Mahalia&rsquo;s greatness5. </span><br /><span class=Texte>We have presented the tracks here in the chronological recording order rather than as they are issued on the two sides of the disc. The beautiful version of Whither Thou Goest refers to the Book of Ruth (taken from Zohar); the duo Paul and Mary Ford had a hit with it in 1954, followed by numerous interpretations from Bing Crosby to Leonard Cohen (in 2009). But this was not generally popular with Gospel singers, neither was My Task, issued in London in 1903. Two of Mahalia&rsquo;s favourites, I&rsquo;ve Done My Work and A Perfect Day were both written by Carrie Jacobs-Bond, the first in 1920, the second in 1910. Played on the Titanic, the latter was a favourite with American GIs during the Second World War. Mahalia had already recorded it the previous year for the TV series &ldquo;Mahalia Jackson Sings&rdquo;, together with The Rosary which was also part of the Titanic Song Book6. Both these songs were also part of Paul Robeson&rsquo;s repertoire. Because was written by Guy D&rsquo;Hardelot, nom de plume of pianist and composer Helen Guy, born in Hardelot Chateau, near Boulogne-sur-Mer. Living in London as a teacher she composed this piece in 1896 during a visit to the States. Perry Como had a hit with it in 1948. Some of the great classical singers, from Caruso to Placido Domingo, sang it and Sarah Vaughan and Sister Rosetta Tharpe also took it up. My Friend, a more recent composition by the writers of the well-known I Believe, was introduced by Eddie Fisher in 1954 and later covered by Frankie Laine and the Roberta Martin Singers. Danny Boy, published in 1910 with lyrics by Frederick E. Weatherly was based on an old Irish melody: after being sung by vocalists of every genre (Mario, Lanza, Bing Crosby, Johnny Cash, Sam Cooke, Elvis Presley, Harry Belafonte, the 5 Blind Boys of Alabama, Billy Preston, Tom Jones &hellip;) it became a very popular tune saved only by the quality of its interpretations. The same applies to Crying In The Chapel, written in 1953 by Artie Glenn for his son, country blues singer Darrell Glenn, with which the Orioles had a doo wop hit before it was covered by Ella Fitzgerald, Elvis Presley, Little Richard, the Platters, Sister Rosetta Tharpe, the Staple Singers and even Bob Marley.</span><br /><span class=Texte>This repertoire, obviously carefully chosen and brilliantly sung with great feeling by Mahalia was, in fact, very different from Afro American religious music &ndash;Negro Spirituals and Gospel Songs - but Mahalia&rsquo;s reputation and her exceptional voice placed her in the ranks of pop American stars. Thus she was obliged to hold on to her place in the upmarket world of show business, but she did seem to resist this occasionally &ndash; she absolutely refused to interpret jazz - and she herself chose her songs and not those that were imposed on her. Moreover, why couldn&rsquo;t she be allowed to sing songs that were applauded when sung by Bing Crosby, Frank Sinatra, Paul Robeson or Harry Belafonte?</span><br /><span class=Texte>However, on 22 March the astute Columbia producers organized a new recording session, more likely to satisfy her old fans and usual audiences, with a completely new repertoire of Gospel songs and a simple five-piece backing led by Edward C. Robinson on piano, not organ as on the TV films (had Mildred Falls been sidelined?) while Shelley Mann shared the drums with none other than Johnny Williams. A choir was added led by Afro American Thurston Frazier.</span><br /><span class=Texte>An interesting character, the latter was born in Houston in 1930 and was a member of the St. Paul Baptist Church Choir of Los Angeles led by Professor James Earle Hines7. In 1957, accompanied by pianist Gwendolyn Cooper, he took over the Voices of Hope, a mass choir incorporating over a hundred members, which cut several records in 1961 and 1966. A close friend of James Cleveland, Frazier also recorded under his own name in 1962. He was considered the most important Californian choir leader, second only to J. Earle Hines. He was assassinated in 1974 in unexplained circumstances. </span><br /><span class=Texte>Neither was the organist of the session, Albert A. Goodson (1933-2003) unknown. Also a member of the St. Paul Baptist Church, in the early 50s he was pianist with the Sallie Martin Singers before becoming organist for the Simmons-Akers Gospel Trio8, a group close to Mahalia Jackson with whom he worked for the first time. He was called on again the following year. The eleven titles of this session were cut in a single day and comprised the album &ldquo;Make a Joyful Noise Unto The Lord&rdquo;. The first part is included here. </span><br /><span class=Texte>In contrast with the slower tempos of &ldquo;Great Songs&rdquo;, the first title Sign Of The Judgement, an original adaptation by Mahalia herself of a traditional Negro Spiritual, is given an upbeat treatment. That&rsquo;s All Right based on a marked medium-slow tempo had already been tried by the singer for the TV series9. Speak Lord Jesus, written by Sallie Martin for the well-known singer Brother Joe May, In Times Like Jesus (1944) which appealed to Robert Anderson, Martha Bass, Little Richard and Albertina Walker among others, and finally He Is Beside Me, a recent composition (1961) by Elizabeth Crawford are three excellent examples of inspiring Gospel songs.</span><br /><span class=Texte>Three weeks later, on 15 April, Mahalia appeared on the Ed Sullivan Show, then on to Chicago, the city she had moved to in the 1920s and where she still lived, to receive the Chicago Medal of Merit from Mayor Daley. The Sunday after Easter she was singing in St. Louis for an NAACP benefit concert &ndash; The National Association for the Advancement of Coloured People, founded in 1909 by black activist W.E.B. DuBois that had over 300,000 members. </span><br /><span class=Texte>And so this great black American voice continued to resound everywhere and would continue to do so &hellip;</span><br /><span class=Texte>Adapted from the French text of Jean Buzelin </span><br /><span class=Texte>by Joyce Waterhouse</span><br /><span class=Texte><strong>Jean Buzelin</strong> is the author of Negro Spirituals and Gospel Songs, Songs of hope and freedom (Ed. du Layeur/Notre Histoire Paris 1998); he collaborated on the Gospel Discography by Cedric J. Hayes &amp; Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.).</span><br /><span class=Texte>Notes</span><br /><span class=Texte>(1) See Complete Mahalia Jackson Vol 14-15-16-17 (FA 1324-25-26-27).</span><br /><span class=Texte>(2) Thanksgiving, celebrated the fourth Thursday in November, is based on the first Harvest Festival held by the Pilgrim Fathers and is almost more important than Christmas. Turkey is traditionally eaten.</span><br /><span class=Texte>(3) Stuart Hamblen composed several songs recorded by Mahalia Jackson: It Is No Secret (Vol 3 &amp; 15), His Hands Vol 5 and You Must Be Born Again (Vol.10).</span><br /><span class=Texte>(4) See Complete Mahalia Jackson Vol.11 &amp; 12 (FA 1321-22).</span><br /><span class=Texte>(5) It should be noted that Mahalia had already made a similar record in 1960: &ldquo;The Power and The Glory&rdquo; with much weaker arrangements by Percy Faith, Complete Mahalia Jackson Vol.10 &amp; 11 (FA 1320-21).</span><br /><span class=Texte>(6) It&rsquo;s interesting to compare these orchestral versions with the earlier ones with a simple piano/organ backing; see Complete Mahalia Jackson Vol 14 &amp;15 (FA 1324-25).</span><br /><span class=Texte>(7) See The Golden Age of Gospel (FA5246) and the CD J. Earle Hines (Gospel Friend PN-1501).</span><br /><span class=Texte>(8) Mahalia Jackson&rsquo;s friend vocalist Doris M; Akers composed God Spoke To Me (Vol.3),God Is So Good To Me (Vol.7), Trouble (Vol. 8 &amp; 11), Lead On Lord Jesus, He&rsquo;s A Light Unto My Pathway, Impatient Heart, Life Eternal (Vol. 8), Lord Don&rsquo; Move The Mountain (Vol. 9&amp;14) recorded by Mahalia.</span><br /><span class=Texte>(9) See Complete Mahalia Jackson Vol 16 (FA 1326) </span><br /><span class=Texte>Works consulted:</span><br /><span class=Texte>Laurraine Goreau, Mahalia (Lion Pub. UK 1976 - 2e &eacute;dition)</span><br /><span class=Texte>Mahalia Jackson with Evan McLeod Wylie, Movin&rsquo; on up (Hawthorn Books, NY 1966)</span><br /><span class=Texte>Cedric J. Hayes &amp; Robert Laughton, Gospel Discography 1943-1970 (Eyeball Productions Inc., 2007)</span><br /><span class=Texte>Photos &amp; collections : Jean Buzelin, X (D.R.)</span><br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2018</span><br /><span class=Texte>&#8199;1. WHITHER THOU GOEST, I WILL GO (G. Singer) </span><br /><span class=Texte>&#8199;2. MY TASK (E.L. Ashford - M.L. Ray)</span><br /><span class=Texte>&#8199;3. I&rsquo;VE DONE MY WORK (G.W. Caldwell - C. Jacobs-Bond)</span><br /><span class=Texte>&#8199;4. THE ROSARY (E. Nevin - R.C. Rogers)</span><br /><span class=Texte>&#8199;5. A PERFECT DAY C. Jacobs-Bond)</span><br /><span class=Texte>&#8199;6. BECAUSE (E. Teschemacher - G. D&rsquo;Hardelot)</span><br /><span class=Texte>&#8199;7. TREES (O. Rabasch - J. Kilmer)</span><br /><span class=Texte>&#8199;8. MY FRIEND (E. Drake - J. Shirl)</span><br /><span class=Texte>&#8199;9. THE HOUSE I LIVE IN (THAT&rsquo;S AMERICA TO ME) (E. Robinson - L. Allen)</span><br /><span class=Texte>10. DANNY BOY (F.E. Weatherly) </span><br /><span class=Texte>11. THE GREEN LEAVES OF SUMMER (D. Tiomkin - P.F. Webster) </span><br /><span class=Texte>12. CRYING IN THE CHAPEL (A. Glenn)</span><br /><span class=Texte>13. SIGN OF THE JUDGEMENT (Trad. - adapt. M. Jackson)</span><br /><span class=Texte>14. THAT&rsquo;S ALL RIGHT (E. Booker - W. Brook - A. Johnson)</span><br /><span class=Texte>15. SPEAK, LORD JESUS (S. Martin)</span><br /><span class=Texte>16. IN TIMES LIKE THESE (R.C. Jones)</span><br /><span class=Texte>17. HE IS BESIDE ME (E. Crawford)</span><br /><span class=Texte>&nbsp;</span><br /><span class=Texte>Mahalia Jackson (vocal), with:</span><br /><span class=Texte>(1-6) Orchestra &amp; chorus cond. by Johnny Williams.&nbsp; Los Angeles, CA, 16/03/1962.</span><br /><span class=Texte>(7-12) Same. Los Angeles, CA, 17/03/1962.</span><br /><span class=Texte>(13-17) Orchestra cond. by Edward Robinson: Edward C. Robinson (p), Albert A. Goodson (org), Al Hendrikson (g), Joe Mondragon (b), Sheldon &ldquo;Shelly&rdquo; Manne, or Johnny Williams on some tracks (dm); Chorus under the direction of Thurston Frazier (except 15, 16). Hollywood, CA, 22/03/1962.</span><br /><span class=Texte>Pas de Gospel Songs dans le nouvel album de Mahalia Jackson, mais des chants d&rsquo;amour et de foi sublim&eacute;s par l&rsquo;interpr&eacute;tation magnifique de la plus grande chanteuse am&eacute;ricaine du 20e si&egrave;cle.</span><br /><span class=Texte>This new album of Mahalia Jackson does not include any Gospel Songs but songs of love and faith made sublime by the magni&shy;ficent interpretation of the greatest American vocalist of the 20th century.</span><br /><span class=Texte>L&rsquo;Int&eacute;grale chronologique Mahalia Jackson (de m&ecirc;me que la s&eacute;rie consa&shy;cr&eacute;e &agrave; Sister Rosetta Tharpe) offre l&rsquo;&oelig;uvre exhaustive de celle qui restera l&rsquo;une des plus grandes artistes de Gospel, et par la m&ecirc;me, l&rsquo;une des grandes inspiratrice de la culture noire-am&eacute;ricaine du XXe si&egrave;cle. Les disques sources, en provenance de la collection de Jean Buzelin, auteur de l&rsquo;Int&eacute;grale, aid&eacute; par l&rsquo;ensemble des collectionneurs des &oelig;uvres de Mahalia Jackson, font l&rsquo;objet des meilleurs transferts analogiques et d&rsquo;une restauration num&eacute;rique utilisant les technologies les plus sophistiqu&eacute;es sans jamais recourir &agrave; une modification du son d&rsquo;origine.&nbsp;&nbsp; &nbsp;Patrick Fr&eacute;meaux et Claude Colombini</span><br /><span class=Soustitre2>MAHALIA JACKSON Vol. 18 &ndash; 1962</span><br /><strong><br /><span class=Texte>WITH JOHN WILLIAMS</span></strong><br /><span class=Texte>&#8199;1. WHITHER THOU GOEST, I WILL GO&nbsp;&nbsp; &nbsp;2&rsquo;34</span><br /><span class=Texte>&#8199;2. MY TASK&nbsp;&nbsp; &nbsp;4&rsquo;11</span><br /><span class=Texte>&#8199;3. I&rsquo;VE DONE MY WORK&nbsp;&nbsp; &nbsp;4&rsquo;53</span><br /><span class=Texte>&#8199;4. THE ROSARY&nbsp;&nbsp; &nbsp;3&rsquo;02</span><br /><span class=Texte>&#8199;5. A PERFECT DAY&nbsp;&nbsp; &nbsp;4&rsquo;23</span><br /><span class=Texte>&#8199;6. BECAUSE&nbsp;&nbsp; &nbsp;3&rsquo;09</span><br /><span class=Texte>&#8199;7. TREES&nbsp;&nbsp; &nbsp;3&rsquo;10</span><br /><span class=Texte>&#8199;8. MY FRIEND&nbsp;&nbsp; &nbsp;2&rsquo;52</span><br /><span class=Texte>&#8199;9. THE HOUSE I LIVE IN&nbsp;&nbsp; &nbsp;4&rsquo;45</span><br /><span class=Texte>10. DANNY BOY&nbsp;&nbsp; &nbsp;3&rsquo;14</span><br /><span class=Texte>11. THE GREEN LEAVES OF SUMMER&nbsp;&nbsp; &nbsp;3&rsquo;37</span><br /><span class=Texte>12. CRYING IN THE CHAPEL&nbsp;&nbsp; &nbsp;3&rsquo;48</span><br /><strong><span class=Texte>WITH EDWARD ROBINSON &amp; THURSTON FRAZIER</span></strong><br /><span class=Texte>13. SIGN OF THE JUDGEMENT&nbsp;&nbsp; &nbsp;2&rsquo;16</span><br /><span class=Texte>14. THAT&rsquo;S ALL RIGHT&nbsp;&nbsp; &nbsp;4&rsquo;06</span><br /><span class=Texte>15. SPEAK, LORD JESUS &nbsp;&nbsp; &nbsp;4&rsquo;07</span><br /><span class=Texte>16. IN TIMES LIKE THESE &nbsp;&nbsp; &nbsp;5&rsquo;00</span><br /><span class=Texte>17. HE IS BESIDE ME&nbsp;&nbsp; &nbsp;3&rsquo;05</span><br /><span class=Texte>The complete Mahalia Jackson recordings (presented chronologically as in the Sister Rosetta Tharpe series) reveal a personality who will remain one of the greatest-ever Gospel artists, a singer who filled 20th century Afro-American culture with inspiration. The source of this vital music is the collection of Jean Buzelin, the author of this anthology, together with the aid of collectors of Mahalia Jackson&rsquo;s work; all these recordings have been restored with the best analog transfers and most sophisticated technology available, to avoid any alteration of the original sound.</span><br /></p><br /></p>"
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      "description" => "<p><p align=justify>Les quatre volumes &laquo; Mahalia Jackson Sings &raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961. <br /><strong>Jean BUZELIN</strong><br />Les quatre CD r&eacute;alis&eacute;s par Jean Buzelin, ins&eacute;parables et compl&eacute;mentaires, repr&eacute;sentent le r&eacute;sultat de longues recherches et, au-del&agrave; d&rsquo;une premi&egrave;re mondiale, sont un t&eacute;moignage patrimonial exceptionnel qui enrichit magistralement l&rsquo;oeuvre de la plus grande chanteuse de Gospel du XXe si&egrave;cle. <br /><strong>Patrick FRÉMEAUX</strong><br /><em>The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961.</em>&nbsp; <br /><strong>Jean BUZELIN&nbsp;</strong> <br /><em>The four CDs which we have produced and which are intended to be listened to as a whole, represent the result of long research and, in addition to being a world first, are an outstanding addition to the rich heritage left by the greatest Gospel singer of the 20th Century.</em><br /><strong>Patrick FRÉMEAUX <br />DIRECTION ARTISTIQUE : JEAN BUZELIN</strong></p><p align=justify><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES<br />AN EVENING PRAYER &bull; WHERE HE LEADS ME, I WILL FOLLOW &bull; I DO, DON&rsquo;T YOU? &bull; I WANT TO BE A CHRISTIAN &bull; THERE IS POWER IN THE BLOOD &bull; BLESSED QUIETNESS &bull; ELIJAH ROCK &bull; BECAUSE HIS NAME IS JESUS &bull; HAVE YOU ANY RIVERS? (GOD SPECIALIZES) &bull; THE ONLY HOPE WE HAVE &bull; TAKE MY HAND, PRECIOUS LORD &bull; I FOUND THE ANSWER &bull; I KNOW IT WAS THE BLOOD &bull; BLESS THIS HOUSE &bull; IN THE GARDEN &bull; GOD BE WITH YOU (TILL WE MEET AGAIN) &bull; SILENT NIGHT (HOLY NIGHT) &bull; SWEET LITTLE JESUS BOY &bull; A STAR STOOD STILL (SONG OF THE NATIVITY) &bull; O COME ALL YE FAITHFUL (ADESTE FIDELES).<br /></strong></p></p><br><br>"
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      "dwf_livret" => "<h3>Mahalia vol.17 FA1327</h3><span class=Soustitre>COMPLETE MAHALIA JACKSON<br />INTÉGRALE</span><span class=Texte><br /></span><span class=Soustitre2>MAHALIA<br />JACKSON</span><span class=Texte><br /></span><span class=Soustitre><br />VOL. 17<br />1961</span><span class=Texte><br /></span><span class=Soustitre2>INTÉGRALE MAHALIA JACKSON - VOL. 17 &ndash; 1961</span><span class=Texte><br /></span><span class=Soustitre>Par Jean Buzelin</span><span class=Texte><br />Les quatre volumes &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961. Certaines d&rsquo;entre elles &ndash; une petite partie &ndash; avaient &eacute;t&eacute; publi&eacute;es en microsillons 33 tours dans les ann&eacute;es 70, puis reprises en CD sans aucune mention de dates ni de provenance, et avec une faible qualit&eacute; sonore. Une partie plus importante de ces petits films, mais non l&rsquo;int&eacute;gralit&eacute; malgr&eacute; l&rsquo;indication de l&rsquo;&eacute;diteur qui les attribue &agrave; la NBC et non &agrave; la TEC, et dont les titres, mentionn&eacute;s seulement sur internet, sont erron&eacute;s ou hautement fantaisistes, a &eacute;t&eacute; publi&eacute;e plus r&eacute;cemment en DVD.<br />Apr&egrave;s une triomphale tourn&eacute;e de pr&egrave;s de deux mois en Europe et au Moyen-Orient, Mahalia Jackson est de retour au pays vers la fin du mois de mai 1961, et pose ses valises chez elle &agrave; Chicago. Pas pour longtemps car, pendant son absence, son producteur de chez Columbia, Irving Townsend, et quelques autres, se sont occup&eacute;s de la pr&eacute;paration des s&eacute;ances d&rsquo;enregistrements film&eacute;s qui doivent &ecirc;tre r&eacute;alis&eacute;s par la cha&icirc;ne Television Enterprise Corporation, dont le pr&eacute;sident est un certain Harold Goldman. La chanteuse doit enregistrer quelques quatre-vingt-cinq chansons de 3 &agrave; 4 minutes en quinze jours, r&eacute;parties en une dizaine de s&eacute;ances, soit environ huit par jour, en commen&ccedil;ant &agrave; 9 heures du matin pour s&rsquo;achever &agrave; 5 heures de l&rsquo;apr&egrave;s-midi. Ce qui n&rsquo;est pas sans l&rsquo;inqui&eacute;ter. Apr&egrave;s une tourn&eacute;e &eacute;puisante, elle n&rsquo;a que trois semaines pour se reposer et se pr&eacute;parer. Mais comme chacun la persuade qu&rsquo;elle est capable de relever ce d&eacute;fi, Mahalia se laisse convaincre et signe de bonne gr&acirc;ce le contrat. On pr&eacute;pare l&rsquo;&eacute;quipe : la fid&egrave;le Mildred Falls, qui l&rsquo;accompagna en Europe, tiendra le piano en alternance avec Edward C. Robinson, et assumera la direction musicale&thinsp;; Louise Overall Weaver sera &agrave; l&rsquo;orgue, &eacute;ventuellement suppl&eacute;&eacute;e en cas de besoin par Dorothy V. Simmons (du Simmons-Akers Trio)&thinsp;; une section rythmique compos&eacute;e de trois musiciens de jazz tout terrain, Barney Kessel (guitare), Red Mitchell (contrebasse), Shelly Manne (batterie), &agrave; qui l&rsquo;on demandera de bien marquer le gospel beat, compl&egrave;tera l&rsquo;effectif musical1. Un secr&eacute;taire, Butch Thornton, s&rsquo;occupe de l&rsquo;intendance, et le tout est plac&eacute; sous la direction artistique de Larry Peerce. Les enregistrements auront lieu aux studios de la Paramount, avenue Melrose &agrave; Hollywood. Le d&eacute;cor est spartiate et aust&egrave;re : quelques ogives &laquo;&thinsp;gothiques&thinsp;&raquo; d&eacute;coup&eacute;es, parfois quelques arbres artificiels, des bancs, un vitrail, souvent rien du tout, des &eacute;clairages fixes, peu de mouvements de cam&eacute;ra. Cet environnement presque nu, qui peut para&icirc;tre dict&eacute; par des raisons &eacute;conomiques, a le m&eacute;rite de mettre en valeur Mahalia qui, film&eacute;e simplement et sans aucuns effets, diffuse une pr&eacute;sence ind&eacute;niable, forte et particuli&egrave;rement prenante, notamment lorsque les gros plans s&rsquo;attardent sur son visage qui laisse voir sa totale implication2.<br />D&rsquo;apr&egrave;s Laurraine Goreau, la biographe de Mahalia Jackson3, qui a sans doute assist&eacute; aux s&eacute;ances, une pause de 5 minutes &eacute;tait pr&eacute;vue chaque heure, ainsi qu&rsquo;un break pour le d&eacute;jeuner, les huit chansons devant &ecirc;tre imp&eacute;rativement mises en bo&icirc;tes pour 5 heures du soir. La premi&egrave;re s&eacute;ance se serait ainsi d&eacute;roul&eacute;e dans l&rsquo;ordre suivant : Where He Leads Me I Will Follow &ndash; Because His Name Is Jesus &ndash; Precious Lord &ndash; Holding My Savior&rsquo;s Hand &ndash; In the Garden &ndash; You&rsquo;ll Never Walk Alone &ndash; To Me, It&rsquo;s So Wonderful &ndash; God Will Take Care of You. Et voici le programme de la seconde : Have Thine Own Way &ndash; Elijah Rock &ndash; God Be With You &ndash; Just As I Am &ndash; The Holy Bible &ndash; Hold Me &ndash; It Is No Secret &ndash; I&rsquo;m a Child of the King. Ensuite, Laurraine Goreau ne poursuit plus l&rsquo;&eacute;num&eacute;ration des titres de chaque s&eacute;ance, se contentant d&rsquo;en citer par-ci, par-l&agrave; quelques-uns3.<br />Mais ce travail intensif se fait aux d&eacute;pends de ses cordes vocales. Apr&egrave;s plusieurs s&eacute;ances, Mahalia a contract&eacute; une laryngite et sa gorge doit &ecirc;tre soign&eacute;e. Tout cela a des effets sur le planning, et le producteur t&eacute;l&eacute;phone quotidiennement, rappelant que chaque journ&eacute;e lui co&ucirc;te 3&thinsp;500 dollars de location du studio ! Les enregistrements reprennent car tout doit &ecirc;tre boucl&eacute; pour le 30 juin. Mais, par la force des choses, il faudra d&eacute;border un peu, et la toute derni&egrave;re s&eacute;ance a lieu le vendredi 7 juillet. Mahalia enregistre ce jour-l&agrave; une s&eacute;rie de chants de No&euml;l : Silent Night, O, Come All Ye Faithful, O Little Town of Bethlehem, A Star Stood Still, Sweet Little Jesus Boy et Joy to the World.<br />84 petites bobines en 16 mm (des clips dirait-on aujourd&rsquo;hui) sont ainsi mises en bo&icirc;te et seront diffus&eacute;es ult&eacute;rieurement, les unes apr&egrave;s les autres, sur la cha&icirc;ne de t&eacute;l&eacute;vision4. Tout le monde est enchant&eacute; : Townsend, Peerce, et particuli&egrave;rement Mr Goldman. Chacun peut bien se f&eacute;liciter, mais c&rsquo;est avant tout Mahalia Jackson elle-m&ecirc;me, l&rsquo;artisane principale de cette magnifique s&eacute;rie de chants sacr&eacute;s de toutes sortes (negro spirituals traditionnels, hymnes compos&eacute;s, gospel songs&hellip;)&thinsp;; sa voix extraordinaire atteint ici une pl&eacute;nitude exceptionnelle, une ampleur magistrale, une ferveur bouleversante.<br />Voici donc la bande sonore de l&rsquo;int&eacute;grale des 82 titres diffus&eacute;s par la cha&icirc;ne de t&eacute;l&eacute;vision&thinsp;; ils ne sont pas pr&eacute;sent&eacute;s dans l&rsquo;ordre chronologique, mais selon le classement &eacute;tabli par le collectionneur Mark Cantor, lequel fait autorit&eacute; : &laquo;&thinsp;Ma num&eacute;rotation est bas&eacute;e sur le registre principal des films. Je suis s&ucirc;r qu&rsquo;ils n&rsquo;ont pas &eacute;t&eacute; enregistr&eacute;s/film&eacute;s dans l&rsquo;ordre de la liste, mais c&rsquo;est ainsi que les producteurs l&rsquo;ont eux-m&ecirc;mes d&eacute;finie.&thinsp;&raquo; <br />Ces enregistrements film&eacute;s n&rsquo;ont pas la qualit&eacute; sonore des disques r&eacute;alis&eacute;s en studio &agrave; l&rsquo;&eacute;poque, en particulier chez Columbia, la maison de disques de Mahalia Jackson, mais nous avons effectu&eacute; tout ce qui &eacute;tait possible, avec Christophe Heynault et Pierre Brousses du studio Art &amp; Son, pour l&rsquo;am&eacute;liorer, m&ecirc;me s&rsquo;il reste quelques traces de pleurage qu&rsquo;il est impossible de supprimer. Mais l&rsquo;int&eacute;r&ecirc;t exceptionnel du document justifiait sa publication.<br />Cette int&eacute;grale &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; pr&eacute;sente la plus large s&eacute;lection possible du r&eacute;pertoire de la chanteuse, et m&ecirc;me bien au-del&agrave;. En effet, &agrave; c&ocirc;t&eacute; des th&egrave;mes qui lui sont familiers et qui font partie, pour la plupart, de ses r&eacute;citals habituels (You&rsquo;ll Never Walk Alone, Joshua Fit the Battle, Didn&rsquo;t It Rain, Down By the Riverside, It Don&rsquo;t Cost Very Much, When the Saints, Elijah Rock, I Found the Answer&hellip;), on en rel&egrave;ve quelques-uns qu&rsquo;elle avait grav&eacute; au d&eacute;but de sa carri&egrave;re (I Want To Rest -son premier disque Apollo en 1946, A Child Of the King - 1949, I Do, Don&rsquo;t You - 1950). Enregistr&eacute;s beaucoup plus r&eacute;cemment, d&rsquo;autres sont toujours dans ses cordes (Somebody Bigger Than You And I, I Believe, My Lord, Holding My Savior&rsquo;s Hand, I Want To Be a Christian, The Only Hope We Have&hellip;).<br />Mais, et ce n&rsquo;est pas le moins &eacute;tonnant, presque la moiti&eacute; des titres est totalement in&eacute;dite, et seuls une poign&eacute;e d&rsquo;entre eux sera enregistr&eacute;e ult&eacute;rieurement sur disque. D&rsquo;o&ugrave; l&rsquo;int&eacute;r&ecirc;t exceptionnel de leur publication. Il est d&rsquo;ailleurs fort probable que Mahalia en ait appris certains pour l&rsquo;occasion, ou qui ne lui sont pas familiers&thinsp;; ainsi nous la voyons, &agrave; plusieurs reprises, tenir la partition en main pour d&eacute;chiffrer les paroles en direct. Nous ne percevons pourtant la moindre h&eacute;sitation, la moindre &laquo;&thinsp;faute&thinsp;&raquo; d&rsquo;interpr&eacute;tation dans tous ces chants qu&rsquo;elle a choisis, ou qui lui ont peut-&ecirc;tre &eacute;t&eacute; propos&eacute;s. Elle les fait siens, d&eacute;finitivement. Un tour de force et une s&eacute;rie de performances exceptionnelles qui laissent l&rsquo;auditeur &ndash; ou le spectateur &ndash; pantois et absolument transport&eacute;. <br />Croyez-vous que la chanteuse se reposa apr&egrave;s une telle &eacute;preuve ? Pas du tout, le dimanche 16 juillet, elle chante au Madison Square Garden, &agrave; New York, dans un spectacle organis&eacute; par Joe Bostic, auquel participe une pl&eacute;iade de grands noms du gospel, comme les Caravans avec Albertina Walker, et l&rsquo;Ernestine Washington Temple Choir, et avec la pr&eacute;sence de Martin Luther King qui appara&icirc;tra sur sc&egrave;ne juste avant Mahalia. Ces deux grandes figures de la &laquo;&thinsp;nation noire&thinsp;&raquo; n&rsquo;ont pas fini de se rencontrer !<br /><strong>Notes :</strong><br />1) En r&eacute;alit&eacute;, Edward Robinson jouera principalement de l&rsquo;orgue &ndash; Dorothy Simmons ne semble pas avoir particip&eacute; aux enregistrements &ndash; tandis que la section rythmique ne sera peut-&ecirc;tre pas convoqu&eacute;e &agrave; toutes les s&eacute;ances, hormis peut-&ecirc;tre Shelly Manne, car un certain nombre de chants, en particulier sur tempo lent, ne seront accompagn&eacute;s que par le duo piano/orgue, avec parfois quelques ponctuations de percussions. Si Louise Weaver est une vieille complice de Mahalia, Edward Robinson appara&icirc;t ici pour la premi&egrave;re fois dans l&rsquo;entourage de la chanteuse&thinsp;; on l&rsquo;entendra ensuite souvent &agrave; l&rsquo;orgue ou au piano et il deviendra son accompagnateur r&eacute;gulier apr&egrave;s l&rsquo;&eacute;viction brutale de Mildred Falls (on le verra au Festival d&rsquo;Antibes en 1968). Quant &agrave; Shelly Manne et Red Mitchell, ils seront sollicit&eacute;s pour de futures s&eacute;ances de studio en 1962/63. Notons que les musiciens apparaissent &agrave; plusieurs reprises sur l&rsquo;&eacute;cran, Mildred Falls &eacute;tant toujours au piano, Edward Robinson &agrave; l&rsquo;orgue. <br />2) L&rsquo;habillement de Mahalia Jackson se compose sobrement de deux aubes (une rev&ecirc;tue beaucoup plus que l&rsquo;autre), parfois une robe longue blanche, et tr&egrave;s rarement un tailleur et une robe imprim&eacute;e.<br />3) Laurraine Goreau : Mahalia (Lion Pub., UK 1976 - 2e &eacute;dition).<br />4) O Little Town of Bethlehem et Joy to the World, cit&eacute;s par Laurraine Goreau, n&rsquo;apparaissent pas dans la liste des films &eacute;tablie par le collectionneur Mark Cantor&thinsp;; il est fort possible qu&rsquo;ils n&rsquo;aient jamais &eacute;t&eacute; diffus&eacute;s &agrave; la t&eacute;l&eacute;vision. Mark Cantor r&eacute;pond &agrave; nos interrogations : &laquo;&thinsp;Il y a probl&egrave;me, de toutes mani&egrave;res, avec les titres de No&euml;l. Maintenant, il me revient que ces films venaient des &laquo;&thinsp;3 Complete sets&thinsp;&raquo; de courts-m&eacute;trages, et &eacute;dit&eacute;s &agrave; l&rsquo;origine par les producteurs/distributeurs. Les collections sont compl&egrave;tes et peuvent ne pas correspondre avec les titres de chansons mentionn&eacute;s par Laurraine Goreau dans son livre Mahalia. Je ne sais pas o&ugrave; elle a obtenu son information et d&rsquo;o&ugrave; viennent les divergences, mais il y a quatre (et non six) titres de No&euml;l dans la collection. Comme vous pouvez voir, les deux titres que vous mentionnez n&rsquo;apparaissent pas comme ayant fait partie des films r&eacute;alis&eacute;s&thinsp;; ils ont peut-&ecirc;tre &eacute;t&eacute; propos&eacute;s, voire film&eacute;s et enregistr&eacute;s, mais pas r&eacute;alis&eacute;s dans les s&eacute;ries.&thinsp;&raquo; <br /></span><span class=Soustitre2>La quatri&egrave;me partie en d&eacute;tail</span><span class=Texte><br />Les vingt titres qui cl&ocirc;turent cette incroyable aventure t&eacute;l&eacute;visuelle apparaitront peut-&ecirc;tre, dans leur ensemble, un peu moins attrayants que les pr&eacute;c&eacute;dents. Il y a en effet beaucoup de morceaux chant&eacute;s sur tempo lent et les simples accompagnements piano/orgue sont nombreux. De plus, contrairement au volume qui pr&eacute;c&egrave;de, Mahalia Jackson en avait d&eacute;j&agrave; enregistr&eacute; la plupart, signe par ailleurs qu&rsquo;ils lui sont chers ! Mais il est bon d&rsquo;y regarder &agrave; deux fois car l&rsquo;on y trouve quelques pi&egrave;ces ma&icirc;tresses, comme le fameux Precious Lord de Thomas Dorsey &eacute;crit en 1932 sous le coup de la douleur &ndash; il venait de perdre sa femme en couches et son enfant. Deux autres gospel songs sont tr&egrave;s r&eacute;cents : I Found the Answer de Johnny Lange (1959) et The Only Hope We Have de Margaret Aikens (1960).<br />Parmi les negro spirituals, I Want To Be a Christian remonte tr&egrave;s loin puisqu&rsquo;il s&rsquo;agirait d&rsquo;un chant d&rsquo;esclaves de Virginie datant du milieu du XVIIIe si&egrave;cle, la musique en &eacute;tant forc&eacute;ment plus r&eacute;cente. Elijah Rock b&eacute;n&eacute;ficie de la patte de l&rsquo;arrangeur noir Jester Hairston. N&eacute; et mort avec le XXe si&egrave;cle (1901-2000), il aurait exerc&eacute; ses talents sur quelques trois cent spirituals. Because His Name Is Jesus et I Know It Was the Blood sont &eacute;galement des chants traditionnels.<br />Les trois hymnes qui ouvrent ce CD ont &eacute;t&eacute; compos&eacute;es au tournant du si&egrave;cle&thinsp;; vers 1911 pour An Evening Prayer, 1890 pour Where He Leads Me, et 1907 pour I Do Don&rsquo;t You. Plus r&eacute;cent, God Specializes, est l&rsquo;&oelig;uvre d&rsquo;un &eacute;vang&eacute;liste d&rsquo;origine su&eacute;doise, Oscar Eliason.<br />There Is a Power In the Blood, de Lewis Jones (1899), Blessed Quietness, de Manie Ferguson, une &eacute;vang&eacute;liste du Holiness Movement qui vit l&rsquo;&eacute;closion des &eacute;glises sanctifi&eacute;es (1897), et In The Garden, de C. Austin Miles, un auteur de gospels blanc (1913), s&rsquo;inscrivent plus nettement dans le genre gospel hymns. Moins typ&eacute;s sont les cantiques Bless This House (1927) et God Be With You (1880).<br />Enfin, les quatre chants de No&euml;l, qui s&rsquo;ajoutent aux soixante-dix-huit titres num&eacute;rot&eacute;s, proviennent bien de la derni&egrave;re s&eacute;ance de la s&eacute;rie, la seule pr&eacute;cis&eacute;ment dat&eacute;e du 7 juillet 1961. Deux, fort connus, sont d&rsquo;origine europ&eacute;enne, Silent Night et le plus ancien Adeste Fideles, transcrit en anglais par un pr&ecirc;tre catholique en 1841&thinsp;; Sweet Little Jesus Boy est une pi&egrave;ce originale de Robert McGimsey (1932), l&rsquo;auteur du c&eacute;l&egrave;bre Shadrack. Avec le Song Of the Nativity, ils ont d&eacute;j&agrave; fait partie d&rsquo;un LP paru en 1955 intitul&eacute; pr&eacute;cis&eacute;ment &laquo;&thinsp;Sweet Little Jesus Boy&thinsp;&raquo; (voir Complete Mahalia Jackson Vol. 5 &amp; 6), et seront r&eacute;enregistr&eacute;s dans un an en vue d&rsquo;un nouvel album &laquo;&thinsp;Silent Night&thinsp;&raquo;, &agrave; para&icirc;tre dans un futur volume de notre int&eacute;grale.<br />Jean BUZELIN<br /></span><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2017</span><span class=Texte><br /></span><span class=Soustitre>Jean Buzelin</span><span class=Texte> est l&rsquo;auteur de Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998)&thinsp;; il collabore &agrave; la Gospel Discography de Cedric J. Hayes &amp; Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.).<br />Nous remercions particuli&egrave;rement pour leur concours et leur aide Mark Cantor et Robert Laughton qui nous ont copi&eacute; de rares films, ainsi que Philippe Baudoin et Isabelle Marquis, Patrice Buzelin, Andr&eacute; Clergeat (&dagger;), Michel Pfau (&dagger;), Jean-Paul Ricard, Mich&egrave;le et Joyce Waterhouse qui nous ont fourni de bonnes pistes de recherches.<br />Photos : X (D.R.)<br /></span><span class=Soustitre2>COMPLETE MAHALIA JACKSON - VOL. 17 &ndash; 1961</span><span class=Texte><br /></span><span class=Soustitre>By Jean Buzelin<br /></span><span class=Texte><br />The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961. A small selection of these was issued on several long player records in the 70s and later reprised on CD, without any mention of date or provenance and with extremely poor sound quality. A larger extract of these small films has recently been issued on DVD but not the whole of them, in spite of the publisher claims attributing them to NBC rather than TEC and on which the titles, mentioned only on Internet, are either wrong or completely invented.<br />After a triumphant tour in Europe and the Middle East that lasted almost two months, Mahalia Jackson returned to Chicago in late May 1961. However, she didn&rsquo;t stay at home very long as, during her absence, her producer at Columbia Irving Townsend, along with several others, had arranged several recording sessions to be filmed by the Television Enterprise Corporation channel, whose president was a certain Harold Goldman. She would have to record eighty-five songs, each lasting three to four minutes, over a period of fifteen days, roughly ten or so sessions which meant about eight a day, beginning at 9 in the morning and finishing around 5 in the afternoon. She wasn&rsquo;t very happy about this. After a grueling tour she only had three weeks to rest and prepare herself. But after everybody persuaded her she was up to the challenge, Mahalia agreed to sign the contract. The backing group was chosen: the loyal Mildred Falls, who had accompanied her in Europe, on piano alternating with Edward C. Robinson, and also in charge of the music; Louis Overall Weaver on organ, to be replaced if necessary by Dorothy V. Simmons ( of the Simmons-Akers Trio). A rhythm section composed of three jazz musicians, Barney Kessel (guitar), Red Mitchell (double bass), Shelly Manne (drums), whose job it was to provide the Gospel beat, completed the line-up1. A secretary, Butch Thornton, was in charge of finances and the artistic director was Larry Peerce. The recordings took place at the Paramount Studios in Melrose, Hollywood. The d&eacute;cor was sparse and austere: some silhouettes of Gothic arches, a few artificial trees, benches, a stained glass window, sometimes nothing at all, fixed lighting and barely any camera movement. This almost empty setting, probably the result of cost cutting, had the advantage of placing the focus on Mahalia filmed very simply, without any additional effects, allowing her personality to dominate, particularly during the lingering facial close-ups that showed her complete involvement in what she was singing2.<br />According to Laurraine Goreau, Mahalia&rsquo;s biographer3, who doubtless was present at the sessions, a 5-minute break was allotted every hour, as well as a break for lunch, but the final take of the eight songs had to be done by 5 o&rsquo;clock in the evening. The titles from the first session were recorded in the following order: Where He Leads Me I Will Follow - Because His Name Is Jesus - Precious Lord - Holding My Savior&rsquo;s Hand - In The Garden - You&rsquo;ll Never Walk Alone - To Me, It&rsquo;s So Wonderful - God Will Take Care Of You. And the second session: Have Thine Own Way &ndash; Elijah Rock &ndash; God Be With You &ndash; Just As I Am &ndash; The Holy Bible &ndash; Hold Me &ndash; It Is No Secret &ndash; I&rsquo;m A Child Of The King. After this Laurraine Goreau no longer gives the programme for each session, merely mentioning some here and there3.<br />However, this intensive work load took its toll on Mahalia&rsquo;s vocal chords. After several sessions, she got laryngitis and her throat had to be treated. All this affected the planning with daily phone calls from the producer reminding them that renting the studio was costing him 3,500 dollars a day! So the recordings began again and were definitely supposed to finish by 30 June but inevitably overran a little with the final session on Friday 7 July. On that day Mahalia recorded a series of Christmas songs: Silent Night, Oh Come All Ye Faithful, Oh Little Town Of Bethlehem, A Star Stood Still, Sweet Little Jesus Boy and Joy To The World. 84 small 16mm clips were put in the can to be broadcast later on television4. Everybody was delighted: Townsend, Peerce and especially Mr. Goldman. While they could all congratulate themselves, it was Mahalia Jackson herself who was the principal architect of this magnificent series of religious songs of all kinds (traditional Negro Spirituals, Hymns, Gospel songs&hellip;), her extraordinary voice soaring to exceptional heights or sinking to a beautiful sonority, the whole imbued with her own overwhelming and extremely moving fervor.<br />So here is the sound track of the entire 82 titles broadcast on television. They are not presented in chronological order but according to the classification by collector Mark Cantor, who specifies: &ldquo;My designation of number is based on what is printed on the actual film credits. I am sure they were not filmed/ recorded in the order in the list, but this is how the producers themselves released them.&rdquo; <br />Although the sound quality of these filmed recordings is not as good as studio recordings of the era, especially by Columbia, Mahalia&rsquo;s regular recording company, we have done the utmost with the Art &amp; Son studio to improve it, but there is still the occasional wow or flutter that was impossible to eradicate. However, the undeniable interest of the collection justifies its issue.<br />This complete &ldquo;Mahalia Jackson Sings&rdquo; includes the largest selection possible of the singer&rsquo;s repertoire and even more. In addition to the titles that are associated with her and regularly formed part of her concerts (You&rsquo;ll Never Walk Alone, Joshua Fit The Battle, Didn&rsquo;t It Rain, Down By The Riverside, It Don&rsquo;t Cost Very Much, When The Saints, Elijah Rock, I Found The Answer&hellip;), there are some that were recorded early in her career (I Want To Rest, her first Apollo record in 1946, A Child Of The King &ndash; 1949, I Do Don&rsquo;t You &ndash; 1950). Other more recent recordings have always been part of her song sheet (Somebody Bigger Than You And I, I Believe, My Lord, Holding My Savior&rsquo;s Hand, I Want To Be A Christian, The Only Hope We Have&hellip;). <br />Amazingly most of these titles have never been issued before and only a handful of them were later recorded on disc. Moreover, it is very likely that Mahalia was not familiar with several of them and learnt them for the show as we see her on more than one occasion holding the score to read the lyrics directly. However, there is never a sign of the slightest hesitation or glitch in her interpretation in any of the songs, whether she had chosen them herself or they had been suggested to her. An amazing feat and an impressive performance that leaves the listener &ndash; or the spectator &ndash; spellbound and completely carried away.<br />One may have thought that the singer would have taken a break after such a strenuous stint but not at all! Sunday, 16 July saw her singing at Madison Square Garden in New York, in a show organized by Joe Bostic, alongside a throng of Gospel greats that included the Caravans with Albertina Walker and the Ernestine Washington Temple Choir. Martin Luther King was also present and appeared on stage just before Mahalia. This was not the only time these two great personalities of the &ldquo;African American&rdquo; nation would meet!<br /><strong>Notes</strong><br />1) In fact it is mainly Edward Robinson on organ &ndash; Dorothy Simmons does not appear to have taken part in the recordings &ndash; while the rhythm section was probably got together for each session, with the possible exception of Shelly Manne, for numerous titles, in particular slow tempo ones, are backed by a piano/organ duo, with occasionally the intervention of drums. If Louise Weaver was an old friend of Mahalia&rsquo;s while this is Edward Robinson&rsquo;s first appearance with the singer; later he was often heard on organ or piano and became her regular accompanist after the brutal sacking of Mildred Falls (he was at the Antibes Festival in 1968). Both Shelly Manne and Red Mitchell were invited back for studio sessions in 1962/63.<br />2) Mahalia was dressed soberly either in one of two surplices (one more decorative than the other), sometimes a long white robe or, very rarely, in a tailored jacket and a printed dress.<br />3) Laurraine Goreau: Mahalia (Lion Pub., UK 1976 &ndash; 2nd edition).<br />4) Oh Little Town Of Bethlehem and Joy To The World, mentioned by Laurraine Goreau, do not appear in collector Mark Cantor&rsquo;s list of films based on the actual broadcasts: it is possible that they were never broadcast on television. The answer of Mark Cantor : &ldquo;There is a problem, however, with the Christmas titles. Now, keep in mind that these films come from the three complete sets of the films shorts, as sent out by the original producer/distributor. The collections are complete, and they do not match the song titles as noted by Laurraine Goreau in her book Mahalia. I do not know where she got her information, and where the discrepancy arrises from, but these are the four (not six) Christmas titles in the collection. As you can see, the two titles that you note appear not to have been part of the released films; they may have been proposed, even filmed and recorded, but not released with the series.&rdquo;<br /></span><span class=Soustitre2>Part 4: Details</span><span class=Texte><br />The twenty titles that close this incredible television event might seem overall less appealing than the preceding volumes. There are a lot of slow tempo vocals and numerous simple piano/organ accompaniments. Also, unlike the preceding volume, Mahalia Jackson had already recorded most of them, suggesting that they were among her favorites. But they merit a second hearing for they include several masterpieces such as the famous Precious Lord written by Thomas Dorsey in 1932 when he was mourning the death of his wife and baby in childbirth. Two other Gospel songs are more recent: I Found The Answer by Johnny Lange (1959) and Margaret Aikens&rsquo; The Only Hope We Have (1960).<br />Among the Negro Spirituals the slave song I Want To Be A Christian goes back much further to the mid-18th Century, although the music of course is more recent. Elijah Rock has an arrangement by the black arranger Jester Hairston (1901-2000) who worked on around three hundred Spirituals during his lifetime. Because His Name Is Jesus and I Know It Was The Blood are further traditional titles.<br />The three hymns that open this CD were composed around the turn of the century: An Evening Prayer towards in 1911, Where He Leads Me in 1890 and I Do Don&rsquo;t You in 1907. The more recent God Specializes is the work of the Swedish Evangelist Oscar Eliason.<br />There Is A Power In The Blood by Lewis Jones (1899), Blessed Quietness (1897) by Manie Ferguson, an Evangelist of the &ldquo;Holiness Movement&rdquo; who witnessed the growth of sanctified churches and In The Garden (1913) by C. Austin Miles, a white Gospel composer, belong more to the Gospel Hymn category. Less typical are the two hymns Bless This House (1927) and God Be With You (1880).<br />Finally, in addition to the seventy-eight numbered titles, we have the four Christmas songs, which certainly come from the last session, the only one precisely dated 7 July 1961. Two of the most well-known originated in Europe, Silent Night and the older Oh Come All Ye Faithful, transcribed by a Catholic priest in 1841. Sweet Little Jesus Boy is an original piece by Robert McGimsey (1932), composer of the legendary Shadrack. Alongside the Song Of The Nativity, it had already appeared on an LP in 1955 entitled &ldquo;Sweet Little Jesus Boy&rdquo; (see Complete Mahalia Jackson Vo. 5 &amp; 6) and would later be re-recorded in a precursor to a new album &ldquo;Silent Night&rdquo; to appear in a future volume of our Complete Mahalia Jackson.<br />Adapted from the French text <br />of Jean Buzelin by Joyce Waterhouse<br /></span><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2017</span><span class=Texte><br /></span><span class=Soustitre>Jean Buzelin</span><span class=Texte> is the author of Negro Spirituals and Gospel Songs, Songs of hope and freedom (Ed. du Layeur/Notre Histoire Paris 1998); he collaborated on the Gospel Discography by Cedric J. Hayes &amp; Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.).<br />With special thanks for their help and support to Mark Cantor and Robert Laughton who copied rare films for us, also Philippe Baudoin and Isabelle Marquis, Patrice Buzelin, Andr&eacute; Clergeat&thinsp;(&dagger;), Michel Pfau&thinsp;(&dagger;), Jean-Paul Ricard, Mich&egrave;le and Joyce Waterhouse who provided very useful research leads.<br />&#8199;1. AN EVENING PRAYER (DEAR LORD FORGIVE) (C.M. Battersby - arr. C.H. Gabriel) - 63<br />&#8199;2. WHERE HE LEADS ME, I WILL FOLLOW (J.S. Norris - E.W. Blandy) - 64<br />&#8199;3. I DO, DON&rsquo;T YOU? (E.O. Excell - M.W. Miller) - 65<br />&#8199;4. I WANT TO BE A CHRISTIAN (Trad. - arr. B. Smith) - 66<br />&#8199;5. THERE IS POWER IN THE BLOOD (L.E. Jones) - 67<br />&#8199;6. BLESSED QUIETNESS (M.P. Ferguson) - 68<br />&#8199;7. ELIJAH ROCK (Trad. - arr. J. Hairston) - 69<br />&#8199;8. BECAUSE HIS NAME IS JESUS (Trad. - adapt. E.O. Excell) - 70<br />&#8199;9. HAVE YOU ANY RIVERS? (GOD SPECIALIZES) (O.C. Eliason) - 71<br />10. THE ONLY HOPE WE HAVE (M. Aikens) - 72<br />11. TAKE MY HAND, PRECIOUS LORD (T.A. Dorsey) - 73<br />12. I FOUND THE ANSWER (J. Lange) - 74<br />13. I KNOW IT WAS THE BLOOD (Trad.) - 75<br />14. BLESS THIS HOUSE (M. Brahe - H. Taylor) - 76<br />15. IN THE GARDEN (C.A. Miles) - 77<br />16. GOD BE WITH YOU (TILL WE MEET AGAIN) (W.G. Tomer - J.E. Rankin) - 78<br />17. SILENT NIGHT (HOLY NIGHT) (F.X. Gr&uuml;ber - J. Mohr - arr. M. Jackson) - A<br />18. SWEET LITTLE JESUS BOY (R. McGimsey) - B<br />19. A STAR STOOD STILL (SONG OF THE NATIVITY) (B. Ruth - J. Broderick) - C<br />20. O COME ALL YE FAITHFUL (ADESTE FIDELES) (J.F. Wade - J. Reading -F. Oakeley) - D<br />Mahalia Jackson (vocal), with: <br />Mildred Falls (piano, musical director), Edward C. Robinson (organ, poss. piano on some tracks), <br />Louise Overall Weaver-Smothers (organ on some tracks), Barney Kessel (guitar), Keith M. &ldquo;Red&rdquo; Mitchell (bass), Sheldon &ldquo;Shelly&rdquo; Manne (drums, percussions); the rhythm section is not present on all the tracks.<br />Studios Paramount, Hollywood (CA), mid-June/early July 1961. <br />A TEC Production - distributed by Seven Arts Films.<br />Directed by Larry Peerce<br />Produced by Irving Townsend<br />Art director: Bob Dahlquist<br />Photography: Leugh Wiener<br />Lightning director: Robert Boatman<br />Technical director: Roy White<br />Camera: Baldwin Baker, Ray Figelski, Bill Matheson<br />Audio: Len Peterson<br />Video: Robert Spears<br />Video tape: Richard Krown<br />Stage manager: Hector Highton<br />Executive producer: Harold Goldman<br />Les quatre volumes &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961. &nbsp;&nbsp; &nbsp;Jean BUZELIN<br />The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961.&nbsp;&nbsp; &nbsp;Jean BUZELIN<br />Les quatre CD r&eacute;alis&eacute;s par Jean Buzelin, ins&eacute;parables et compl&eacute;mentaires, repr&eacute;sentent le r&eacute;sultat de longues recherches et, au-del&agrave; d&rsquo;une premi&egrave;re mondiale, sont un t&eacute;moignage patrimonial exceptionnel qui enrichit magistralement l&rsquo;&oelig;uvre de la plus grande chanteuse de Gospel du XXe si&egrave;cle.<br /><strong>Patrick FRÉMEAUX</strong><br />The four CDs which we have produced and which are intended to be listened to as a whole, represent the result of long research and, in addition to being a world first, are an outstanding addition to the rich heritage left by the greatest Gospel singer of the 20th Century. &nbsp;&nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong><br /></span><span class=Soustitre>MAHALIA JACKSON Vol. 17 &ndash; 1961 - MAHALIA SINGS Part 4</span><span class=Texte><br />&#8199;1. AN EVENING PRAYER &nbsp;&nbsp; &nbsp; 3&rsquo;08<br />&#8199;2. WHERE HE LEADS ME, I WILL FOLLOW&nbsp;&nbsp; &nbsp; 3&rsquo;27<br />&#8199;3. I DO, DON&rsquo;T YOU?&nbsp;&nbsp; &nbsp; 3&rsquo;23<br />&#8199;4. I WANT TO BE A CHRISTIAN&nbsp;&nbsp; &nbsp; 3&rsquo;03<br />&#8199;5. THERE IS POWER IN THE BLOOD&nbsp;&nbsp; &nbsp; 3&rsquo;05<br />&#8199;6. BLESSED QUIETNESS&nbsp;&nbsp; &nbsp; 3&rsquo;03<br />&#8199;7. ELIJAH ROCK&nbsp;&nbsp; &nbsp; 3&rsquo;22<br />&#8199;8. BECAUSE HIS NAME IS JESUS&nbsp;&nbsp; &nbsp; 3&rsquo;05<br />&#8199;9. HAVE YOU ANY RIVERS? (GOD SPECIALIZES) &nbsp;&nbsp; &nbsp;2&rsquo;53<br />10. THE ONLY HOPE WE HAVE&nbsp;&nbsp; &nbsp; 2&rsquo;46<br />11. TAKE MY HAND, PRECIOUS LORD&nbsp;&nbsp; &nbsp; 2&rsquo;19<br />12. I FOUND THE ANSWER&nbsp;&nbsp; &nbsp; 3&rsquo;04<br />13. I KNOW IT WAS THE BLOOD&nbsp;&nbsp; &nbsp; 3&rsquo;21<br />14. BLESS THIS HOUSE&nbsp;&nbsp; &nbsp; 3&rsquo;37<br />15. IN THE GARDEN&nbsp;&nbsp; &nbsp; 3&rsquo;25<br />16. 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      "description" => "<p><p style=\text-align: justify;>Les quatre volumes &laquo; Mahalia Jackson Sings &raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961.&nbsp;</p><p style=\text-align: justify;><strong>Jean BUZELIN&nbsp;</strong></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;>Les quatre CD r&eacute;alis&eacute;s par Jean Buzelin, ins&eacute;parables et compl&eacute;mentaires, repr&eacute;sentent le r&eacute;sultat de longues recherches et, au del&agrave; d&rsquo;une premi&egrave;re mondiale, sont un t&eacute;moignage patrimonial exceptionnel qui enrichit magistralement l&rsquo;oeuvre de la plus grande chanteuse de Gospel du XXe si&egrave;cle.&nbsp;</p><p style=\text-align: justify;><strong>Patrick FRÉMEAUX</strong></p><p style=\text-align: justify;><br /></p><p><p style=\text-align: justify;><em>The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs fi lmed by the TEC television channel in June and July 1961.&nbsp;</em></p><p style=\text-align: justify;><em><strong>Jean BUZELIN&nbsp;</strong></em></p><p style=\text-align: justify;><em><br /></em></p><p style=\text-align: justify;><em>The four CDs which we have produced and which are intended to be listened to as a whole, represent the result of long research and, in addition to being a world fi rst, are an outstanding addition to the rich heritage left by the greatest Gospel singer of the 20th Century.&nbsp;</em></p><p style=\text-align: justify;><em><strong>Patrick FRÉMEAUX</strong>&nbsp;</em></p></p><p style=\text-align: justify;><br /></p><p><p style=\text-align: justify;><strong>DIRECTION ARTISTIQUE : JEAN BUZELIN</strong></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;>GIVE ME THAT OLD TIME RELIGION &bull; REMEMBER ME &bull; IT&rsquo;S MY DESIRE &bull; HE WAS ALONE &bull; HE&rsquo;S SWEET, I KNOW &bull; I&rsquo;LL NEVER TURN BACK NO MORE &bull; THE HOLY BIBLE &bull; THAT&rsquo;S ALL RIGHT &bull; HOLD ME (PLEASE DON&rsquo;T LET ME GO) &bull; I WANT TO REST &bull; THANK YOU, JESUS &bull; THERE IS A FOUNTAIN FILLED WITH BLOOD &bull; HE KNOWS HOW MUCH WE CAN BEAR &bull; LORD, SEARCH MY HEART &bull; JUST TELL JESUS &bull; NOBODY KNOWS THE TROUBLE I&rsquo;VE SEEN &bull; I SURRENDER ALL &bull; HE&rsquo;S GOT THE WHOLE WORLD IN HIS HANDS &bull; I&rsquo;D RATHER HAVE JESUS &bull; ALWAYS LOOK UP NEVER LOOK DOWN &bull; HAVE THINE OWN WAY, LORD.</p></p><p><br /></p></p><br><br>"
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      "dwf_livret" => "<h3>Mahalia sings FA1326</h3><p align=justify><span class=Soustitre2><br />COMPLETE MAHALIA JACKSON<br />INTÉGRALE<br />MAHALIA JACKSON<br />VOL. 16<br />1961</span><br /><span class=Soustitre><br />MAHALIA JACKSON - Mahalia Sings 3/4<br />THE TEC SOUNDTRACK JUNE/JULY 1961</span><br /><span class=Texte>Les quatre volumes &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961. &nbsp;&nbsp; &nbsp;Jean BUZELIN</span><br /><span class=Texte>The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961.&nbsp;&nbsp;&nbsp; <br />Jean BUZELIN</span><br /><span class=Texte>Les quatre CD r&eacute;alis&eacute;s par Jean Buzelin, ins&eacute;parables et compl&eacute;mentaires, repr&eacute;sentent le r&eacute;sultat de longues recherches et, au-del&agrave; d&rsquo;une premi&egrave;re mondiale, sont un t&eacute;moignage patrimonial exceptionnel qui enrichit magistralement l&rsquo;&oelig;uvre de la plus grande chanteuse de Gospel du XXe si&egrave;cle.</span><br /><span class=Texte>Patrick FRÉMEAUX<br /></span><span class=Texte>The four CDs which we have produced and which are intended to be listened to as a whole, represent the result of long research and, in addition to being a world first, are an outstanding addition to the rich heritage left by the greatest Gospel singer of the 20th Century. &nbsp;&nbsp;&nbsp; <br />Patrick FRÉMEAUX</span><br /><span class=Soustitre2>MAHALIA JACKSON Vol. 16 &ndash; 1961 - MAHALIA SINGS Part 3</span><br /><span class=Texte>&#8199;1. GIVE ME THAT OLD TIME RELIGION&nbsp;&nbsp; &nbsp;2&rsquo;32</span><br /><span class=Texte>&#8199;2. REMEMBER ME &nbsp;&nbsp; &nbsp;3&rsquo;03</span><br /><span class=Texte>&#8199;3. IT&rsquo;S MY DESIRE&nbsp;&nbsp; &nbsp;3&rsquo;22</span><br /><span class=Texte>&#8199;4. HE WAS ALONE &nbsp;&nbsp; &nbsp;2&rsquo;46</span><br /><span class=Texte>&#8199;5. HE&rsquo;S SWEET, I KNOW&nbsp;&nbsp; &nbsp;3&rsquo;09</span><br /><span class=Texte>&#8199;6. I&rsquo;LL NEVER TURN BACK NO MORE&nbsp;&nbsp; &nbsp;3&rsquo;24</span><br /><span class=Texte>&#8199;7. THE HOLY BIBLE&nbsp;&nbsp; &nbsp;2&rsquo;16</span><br /><span class=Texte>&#8199;8. THAT&rsquo;S ALL RIGHT&nbsp;&nbsp; &nbsp;3&rsquo;12</span><br /><span class=Texte>&#8199;9. HOLD ME (PLEASE DON&rsquo;T LET ME GO)&nbsp;&nbsp; &nbsp;2&rsquo;18</span><br /><span class=Texte>10. I WANT TO REST&nbsp;&nbsp; &nbsp;3&rsquo;46</span><br /><span class=Texte>11. THANK YOU, JESUS&nbsp;&nbsp; &nbsp;3&rsquo;25</span><br /><span class=Texte>12. THERE IS A FOUNTAIN FILLED WITH BLOOD&nbsp;&nbsp; &nbsp;2&rsquo;51</span><br /><span class=Texte>13. HE KNOWS HOW MUCH WE CAN BEAR&nbsp;&nbsp; &nbsp;2&rsquo;39</span><br /><span class=Texte>14. LORD, SEARCH MY HEART&nbsp;&nbsp; &nbsp;2&rsquo;44</span><br /><span class=Texte>15. JUST TELL JESUS &nbsp;&nbsp; &nbsp;3&rsquo;21</span><br /><span class=Texte>16. NOBODY KNOWS THE TROUBLE I&rsquo;VE SEEN &nbsp;&nbsp; &nbsp;2&rsquo;46</span><br /><span class=Texte>17. I SURRENDER ALL&nbsp;&nbsp; &nbsp;3&rsquo;02</span><br /><span class=Texte>18. HE&rsquo;S GOT THE WHOLE WORLD IN HIS HANDS &nbsp;&nbsp; &nbsp;3&rsquo;15</span><br /><span class=Texte>19. I&rsquo;D RATHER HAVE JESUS&nbsp;&nbsp; &nbsp;3&rsquo;14</span><br /><span class=Texte>20. ALWAYS LOOK UP NEVER LOOK DOWN&nbsp;&nbsp; &nbsp;3&rsquo;11</span><br /><span class=Texte>21. HAVE THINE OWN WAY, LORD&nbsp;&nbsp; &nbsp;2&rsquo;59</span><br /><span class=Soustitre2>INTÉGRALE MAHALIA JACKSON - VOL. 16 &ndash; 1961</span><br /><span class=Soustitre>Par Jean Buzelin</span><br /><span class=Texte>Les quatre volumes &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961. Certaines d&rsquo;entre elles &ndash; une petite partie &ndash; avaient &eacute;t&eacute; publi&eacute;es en microsillons 33 tours dans les ann&eacute;es 70, puis reprises en CD sans aucune mention de dates ni de provenance, et avec une faible qualit&eacute; sonore. Une partie plus importante de ces petits films, mais non l&rsquo;int&eacute;gralit&eacute; malgr&eacute; l&rsquo;indication de l&rsquo;&eacute;diteur qui les attribue &agrave; la NBC et non &agrave; la TEC, et dont les titres, mentionn&eacute;s seulement sur internet, sont erron&eacute;s ou hautement fantaisistes, a &eacute;t&eacute; publi&eacute;e plus r&eacute;cemment en DVD.</span><br /><span class=Texte>Apr&egrave;s une triomphale tourn&eacute;e de pr&egrave;s de deux mois en Europe et au Moyen-Orient, Mahalia Jackson est de retour au pays vers la fin du mois de mai 1961, et pose ses valises chez elle &agrave; Chicago. Pas pour longtemps car, pendant son absence, son producteur de chez Columbia, Irving Townsend, et quelques autres, se sont occup&eacute;s de la pr&eacute;paration des s&eacute;ances d&rsquo;enregistrements film&eacute;s qui doivent &ecirc;tre r&eacute;alis&eacute;s par la cha&icirc;ne Television Enterprise Corporation, dont le pr&eacute;sident est un certain Harold Goldman. La chanteuse doit enregistrer quelques quatre-vingt-cinq chansons de 3 &agrave; 4 minutes en quinze jours, r&eacute;parties en une dizaine de s&eacute;ances, soit environ huit par jour, en commen&ccedil;ant &agrave; 9 heures du matin pour s&rsquo;achever &agrave; 5 heures de l&rsquo;apr&egrave;s-midi. Ce qui n&rsquo;est pas sans l&rsquo;inqui&eacute;ter. Apr&egrave;s une tourn&eacute;e &eacute;puisante, elle n&rsquo;a que trois semaines pour se reposer et se pr&eacute;parer. Mais comme chacun la persuade qu&rsquo;elle est capable de relever ce d&eacute;fi, Mahalia se laisse convaincre et signe de bonne gr&acirc;ce le contrat. On pr&eacute;pare l&rsquo;&eacute;quipe : la fid&egrave;le Mildred Falls, qui l&rsquo;accompagna en Europe, tiendra le piano en alternance avec Edward C. Robinson, et assumera la direction musicale&thinsp;; Louise Overall Weaver sera &agrave; l&rsquo;orgue, &eacute;ventuellement suppl&eacute;&eacute;e en cas de besoin par Dorothy V. Simmons (du Simmons-Akers Trio)&thinsp;; une section rythmique compos&eacute;e de trois musiciens de jazz tout terrain, Barney Kessel (guitare), Red Mitchell (contrebasse), Shelly Manne (batterie), &agrave; qui l&rsquo;on demandera de bien marquer le gospel beat, compl&egrave;tera l&rsquo;effectif musical1. Un secr&eacute;taire, Butch Thornton, s&rsquo;occupe de l&rsquo;intendance, et le tout est plac&eacute; sous la direction artistique de Larry Peerce. Les enregistrements auront lieu aux studios de la Paramount, avenue Melrose &agrave; Hollywood. Le d&eacute;cor est spartiate et aust&egrave;re : quelques ogives &laquo;&thinsp;gothiques&thinsp;&raquo; d&eacute;coup&eacute;es, parfois quelques arbres artificiels, des bancs, un vitrail, souvent rien du tout, des &eacute;clairages fixes, peu de mouvements de cam&eacute;ra. Cet environnement presque nu, qui peut para&icirc;tre dict&eacute; par des raisons &eacute;conomiques, a le m&eacute;rite de mettre en valeur Mahalia qui, film&eacute;e simplement et sans aucuns effets, diffuse une pr&eacute;sence ind&eacute;niable, forte et particuli&egrave;rement prenante, notamment lorsque les gros plans s&rsquo;attardent sur son visage qui laisse voir sa totale implication2.</span><br /><span class=Texte>D&rsquo;apr&egrave;s Laurraine Goreau, la biographe de Mahalia Jackson3, qui a sans doute assist&eacute; aux s&eacute;ances, une pause de 5 minutes &eacute;tait pr&eacute;vue chaque heure, ainsi qu&rsquo;un break pour le d&eacute;jeuner, les huit chansons devant &ecirc;tre imp&eacute;rativement mises en bo&icirc;tes pour 5 heures du soir. La premi&egrave;re s&eacute;ance se serait ainsi d&eacute;roul&eacute;e dans l&rsquo;ordre suivant : Where He Leads Me I Will Follow &ndash; Because His Name Is Jesus &ndash; Precious Lord &ndash; Holding My Savior&rsquo;s Hand &ndash; In the Garden &ndash; You&rsquo;ll Never Walk Alone &ndash; To Me, It&rsquo;s So Wonderful &ndash; God Will Take Care of You. Et voici le programme de la seconde : Have Thine Own Way &ndash; Elijah Rock &ndash; God Be With You &ndash; Just As I Am &ndash; The Holy Bible &ndash; Hold Me &ndash; It Is No Secret &ndash; I&rsquo;m a Child of the King. Ensuite, Laurraine Goreau ne poursuit plus l&rsquo;&eacute;num&eacute;ration des titres de chaque s&eacute;ance, se contentant d&rsquo;en citer par-ci, par-l&agrave; quelques-uns3.</span><br /><span class=Texte>Mais ce travail intensif se fait aux d&eacute;pends de ses cordes vocales. Apr&egrave;s plusieurs s&eacute;ances, Mahalia a contract&eacute; une laryngite et sa gorge doit &ecirc;tre soign&eacute;e. Tout cela a des effets sur le planning, et le producteur t&eacute;l&eacute;phone quotidiennement, rappelant que chaque journ&eacute;e lui co&ucirc;te 3&thinsp;500 dollars de location du studio ! Les enregistrements reprennent car tout doit &ecirc;tre boucl&eacute; pour le 30 juin. Mais, par la force des choses, il faudra d&eacute;border un peu, et la toute derni&egrave;re s&eacute;ance a lieu le vendredi 7 juillet. Mahalia enregistre ce jour-l&agrave; une s&eacute;rie de chants de No&euml;l : Silent Night, O, Come All Ye Faithful, O Little Town of Bethlehem, A Star Stood Still, Sweet Little Jesus Boy et Joy to the World.</span><br /><span class=Texte>84 petites bobines en 16 mm (des clips dirait-on aujourd&rsquo;hui) sont ainsi mises en bo&icirc;te et seront diffus&eacute;es ult&eacute;rieurement, les unes apr&egrave;s les autres, sur la cha&icirc;ne de t&eacute;l&eacute;vision4. Tout le monde est enchant&eacute; : Townsend, Peerce, et particuli&egrave;rement Mr Goldman. Chacun peut bien se f&eacute;liciter, mais c&rsquo;est avant tout Mahalia Jackson elle-m&ecirc;me, l&rsquo;artisane principale de cette magnifique s&eacute;rie de chants sacr&eacute;s de toutes sortes (negro spirituals traditionnels, hymnes compos&eacute;s, gospel songs&hellip;)&thinsp;; sa voix extraordinaire atteint ici une pl&eacute;nitude exceptionnelle, une ampleur magistrale, une ferveur bouleversante.</span><br /><span class=Texte>Voici donc la bande sonore de l&rsquo;int&eacute;grale des 82 titres diffus&eacute;s par la cha&icirc;ne de t&eacute;l&eacute;vision&thinsp;; ils ne sont pas pr&eacute;sent&eacute;s dans l&rsquo;ordre chronologique, mais selon le classement &eacute;tabli par le collectionneur Mark Cantor, lequel fait autorit&eacute; : &laquo;&thinsp;Ma num&eacute;rotation est bas&eacute;e sur le registre principal des films. Je suis s&ucirc;r qu&rsquo;ils n&rsquo;ont pas &eacute;t&eacute; enregistr&eacute;s/film&eacute;s dans l&rsquo;ordre de la liste, mais c&rsquo;est ainsi que les producteurs l&rsquo;ont eux-m&ecirc;mes d&eacute;finie.&thinsp;&raquo; </span><br /><span class=Texte>Ces enregistrements film&eacute;s n&rsquo;ont pas la qualit&eacute; sonore des disques r&eacute;alis&eacute;s en studio &agrave; l&rsquo;&eacute;poque, en particulier chez Columbia, la maison de disques de Mahalia Jackson, mais nous avons effectu&eacute; tout ce qui &eacute;tait possible, avec Christophe Heynault et Pierre Brousses du studio Art &amp; Son, pour l&rsquo;am&eacute;liorer, m&ecirc;me s&rsquo;il reste quelques traces de pleurage qu&rsquo;il est impossible de supprimer. Mais l&rsquo;int&eacute;r&ecirc;t exceptionnel du document justifiait sa publication.</span><br /><span class=Texte>Cette int&eacute;grale &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; pr&eacute;sente la plus large s&eacute;lection possible du r&eacute;pertoire de la chanteuse, et m&ecirc;me bien au-del&agrave;. En effet, &agrave; c&ocirc;t&eacute; des th&egrave;mes qui lui sont familiers et qui font partie, pour la plupart, de ses r&eacute;citals habituels (You&rsquo;ll Never Walk Alone, Joshua Fit the Battle, Didn&rsquo;t It Rain, Down By the Riverside, It Don&rsquo;t Cost Very Much, When the Saints, Elijah Rock, I Found the Answer&hellip;), on en rel&egrave;ve quelques-uns qu&rsquo;elle avait grav&eacute; au d&eacute;but de sa carri&egrave;re (I Want To Rest -son premier disque Apollo en 1946, A Child Of the King - 1949, I Do, Don&rsquo;t You - 1950). Enregistr&eacute;s beaucoup plus r&eacute;cemment, d&rsquo;autres sont toujours dans ses cordes (Somebody Bigger Than You And I, I Believe, My Lord, Holding My Savior&rsquo;s Hand, I Want To Be a Christian, The Only Hope We Have&hellip;).</span><br /><span class=Texte>Mais, et ce n&rsquo;est pas le moins &eacute;tonnant, presque la moiti&eacute; des titres est totalement in&eacute;dite, et seuls une poign&eacute;e d&rsquo;entre eux sera enregistr&eacute;e ult&eacute;rieurement sur disque. D&rsquo;o&ugrave; l&rsquo;int&eacute;r&ecirc;t exceptionnel de leur publication. Il est d&rsquo;ailleurs fort probable que Mahalia en ait appris certains pour l&rsquo;occasion, ou qui ne lui sont pas familiers&thinsp;; ainsi nous la voyons, &agrave; plusieurs reprises, tenir la partition en main pour d&eacute;chiffrer les paroles en direct. Nous ne percevons pourtant la moindre h&eacute;sitation, la moindre &laquo;&thinsp;faute&thinsp;&raquo; d&rsquo;interpr&eacute;tation dans tous ces chants qu&rsquo;elle a choisis, ou qui lui ont peut-&ecirc;tre &eacute;t&eacute; propos&eacute;s. Elle les fait siens, d&eacute;finitivement. Un tour de force et une s&eacute;rie de performances exceptionnelles qui laissent l&rsquo;auditeur &ndash; ou le spectateur &ndash; pantois et absolument transport&eacute;. </span><br /><span class=Texte>Croyez-vous que la chanteuse se reposa apr&egrave;s une telle &eacute;preuve ? Pas du tout, le dimanche 16 juillet, elle chante au Madison Square Garden, &agrave; New York, dans un spectacle organis&eacute; par Joe Bostic, auquel participe une pl&eacute;iade de grands noms du gospel, comme les Caravans avec Albertina Walker, et l&rsquo;Ernestine Washington Temple Choir, et avec la pr&eacute;sence de Martin Luther King qui appara&icirc;tra sur sc&egrave;ne juste avant Mahalia. Ces deux grandes figures de la &laquo;&thinsp;nation noire&thinsp;&raquo; n&rsquo;ont pas fini de se rencontrer !</span><br /><span class=Texte>Notes :</span><br /><span class=Texte>1) En r&eacute;alit&eacute;, Edward Robinson jouera principalement de l&rsquo;orgue &ndash; Dorothy Simmons ne semble pas avoir particip&eacute; aux enregistrements &ndash; tandis que la section rythmique ne sera peut-&ecirc;tre pas convoqu&eacute;e &agrave; toutes les s&eacute;ances, hormis peut-&ecirc;tre Shelly Manne, car un certain nombre de chants, en particulier sur tempo lent, ne seront accompagn&eacute;s que par le duo piano/orgue, avec parfois quelques ponctuations de percussions. Si Louise Weaver est une vieille complice de Mahalia, Edward Robinson appara&icirc;t ici pour la premi&egrave;re fois dans l&rsquo;entourage de la chanteuse&thinsp;; on l&rsquo;entendra ensuite souvent &agrave; l&rsquo;orgue ou au piano et il deviendra son accompagnateur r&eacute;gulier apr&egrave;s l&rsquo;&eacute;viction brutale de Mildred Falls (on le verra au Festival d&rsquo;Antibes en 1968). Quant &agrave; Shelly Manne et Red Mitchell, ils seront sollicit&eacute;s pour de futures s&eacute;ances de studio en 1962/63. Notons que les musiciens apparaissent &agrave; plusieurs reprises sur l&rsquo;&eacute;cran, Mildred Falls &eacute;tant toujours au piano, Edward Robinson &agrave; l&rsquo;orgue. </span><br /><span class=Texte>2) L&rsquo;habillement de Mahalia Jackson se compose sobrement de deux aubes (une rev&ecirc;tue beaucoup plus que l&rsquo;autre), parfois une robe longue blanche, et tr&egrave;s rarement un tailleur et une robe imprim&eacute;e.</span><br /><span class=Texte>3) Laurraine Goreau : Mahalia (Lion Pub., UK 1976 - 2e &eacute;dition).</span><br /><span class=Texte>4) O Little Town of Bethlehem et Joy to the World, cit&eacute;s par Laurraine Goreau, n&rsquo;apparaissent pas dans la liste des films &eacute;tablie par le collectionneur Mark Cantor&thinsp;; il est fort possible qu&rsquo;ils n&rsquo;aient jamais &eacute;t&eacute; diffus&eacute;s &agrave; la t&eacute;l&eacute;vision. Mark Cantor r&eacute;pond &agrave; nos interrogations : &laquo;&thinsp;Il y a probl&egrave;me, de toutes mani&egrave;res, avec les titres de No&euml;l. Maintenant, il me revient que ces films venaient des &laquo;&thinsp;3 Complete sets&thinsp;&raquo; de courts-m&eacute;trages, et &eacute;dit&eacute;s &agrave; l&rsquo;origine par les producteurs/distributeurs. Les collections sont compl&egrave;tes et peuvent ne pas correspondre avec les titres de chansons mentionn&eacute;s par Laurraine Goreau dans son livre Mahalia. Je ne sais pas o&ugrave; elle a obtenu son information et d&rsquo;o&ugrave; viennent les divergences, mais il y a quatre (et non six) titres de No&euml;l dans la collection. Comme vous pouvez voir, les deux titres que vous mentionnez n&rsquo;apparaissent pas comme ayant fait partie des films r&eacute;alis&eacute;s&thinsp;; ils ont peut-&ecirc;tre &eacute;t&eacute; propos&eacute;s, voire film&eacute;s et enregistr&eacute;s, mais pas r&eacute;alis&eacute;s dans les s&eacute;ries.&thinsp;&raquo; </span><br /><span class=Soustitre>La troisi&egrave;me partie en d&eacute;tail</span><br /><span class=Texte>Les vingt-et-une chansons qui composent ce troisi&egrave;me volet mettent cette fois tr&egrave;s largement l&rsquo;accent sur les negro spirituals anciens et les gospel songs modernes. Parmi les premiers, remarquons le fort connu Old Time Religion, un jubilee song d&rsquo;origine anglaise publi&eacute; en 1873, He Was Alone, He&rsquo;s Sweet I Know, Lord Search My Heart et Just Tell Jesus&thinsp;; Mahalia Jackson n&rsquo;enregistrera jamais ces morceaux sur disque. Nobody Knows, le slave song interpr&eacute;t&eacute; sur un tempo tr&egrave;s lent, et He&rsquo;s Got the Whole World In His Hands, qui fait partie de son r&eacute;pertoire, sont magnifiquement chant&eacute;s.</span><br /><span class=Texte>La belle s&eacute;rie des gospel songs s&rsquo;alimente chez les meilleurs auteurs contemporains : Thomas Dorsey pour It&rsquo;s My Desire et Hold Me, Roberta Martin pour He Knows How Much We Can Bear, et surtout Kenneth Morris pour Remember Me, I Want To Rest et Thank You Jesus. Nous y ajouterons un Tha&rsquo;ts All Right que la chanteuse reprendra sur son prochain album, et I&rsquo;ll Never Turn Back No More du compositeur afro-am&eacute;ricain R. Nathaniel Dett qui &eacute;tudia avec Nadia Boulanger &agrave; Paris en 1929. </span><br /><span class=Texte>Moins nombreuses que dans la premi&egrave;re moiti&eacute; des pi&egrave;ces r&eacute;pertori&eacute;es, les hymnes remontent &agrave; 1772 pour There Is a Fountain de William Cowper, un auteur tr&egrave;s proche de James Newton (Amazing Grace) et qui &eacute;crivit comme lui des po&egrave;mes anti-esclavagistes ; la musique date de l&rsquo;&eacute;poque des camp meetings, ces grands rassemblements qui eurent lieu durant le premier tiers du XIXe si&egrave;cle, services religieux ininterrompus de plusieurs jours accueillant fid&egrave;les noirs et blancs et se d&eacute;roulant sous une grande tente (tabernacle) . I Surrender All de Judson Van DeVenter, date de la fin de ce m&ecirc;me XIXe si&egrave;cle (1896), et Have Thine Own Way de Adelaide Pollard du d&eacute;but du XXe (1906). Tous ces auteurs appartiennent &agrave; la communaut&eacute; blanche, comme Rhea Miller qui &eacute;crivit l&rsquo;hymne baptiste I&rsquo;d Rather Than Jesus en 1922, et que Mahalia reprendra plus tard sur disque.</span><br /><span class=Texte>Ajoutons-y un chant plus r&eacute;cent, Always Look Up Never Look Down qui date de 1956 et que Mahalia semble &ecirc;tre la seule &agrave; avoir d&eacute;j&agrave; enregistr&eacute; parmi les artistes de la communaut&eacute; noire.</span><br /><span class=Texte>En dehors de la qualit&eacute; de toutes ces interpr&eacute;tations que Mahalia Jackson chante magnifiquement et sans la moindre emphase, remarquons que treize d&rsquo;entre elles n&rsquo;ont jamais fait et ne ferons jamais l&rsquo;objet d&rsquo;un disque. Ce qui nous permet de souligner une nouvelle fois l&rsquo;int&eacute;r&ecirc;t majeur de la publication de ces documents t&eacute;l&eacute;vis&eacute;s.</span><br /><span class=Texte>Jean BUZELIN<br /></span><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2017<br /></span><span class=Texte>Jean Buzelin est l&rsquo;auteur de Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998)&thinsp;; il collabore &agrave; la Gospel Discography de Cedric J. Hayes &amp; Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.).</span><br /><span class=Texte>Nous remercions particuli&egrave;rement pour leur concours et leur aide Mark Cantor et Robert Laughton qui nous ont copi&eacute; de rares films, ainsi que Philippe Baudoin et Isabelle Marquis, Patrice Buzelin, Andr&eacute; Clergeat (&dagger;), Michel Pfau (&dagger;), Jean-Paul Ricard, Mich&egrave;le et Joyce Waterhouse qui nous ont fourni de bonnes pistes de recherches.</span><br /><span class=Texte>Photos : X (D.R.)</span><br /><span class=Soustitre2>COMPLETE MAHALIA JACKSON - VOL. 16 &ndash; 1961</span><br /><span class=Soustitre>By Jean Buzelin</span><br /><span class=Texte>The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961. A small selection of these was issued on several long player records in the 70s and later reprised on CD, without any mention of date or provenance and with extremely poor sound quality. A larger extract of these small films has recently been issued on DVD but not the whole of them, in spite of the publisher claims attributing them to NBC rather than TEC and on which the titles, mentioned only on Internet, are either wrong or completely invented.</span><br /><span class=Texte>After a triumphant tour in Europe and the Middle East that lasted almost two months, Mahalia Jackson returned to Chicago in late May 1961. However, she didn&rsquo;t stay at home very long as, during her absence, her producer at Columbia Irving Townsend, along with several others, had arranged several recording sessions to be filmed by the Television Enterprise Corporation channel, whose president was a certain Harold Goldman. She would have to record eighty-five songs, each lasting three to four minutes, over a period of fifteen days, roughly ten or so sessions which meant about eight a day, beginning at 9 in the morning and finishing around 5 in the afternoon. She wasn&rsquo;t very happy about this. After a grueling tour she only had three weeks to rest and prepare herself. But after everybody persuaded her she was up to the challenge, Mahalia agreed to sign the contract. The backing group was chosen: the loyal Mildred Falls, who had accompanied her in Europe, on piano alternating with Edward C. Robinson, and also in charge of the music; Louis Overall Weaver on organ, to be replaced if necessary by Dorothy V. Simmons ( of the Simmons-Akers Trio). A rhythm section composed of three jazz musicians, Barney Kessel (guitar), Red Mitchell (double bass), Shelly Manne (drums), whose job it was to provide the Gospel beat, completed the line-up1. A secretary, Butch Thornton, was in charge of finances and the artistic director was Larry Peerce. The recordings took place at the Paramount Studios in Melrose, Hollywood. The d&eacute;cor was sparse and austere: some silhouettes of Gothic arches, a few artificial trees, benches, a stained glass window, sometimes nothing at all, fixed lighting and barely any camera movement. This almost empty setting, probably the result of cost cutting, had the advantage of placing the focus on Mahalia filmed very simply, without any additional effects, allowing her personality to dominate, particularly during the lingering facial close-ups that showed her complete involvement in what she was singing2.</span><br /><span class=Texte>According to Laurraine Goreau, Mahalia&rsquo;s biographer3, who doubtless was present at the sessions, a 5-minute break was allotted every hour, as well as a break for lunch, but the final take of the eight songs had to be done by 5 o&rsquo;clock in the evening. The titles from the first session were recorded in the following order: Where He Leads Me I Will Follow - Because His Name Is Jesus - Precious Lord - Holding My Savior&rsquo;s Hand - In The Garden - You&rsquo;ll Never Walk Alone - To Me, It&rsquo;s So Wonderful - God Will Take Care Of You. And the second session: Have Thine Own Way &ndash; Elijah Rock &ndash; God Be With You &ndash; Just As I Am &ndash; The Holy Bible &ndash; Hold Me &ndash; It Is No Secret &ndash; I&rsquo;m A Child Of The King. After this Laurraine Goreau no longer gives the programme for each session, merely mentioning some here and there3.</span><br /><span class=Texte>However, this intensive work load took its toll on Mahalia&rsquo;s vocal chords. After several sessions, she got laryngitis and her throat had to be treated. All this affected the planning with daily phone calls from the producer reminding them that renting the studio was costing him 3,500 dollars a day! So the recordings began again and were definitely supposed to finish by 30 June but inevitably overran a little with the final session on Friday 7 July. On that day Mahalia recorded a series of Christmas songs: Silent Night, Oh Come All Ye Faithful, Oh Little Town Of Bethlehem, A Star Stood Still, Sweet Little Jesus Boy and Joy To The World. 84 small 16mm clips were put in the can to be broadcast later on television4. Everybody was delighted: Townsend, Peerce and especially Mr. Goldman. While they could all congratulate themselves, it was Mahalia Jackson herself who was the principal architect of this magnificent series of religious songs of all kinds (traditional Negro Spirituals, Hymns, Gospel songs&hellip;), her extraordinary voice soaring to exceptional heights or sinking to a beautiful sonority, the whole imbued with her own overwhelming and extremely moving fervor.</span><br /><span class=Texte>So here is the sound track of the entire 82 titles broadcast on television. They are not presented in chronological order but according to the classification by collector Mark Cantor, who specifies: &ldquo;My designation of number is based on what is printed on the actual film credits. I am sure they were not filmed/ recorded in the order in the list, but this is how the producers themselves released them.&rdquo; </span><br /><span class=Texte>Although the sound quality of these filmed recordings is not as good as studio recordings of the era, especially by Columbia, Mahalia&rsquo;s regular recording company, we have done the utmost with the Art &amp; Son studio to improve it, but there is still the occasional wow or flutter that was impossible to eradicate. However, the undeniable interest of the collection justifies its issue.</span><br /><span class=Texte>This complete &ldquo;Mahalia Jackson Sings&rdquo; includes the largest selection possible of the singer&rsquo;s repertoire and even more. In addition to the titles that are associated with her and regularly formed part of her concerts (You&rsquo;ll Never Walk Alone, Joshua Fit The Battle, Didn&rsquo;t It Rain, Down By The Riverside, It Don&rsquo;t Cost Very Much, When The Saints, Elijah Rock, I Found The Answer&hellip;), there are some that were recorded early in her career (I Want To Rest, her first Apollo record in 1946, A Child Of The King &ndash; 1949, I Do Don&rsquo;t You &ndash; 1950). Other more recent recordings have always been part of her song sheet (Somebody Bigger Than You And I, I Believe, My Lord, Holding My Savior&rsquo;s Hand, I Want To Be A Christian, The Only Hope We Have&hellip;). </span><br /><span class=Texte>Amazingly most of these titles have never been issued before and only a handful of them were later recorded on disc. Moreover, it is very likely that Mahalia was not familiar with several of them and learnt them for the show as we see her on more than one occasion holding the score to read the lyrics directly. However, there is never a sign of the slightest hesitation or glitch in her interpretation in any of the songs, whether she had chosen them herself or they had been suggested to her. An amazing feat and an impressive performance that leaves the listener &ndash; or the spectator &ndash; spellbound and completely carried away.</span><br /><span class=Texte>One may have thought that the singer would have taken a break after such a strenuous stint but not at all! Sunday, 16 July saw her singing at Madison Square Garden in New York, in a show organized by Joe Bostic, alongside a throng of Gospel greats that included the Caravans with Albertina Walker and the Ernestine Washington Temple Choir. Martin Luther King was also present and appeared on stage just before Mahalia. This was not the only time these two great personalities of the &ldquo;African American&rdquo; nation would meet!</span><br /><span class=Texte>Notes</span><br /><span class=Texte>1) In fact it is mainly Edward Robinson on organ &ndash; Dorothy Simmons does not appear to have taken part in the recordings &ndash; while the rhythm section was probably got together for each session, with the possible exception of Shelly Manne, for numerous titles, in particular slow tempo ones, are backed by a piano/organ duo, with occasionally the intervention of drums. If Louise Weaver was an old friend of Mahalia&rsquo;s while this is Edward Robinson&rsquo;s first appearance with the singer; later he was often heard on organ or piano and became her regular accompanist after the brutal sacking of Mildred Falls (he was at the Antibes Festival in 1968). Both Shelly Manne and Red Mitchell were invited back for studio sessions in 1962/63.</span><br /><span class=Texte>2) Mahalia was dressed soberly either in one of two surplices (one more decorative than the other), sometimes a long white robe or, very rarely, in a tailored jacket and a printed dress.</span><br /><span class=Texte>3) Laurraine Goreau: Mahalia (Lion Pub., UK 1976 &ndash; 2nd edition).</span><br /><span class=Texte>4) Oh Little Town Of Bethlehem and Joy To The World, mentioned by Laurraine Goreau, do not appear in collector Mark Cantor&rsquo;s list of films based on the actual broadcasts: it is possible that they were never broadcast on television. The answer of Mark Cantor : &ldquo;There is a problem, however, with the Christmas titles. Now, keep in mind that these films come from the three complete sets of the films shorts, as sent out by the original producer/distributor. The collections are complete, and they do not match the song titles as noted by Laurraine Goreau in her book Mahalia. I do not know where she got her information, and where the discrepancy arrises from, but these are the four (not six) Christmas titles in the collection. As you can see, the two titles that you note appear not to have been part of the released films; they may have been proposed, even filmed and recorded, but not released with the series.&rdquo;</span><br /><span class=Soustitre>Part 3: Details</span><br /><span class=Texte>The twenty one titles which make up this third volume feature mainly old Negro Spirituals and modern Gospel songs. The former include the well-known Old Time Religion, originally an English Jubilee song published in 1873, He Was Alone, He&rsquo;s Sweet I Know, Lord Search My Heart and Just Tell Jesus; titles which Mahalia never recorded. The slave song Nobody Knows, taken at a very slow tempo, and He&rsquo;s Got The Whole World In His Hands, a regular in her repertoire, are both magnificently sung. </span><br /><span class=Texte>The excellent series of Gospel songs draws on the best composers of the time: Thomas Dorsey for It&rsquo;s My Desire and Hold Me, Roberta Martin for He Knows How Much We Can Bear and, most of all, Kenneth Morris for I Want To Rest as well as Remember Me and Thank You Jesus. In addition there is That&rsquo;s All Right, that Mahalia would reprise on her next record, and I&rsquo;ll Never Turn Back No More by the Afro-American composer R. Nathaniel Dett who studied with Nadia Boulanger in Paris in 1929. </span><br /><span class=Texte>There are fewer hymns than on the first two CDs of this collection. There Is A Fountain dating from 1772 goes back to James Cowper, a writer very close to James Newton (Amazing Grace) and who like him wrote poems attacking slavery; the music dates from the era of camp meetings which took place during the early part of the 19th Century, religious services held in tabernacles that lasted several days and were attended by both black and white believers. I Surrender All by Judson Van DeVenter dates from 1896, and Have Thine Own Way by Adelaide Pollard from 1906. All these composers were white as was Rhea Miller who wrote the Baptist hymn I&rsquo;d Rather Have Jesus in 1929 and which Mahalia would reprise on a later recording. The more recent Always Look Up Never Look Down dates from 1956 and Mahalia seems to be the only black artiste to have already recorded this.</span><br /><span class=Texte>Aside from the outstanding quality of all these interpretations that Mahalia Jackson sings so magnificently, it should be noted that thirteen of them have never appeared and will never appear on record which further underlines the importance of the issue of these televised documents.</span><br /><span class=Texte>Adapted from the French text </span><br /><span class=Texte>of Jean Buzelin by Joyce Waterhouse</span><br /><span class=Texte>&copy; FRÉMEAUX &amp; ASSOCIÉS 2017</span><br /><span class=Texte>Jean Buzelin is the author of Negro Spirituals and Gospel Songs, Songs of hope and freedom (Ed. du Layeur/Notre Histoire Paris 1998); he collaborated on the Gospel Discography by Cedric J. Hayes &amp; Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.).</span><br /><span class=Texte>With special thanks for their help and support to Mark Cantor and Robert Laughton who copied rare films for us, also Philippe Baudoin and Isabelle Marquis, Patrice Buzelin, Andr&eacute; Clergeat&thinsp;(&dagger;), Michel Pfau&thinsp;(&dagger;), Jean-Paul Ricard, Mich&egrave;le and Joyce Waterhouse who provided very useful research leads.</span><br /><span class=Texte>&#8199;1. GIVE ME THAT OLD TIME RELIGION (Trad.) - 42</span><br /><span class=Texte>&#8199;2. REMEMBER ME (K. Morris) -4 3</span><br /><span class=Texte>&#8199;3. IT&rsquo;S MY DESIRE (T.A. Dorsey) - 44</span><br /><span class=Texte>&#8199;4. HE WAS ALONE (Trad.) - 45</span><br /><span class=Texte>&#8199;5. HE&rsquo;S SWEET, I KNOW (Trad.) - 46</span><br /><span class=Texte>&#8199;6. I&rsquo;LL NEVER TURN BACK NO MORE (R.N. Dett) - 47</span><br /><span class=Texte>&#8199;7. THE HOLY BIBLE (A.H. Malotte) - 48</span><br /><span class=Texte>&#8199;8. THAT&rsquo;S ALL RIGHT (E. Booker - W. Brook - A. Johnson) - 49</span><br /><span class=Texte>&#8199;9. HOLD ME (PLEASE DON&rsquo;T LET ME GO) (T.A. Dorsey) - 50</span><br /><span class=Texte>10. I WANT TO REST (K. Morris) - 51</span><br /><span class=Texte>11. THANK YOU, JESUS (K. Morris) - 52</span><br /><span class=Texte>12. THERE IS A FOUNTAIN FILLED WITH BLOOD (W. Cowper) - 53</span><br /><span class=Texte>13. HE KNOWS HOW MUCH WE CAN BEAR (P. Hall) - 54</span><br /><span class=Texte>14. LORD, SEARCH MY HEART (Trad.) - 55</span><br /><span class=Texte>15. JUST TELL JESUS (Trad.) - 56</span><br /><span class=Texte>16. NOBODY KNOWS THE TROUBLE I&rsquo;VE SEEN (Trad. - arr. M. Jackson) - 57</span><br /><span class=Texte>17. I SURRENDER ALL (W.S. Weeden - J.W. Van DeVenter) - 58</span><br /><span class=Texte>18. HE&rsquo;S GOT THE WHOLE WORLD IN HIS HANDS (Trad. - adapt. G. Love) - 59</span><br /><span class=Texte>19. I&rsquo;D RATHER HAVE JESUS (G.B. Shea - R.F. Miller) - 60</span><br /><span class=Texte>20. ALWAYS LOOK UP NEVER LOOK DOWN (J. Beal - J. Shank - F. James) - 61</span><br /><span class=Texte>21. HAVE THINE OWN WAY, LORD (G.C. Stebbins - A.A. Pollard) - 62</span><br /><span class=Texte>Mahalia Jackson (vocal), with: </span><br /><span class=Texte>Mildred Falls (piano, musical director), Edward C. Robinson (organ, poss. piano on some tracks), </span><br /><span class=Texte>Louise Overall Weaver-Smothers (organ on some tracks), Barney Kessel (guitar), Keith M. &ldquo;Red&rdquo; Mitchell (bass), Sheldon &ldquo;Shelly&rdquo; Manne (drums, percussions); the rhythm section is not present on all the tracks.</span><br /><span class=Texte>Studios Paramount, Hollywood (CA), mid-June/early July 1961. </span><br /><span class=Texte>A TEC Production - distributed by Seven Arts Films.</span><br /><span class=Texte>Directed by Larry Peerce</span><br /><span class=Texte>Produced by Irving Townsend</span><br /><span class=Texte>Art director: Bob Dahlquist</span><br /><span class=Texte>Photography: Leugh Wiener</span><br /><span class=Texte>Lightning director: Robert Boatman</span><br /><span class=Texte>Technical director: Roy White</span><br /><span class=Texte>Camera: Baldwin Baker, Ray Figelski, Bill Matheson</span><br /><span class=Texte>Audio: Len Peterson</span><br /><span class=Texte>Video: Robert Spears</span><br /><span class=Texte>Video tape: Richard Krown</span><br /><span class=Texte>Stage manager: Hector Highton</span><br /><span class=Texte>Executive producer: Harold Goldman</span><br /></p>"
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      "description" => "<p><p style=\text-align: justify;>Les quatre volumes &laquo; Mahalia Jackson Sings &raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961.&nbsp;</p><p style=\text-align: justify;><strong>Jean BUZELIN&nbsp;</strong></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;>Les quatre CD r&eacute;alis&eacute;s par Jean Buzelin, ins&eacute;parables et compl&eacute;mentaires, repr&eacute;sentent le r&eacute;sultat de longues recherches et, au del&agrave; d&rsquo;une premi&egrave;re mondiale, sont un t&eacute;moignage patrimonial exceptionnel qui enrichit magistralement l&rsquo;oeuvre de la plus grande chanteuse de Gospel du XXe si&egrave;cle.&nbsp;</p><p style=\text-align: justify;><strong>Patrick FRÉMEAUX</strong></p><p style=\text-align: justify;><br /></p><p><p style=\text-align: justify;>The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs fi lmed by the TEC television channel in June and July 1961.&nbsp;</p><p style=\text-align: justify;><strong>Jean BUZELIN&nbsp;</strong></p></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;>The four CDs which we have produced and which are intended to be listened to as a whole, represent the result of long research and, in addition to being a world fi rst, are an outstanding addition to the rich heritage left by the greatest Gospel singer of the 20th Century.&nbsp;</p><p style=\text-align: justify;><strong>Patrick FRÉMEAUX&nbsp;</strong></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;><p><strong>DIRECTION ARTISTIQUE : JEAN BUZELIN</strong></p><p><br /></p><p>OUT OF THE DEPTHS (T.V. GROSS) &bull; HIS EYE IS ON THE SPARROW (C.H. GABRIEL - C.D. MARTIN - ARR. B. SMITH) &bull; IT DON&rsquo;T COST VERY MUCH (T.A. DORSEY) &bull; I SEE GOD (M. MENCHER - R. LEVEEN) &bull; I AM HEALED BY THE WOUND IN HIS SIDE (V. DAVIS) &bull; YOU CAN&rsquo;T HURRY GOD (TRAD. ARR. M. JACKSON) &bull; (TO ME) IT&rsquo;S SO WONDERFUL (R.H. GOOD PASTEUR) &bull; WHEN THE SAINTS GO MARCHING IN (TRAD. - ARR. M. JACKSON) &bull; IT IS NO SECRET (WHAT GOD CAN DO) (S. HAMBLEN) &bull; (JUST) A CLOSER WALK WITH THEE (TRAD.) &bull; (END OF) A PERFECT DAY (C. JACOBS-BOND) &bull; (I&rsquo;M) A CHILD OF THE KING (H. BUELL) &bull; GUIDE ME, O THOU GREAT JEHOVAH (J. HUGHES - W. WILLIAMS - ARR. M. JACKSON) &bull; STEAL AWAY (TO JESUS) (TRAD.) &bull; HOLDING MY SAVIOR&rsquo;S HAND (R. ANDERSON -Y. REED) &bull; SOMEBODY TOUCHED ME (TRAD.) &bull; LEANING ON THE EVERLASTING ARMS (A.J. SHOWALTER - E.A. HOFFMAN) &bull; LET THE CHURCH ROLL ON (TRAD. - ARR. M. JACKSON) &bull; ONLY BELIEVE (P. RADER) &bull; SWEET HOUR OF PRAYER (W.B. BRADBURY - W. WALFORD).</p></p></p><br><br>"
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        <h3>Mahalia sings </h3>\r\n
        <p align="justify"><span class="Soustitre">COMPLETE MAHALIA JACKSON</span><span class="Texte"><br /></span><span class="Soustitre2"><br />INTÉGRALE<br />MAHALIA<br />JACKSON</span><span class="Texte"><br /></span><span class="Soustitre"><br />VOL. 15<br />1961</span><span class="Texte"><br /></span><span class="Soustitre2">INTÉGRALE MAHALIA JACKSON - VOL. 15 – 1961</span><span class="Texte"><br /></span><span class="Soustitre">Par Jean Buzelin</span><span class="Texte"><br />Les quatre volumes « Mahalia Jackson Sings » que nous vous présentons dans le cadre de notre Intégrale Mahalia Jackson, constituent un document et un évènement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalité des chansons filmées par la chaîne de télévision TEC en juin et juillet 1961. Certaines d’entre elles – une petite partie – avaient été publiées en microsillons 33 tours dans les années 70, puis reprises en CD sans aucune mention de dates ni de provenance, et avec une faible qualité sonore. Une partie plus importante de ces petits films, mais non l’intégralité malgré l’indication de l’éditeur qui les attribue à la NBC et non à la TEC, et dont les titres, mentionnés seulement sur internet, sont erronés ou hautement fantaisistes, a été publiée plus récemment en DVD.<br />Après une triomphale tournée de près de deux mois en Europe et au Moyen-Orient, Mahalia Jackson est de retour au pays vers la fin du mois de mai 1961, et pose ses valises chez elle à Chicago. Pas pour longtemps car, pendant son absence, son producteur de chez Columbia, Irving Townsend, et quelques autres, se sont occupés de la préparation des séances d’enregistrements filmés qui doivent être réalisés par la chaîne Television Enterprise Corporation, dont le président est un certain Harold Goldman. La chanteuse doit enregistrer quelques quatre-vingt-cinq chansons de 3 à 4 minutes en quinze jours, réparties en une dizaine de séances, soit environ huit par jour, en commençant à 9 heures du matin pour s’achever à 5 heures de l’après-midi. Ce qui n’est pas sans l’inquiéter. Après une tournée épuisante, elle n’a que trois semaines pour se reposer et se préparer. Mais comme chacun la persuade qu’elle est capable de relever ce défi, Mahalia se laisse convaincre et signe de bonne grâce le contrat. On prépare l’équipe : la fidèle Mildred Falls, qui l’accompagna en Europe, tiendra le piano en alternance avec Edward C. Robinson, et assumera la direction musicale ; Louise Overall Weaver sera à l’orgue, éventuellement suppléée en cas de besoin par Dorothy V. Simmons (du Simmons-Akers Trio) ; une section rythmique composée de trois musiciens de jazz tout terrain, Barney Kessel (guitare), Red Mitchell (contrebasse), Shelly Manne (batterie), à qui l’on demandera de bien marquer le gospel beat, complètera l’effectif musical1. Un secrétaire, Butch Thornton, s’occupe de l’intendance, et le tout est placé sous la direction artistique de Larry Peerce. Les enregistrements auront lieu aux studios de la Paramount, avenue Melrose à Hollywood. Le décor est spartiate et austère : quelques ogives « gothiques » découpées, parfois quelques arbres artificiels, des bancs, un vitrail, souvent rien du tout, des éclairages fixes, peu de mouvements de caméra. Cet environnement presque nu, qui peut paraître dicté par des raisons économiques, a le mérite de mettre en valeur Mahalia qui, filmée simplement et sans aucuns effets, diffuse une présence indéniable, forte et particulièrement prenante, notamment lorsque les gros plans s’attardent sur son visage qui laisse voir sa totale implication2.<br />D’après Laurraine Goreau, la biographe de Mahalia Jackson3, qui a sans doute assisté aux séances, une pause de 5 minutes était prévue chaque heure, ainsi qu’un break pour le déjeuner, les huit chansons devant être impérativement mises en boîtes pour 5 heures du soir. La première séance se serait ainsi déroulée dans l’ordre suivant : Where He Leads Me I Will Follow – Because His Name Is Jesus – Precious Lord – Holding My Savior’s Hand – In the Garden – You’ll Never Walk Alone – To Me, It’s So Wonderful – God Will Take Care of You. Et voici le programme de la seconde : Have Thine Own Way – Elijah Rock – God Be With You – Just As I Am – The Holy Bible – Hold Me – It Is No Secret – I’m a Child of the King. Ensuite, Laurraine Goreau ne poursuit plus l’énumération des titres de chaque séance, se contentant d’en citer par-ci, par-là quelques-uns3.<br />Mais ce travail intensif se fait aux dépends de ses cordes vocales. Après plusieurs séances, Mahalia a contracté une laryngite et sa gorge doit être soignée. Tout cela a des effets sur le planning, et le producteur téléphone quotidiennement, rappelant que chaque journée lui coûte 3 500 dollars de location du studio ! Les enregistrements reprennent car tout doit être bouclé pour le 30 juin. Mais, par la force des choses, il faudra déborder un peu, et la toute dernière séance a lieu le vendredi 7 juillet. Mahalia enregistre ce jour-là une série de chants de Noël : Silent Night, O, Come All Ye Faithful, O Little Town of Bethlehem, A Star Stood Still, Sweet Little Jesus Boy et Joy to the World.<br />84 petites bobines en 16 mm (des clips dirait-on aujourd’hui) sont ainsi mises en boîte et seront diffusées ultérieurement, les unes après les autres, sur la chaîne de télévision4. Tout le monde est enchanté : Townsend, Peerce, et particulièrement Mr Goldman. Chacun peut bien se féliciter, mais c’est avant tout Mahalia Jackson elle-même, l’artisane principale de cette magnifique série de chants sacrés de toutes sortes (negro spirituals traditionnels, hymnes composés, gospel songs…) ; sa voix extraordinaire atteint ici une plénitude exceptionnelle, une ampleur magistrale, une ferveur bouleversante.<br />Voici donc la bande sonore de l’intégrale des 82 titres diffusés par la chaîne de télévision ; ils ne sont pas présentés dans l’ordre chronologique, mais selon le classement établi par le collectionneur Mark Cantor, lequel fait autorité : « Ma numérotation est basée sur le registre principal des films. Je suis sûr qu’ils n’ont pas été enregistrés/filmés dans l’ordre de la liste, mais c’est ainsi que les producteurs l’ont eux-mêmes définie. » <br />Ces enregistrements filmés n’ont pas la qualité sonore des disques réalisés en studio à l’époque, en particulier chez Columbia, la maison de disques de Mahalia Jackson, mais nous avons effectué tout ce qui était possible, avec Christophe Heynault et Pierre Brousses du studio Art & Son, pour l’améliorer, même s’il reste quelques traces de pleurage qu’il est impossible de supprimer. Mais l’intérêt exceptionnel du document justifiait sa publication.<br />Cette intégrale « Mahalia Jackson Sings » présente la plus large sélection possible du répertoire de la chanteuse, et même bien au-delà. En effet, à côté des thèmes qui lui sont familiers et qui font partie, pour la plupart, de ses récitals habituels (You’ll Never Walk Alone, Joshua Fit the Battle, Didn’t It Rain, Down By the Riverside, It Don’t Cost Very Much, When the Saints, Elijah Rock, I Found the Answer…), on en relève quelques-uns qu’elle avait gravé au début de sa carrière (I Want To Rest -son premier disque Apollo en 1946, A Child Of the King - 1949, I Do, Don’t You - 1950). Enregistrés beaucoup plus récemment, d’autres sont toujours dans ses cordes (Somebody Bigger Than You And I, I Believe, My Lord, Holding My Savior’s Hand, I Want To Be a Christian, The Only Hope We Have…).<br />Mais, et ce n’est pas le moins étonnant, presque la moitié des titres est totalement inédite, et seuls une poignée d’entre eux sera enregistrée ultérieurement sur disque. D’où l’intérêt exceptionnel de leur publication. Il est d’ailleurs fort probable que Mahalia en ait appris certains pour l’occasion, ou qui ne lui sont pas familiers ; ainsi nous la voyons, à plusieurs reprises, tenir la partition en main pour déchiffrer les paroles en direct. Nous ne percevons pourtant la moindre hésitation, la moindre « faute » d’interprétation dans tous ces chants qu’elle a choisis, ou qui lui ont peut-être été proposés. Elle les fait siens, définitivement. Un tour de force et une série de performances exceptionnelles qui laissent l’auditeur – ou le spectateur – pantois et absolument transporté. <br />Croyez-vous que la chanteuse se reposa après une telle épreuve ? Pas du tout, le dimanche 16 juillet, elle chante au Madison Square Garden, à New York, dans un spectacle organisé par Joe Bostic, auquel participe une pléiade de grands noms du gospel, comme les Caravans avec Albertina Walker, et l’Ernestine Washington Temple Choir, et avec la présence de Martin Luther King qui apparaîtra sur scène juste avant Mahalia. Ces deux grandes figures de la « nation noire » n’ont pas fini de se rencontrer !<br /><strong>Notes :</strong><br />1) En réalité, Edward Robinson jouera principalement de l’orgue – Dorothy Simmons ne semble pas avoir participé aux enregistrements – tandis que la section rythmique ne sera peut-être pas convoquée à toutes les séances, hormis peut-être Shelly Manne, car un certain nombre de chants, en particulier sur tempo lent, ne seront accompagnés que par le duo piano/orgue, avec parfois quelques ponctuations de percussions. Si Louise Weaver est une vieille complice de Mahalia, Edward Robinson apparaît ici pour la première fois dans l’entourage de la chanteuse ; on l’entendra ensuite souvent à l’orgue ou au piano et il deviendra son accompagnateur régulier après l’éviction brutale de Mildred Falls (on le verra au Festival d’Antibes en 1968). Quant à Shelly Manne et Red Mitchell, ils seront sollicités pour de futures séances de studio en 1962/63. Notons que les musiciens apparaissent à plusieurs reprises sur l’écran, Mildred Falls étant toujours au piano, Edward Robinson à l’orgue. <br />2) L’habillement de Mahalia Jackson se compose sobrement de deux aubes (une revêtue beaucoup plus que l’autre), parfois une robe longue blanche, et très rarement un tailleur et une robe imprimée.<br />3) Laurraine Goreau : Mahalia (Lion Pub., UK 1976 - 2e édition).<br />4) O Little Town of Bethlehem et Joy to the World, cités par Laurraine Goreau, n’apparaissent pas dans la liste des films établie par le collectionneur Mark Cantor ; il est fort possible qu’ils n’aient jamais été diffusés à la télévision. Mark Cantor répond à nos interrogations : « Il y a problème, de toutes manières, avec les titres de Noël. Maintenant, il me revient que ces films venaient des « 3 Complete sets » de courts-métrages, et édités à l’origine par les producteurs/distributeurs. Les collections sont complètes et peuvent ne pas correspondre avec les titres de chansons mentionnés par Laurraine Goreau dans son livre Mahalia. Je ne sais pas où elle a obtenu son information et d’où viennent les divergences, mais il y a quatre (et non six) titres de Noël dans la collection. Comme vous pouvez voir, les deux titres que vous mentionnez n’apparaissent pas comme ayant fait partie des films réalisés ; ils ont peut-être été proposés, voire filmés et enregistrés, mais pas réalisés dans les séries. » <br /></span><span class="Soustitre">La seconde partie en détail</span><span class="Texte"><br />Les vingt chansons qui suivent sur la liste officielle des films, sont quasiment toutes d’un très haut niveau, admirablement chantées, et assez bien réparties selon les genres et leur époque.<br />Les hymnes sont encore majoritaires et couvrent un large éventail historique, puisque les paroles de Guide Me, O Thou Great Jehovah ont été écrites par William Williams en 1745 – la musique, signée John Hughes est plus récente, 1907 – ; il s’agit d’une hymne galloise qui, pour la chronique mondaine, a été chantée lors des obsèques de la princesse Diana. Les autres sont plus récents : 1845 pour Sweet Hour of Prayer de William Wallford, mis en musique en 1861 par William Bradbury, 1887 pour Leaning On the Everlasting Arms ou 1909 pour un Perfect Day un peu grandiloquent – il faisait partie du Songbook Titanic ! Only Believe (1921) et I See God tirent un peu vers la « chanson de variété ». Out Of the Depths, de Thelma Gross, ou It’s So Wonderful, de Ralph Good Pasteur sont plus intéressants, de même que I Am Healed By the Wound in His Side ou l’hymne méthodiste A Child of the King écrite par Harriett Buell en 1877, thèmes arythmiques où la chanteuse impressionne. Fort prisée par de nombreux chanteurs et groupes religieux, l’hymne gospel His Eye Is On the Sparrow écrite par Civilla Martin en 1905, demeure l’un des grands « morceaux » de Mahalia Jackson.<br />Une belle série de negro spirituals traditionnels apporte des rythmes différents. On remarquera You Can’t Hurry God, sur un tempo très enlevé fort bien accompagné, et que Mahalia n’enregistrera jamais sur disque, pas plus que le fort connu Just a Closer Walk With Thee ou le rapide Somebody Touched Me* durant lequel Barney Kessel tisse de jolis contrechants. Et que dire de Steal Away, ce chant de ralliement des esclaves, de Let the Church Roll On et même de When the Saints, ce sanctified shout de la fin du XIXe siècle, chanté avec son couplet sur un tempo parfait ?<br />Quelques gospel songs modernes complètent de deuxième volume, dont nécessairement un « Dorsey » qui lui est familier, It Don’t Cost Very Much, le solide Holding My Savior’s Hand, créé par son ami Robert Anderson en 1950, et enfin It Is No Secret, du chanteur-guitariste et acteur country Stuart Hamblen, qu’elle avait déjà enregistré en 1951, précédant largement la version d’Elvis Presley !<br />Avec ce second CD, nous arrivons exactement à mi-parcours ; Mahalia se surpasse, la suite nous promet d’autres beaux moments.<br /><strong>Jean BUZELIN</strong><br /></span><span class="Source">© FRÉMEAUX & ASSOCIÉS 2017</span><span class="Texte"><br />Jean Buzelin est l’auteur de Negro Spirituals et Gospel Songs, Chants d’espoir et de liberté (Ed. du Layeur/Notre Histoire, Paris 1998) ; il collabore à la Gospel Discography de Cedric J. Hayes & Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.).<br />Nous remercions particulièrement pour leur concours et leur aide Mark Cantor et Robert Laughton qui nous ont copié de rares films, ainsi que Philippe Baudoin et Isabelle Marquis, Patrice Buzelin, André Clergeat (†), Michel Pfau (†), Jean-Paul Ricard, Michèle et Joyce Waterhouse qui nous ont fourni de bonnes pistes de recherches.<br />Photos : X (D.R.)<br />* Mark Cantor vient de compléter sa collection avec une autre prise filmée de Somebody Touched Me.<br /></span><span class="Soustitre2">COMPLETE MAHALIA JACKSON - VOL. 15 – 1961</span><span class="Texte"><br /></span><span class="Soustitre">By Jean Buzelin</span><span class="Texte"><br />The four volumes of “Mahalia Jackson Sings” that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961. A small selection of these was issued on several long player records in the 70s and later reprised on CD, without any mention of date or provenance and with extremely poor sound quality. A larger extract of these small films has recently been issued on DVD but not the whole of them, in spite of the publisher claims attributing them to NBC rather than TEC and on which the titles, mentioned only on Internet, are either wrong or completely invented.<br />After a triumphant tour in Europe and the Middle East that lasted almost two months, Mahalia Jackson returned to Chicago in late May 1961. However, she didn’t stay at home very long as, during her absence, her producer at Columbia Irving Townsend, along with several others, had arranged several recording sessions to be filmed by the Television Enterprise Corporation channel, whose president was a certain Harold Goldman. She would have to record eighty-five songs, each lasting three to four minutes, over a period of fifteen days, roughly ten or so sessions which meant about eight a day, beginning at 9 in the morning and finishing around 5 in the afternoon. She wasn’t very happy about this. After a grueling tour she only had three weeks to rest and prepare herself. But after everybody persuaded her she was up to the challenge, Mahalia agreed to sign the contract. The backing group was chosen: the loyal Mildred Falls, who had accompanied her in Europe, on piano alternating with Edward C. Robinson, and also in charge of the music; Louis Overall Weaver on organ, to be replaced if necessary by Dorothy V. Simmons ( of the Simmons-Akers Trio). A rhythm section composed of three jazz musicians, Barney Kessel (guitar), Red Mitchell (double bass), Shelly Manne (drums), whose job it was to provide the Gospel beat, completed the line-up1. A secretary, Butch Thornton, was in charge of finances and the artistic director was Larry Peerce. The recordings took place at the Paramount Studios in Melrose, Hollywood. The décor was sparse and austere: some silhouettes of Gothic arches, a few artificial trees, benches, a stained glass window, sometimes nothing at all, fixed lighting and barely any camera movement. This almost empty setting, probably the result of cost cutting, had the advantage of placing the focus on Mahalia filmed very simply, without any additional effects, allowing her personality to dominate, particularly during the lingering facial close-ups that showed her complete involvement in what she was singing2.<br />According to Laurraine Goreau, Mahalia’s biographer3, who doubtless was present at the sessions, a 5-minute break was allotted every hour, as well as a break for lunch, but the final take of the eight songs had to be done by 5 o’clock in the evening. The titles from the first session were recorded in the following order: Where He Leads Me I Will Follow - Because His Name Is Jesus - Precious Lord - Holding My Savior’s Hand - In The Garden - You’ll Never Walk Alone - To Me, It’s So Wonderful - God Will Take Care Of You. And the second session: Have Thine Own Way – Elijah Rock – God Be With You – Just As I Am – The Holy Bible – Hold Me – It Is No Secret – I’m A Child Of The King. After this Laurraine Goreau no longer gives the programme for each session, merely mentioning some here and there3.<br />However, this intensive work load took its toll on Mahalia’s vocal chords. After several sessions, she got laryngitis and her throat had to be treated. All this affected the planning with daily phone calls from the producer reminding them that renting the studio was costing him 3,500 dollars a day! So the recordings began again and were definitely supposed to finish by 30 June but inevitably overran a little with the final session on Friday 7 July. On that day Mahalia recorded a series of Christmas songs: Silent Night, Oh Come All Ye Faithful, Oh Little Town Of Bethlehem, A Star Stood Still, Sweet Little Jesus Boy and Joy To The World. 84 small 16mm clips were put in the can to be broadcast later on television4. Everybody was delighted: Townsend, Peerce and especially Mr. Goldman. While they could all congratulate themselves, it was Mahalia Jackson herself who was the principal architect of this magnificent series of religious songs of all kinds (traditional Negro Spirituals, Hymns, Gospel songs…), her extraordinary voice soaring to exceptional heights or sinking to a beautiful sonority, the whole imbued with her own overwhelming and extremely moving fervor.<br />So here is the sound track of the entire 82 titles broadcast on television. They are not presented in chronological order but according to the classification by collector Mark Cantor, who specifies: “My designation of number is based on what is printed on the actual film credits. I am sure they were not filmed/ recorded in the order in the list, but this is how the producers themselves released them.” <br />Although the sound quality of these filmed recordings is not as good as studio recordings of the era, especially by Columbia, Mahalia’s regular recording company, we have done the utmost with the Art & Son studio to improve it, but there is still the occasional wow or flutter that was impossible to eradicate. However, the undeniable interest of the collection justifies its issue.<br />This complete “Mahalia Jackson Sings” includes the largest selection possible of the singer’s repertoire and even more. In addition to the titles that are associated with her and regularly formed part of her concerts (You’ll Never Walk Alone, Joshua Fit The Battle, Didn’t It Rain, Down By The Riverside, It Don’t Cost Very Much, When The Saints, Elijah Rock, I Found The Answer…), there are some that were recorded early in her career (I Want To Rest, her first Apollo record in 1946, A Child Of The King – 1949, I Do Don’t You – 1950). Other more recent recordings have always been part of her song sheet (Somebody Bigger Than You And I, I Believe, My Lord, Holding My Savior’s Hand, I Want To Be A Christian, The Only Hope We Have…). <br />Amazingly most of these titles have never been issued before and only a handful of them were later recorded on disc. Moreover, it is very likely that Mahalia was not familiar with several of them and learnt them for the show as we see her on more than one occasion holding the score to read the lyrics directly. However, there is never a sign of the slightest hesitation or glitch in her interpretation in any of the songs, whether she had chosen them herself or they had been suggested to her. An amazing feat and an impressive performance that leaves the listener – or the spectator – spellbound and completely carried away.<br />One may have thought that the singer would have taken a break after such a strenuous stint but not at all! Sunday, 16 July saw her singing at Madison Square Garden in New York, in a show organized by Joe Bostic, alongside a throng of Gospel greats that included the Caravans with Albertina Walker and the Ernestine Washington Temple Choir. Martin Luther King was also present and appeared on stage just before Mahalia. This was not the only time these two great personalities of the “African American” nation would meet!<br /><strong>Notes</strong><br />1) In fact it is mainly Edward Robinson on organ – Dorothy Simmons does not appear to have taken part in the recordings – while the rhythm section was probably got together for each session, with the possible exception of Shelly Manne, for numerous titles, in particular slow tempo ones, are backed by a piano/organ duo, with occasionally the intervention of drums. If Louise Weaver was an old friend of Mahalia’s while this is Edward Robinson’s first appearance with the singer; later he was often heard on organ or piano and became her regular accompanist after the brutal sacking of Mildred Falls (he was at the Antibes Festival in 1968). Both Shelly Manne and Red Mitchell were invited back for studio sessions in 1962/63.<br />2) Mahalia was dressed soberly either in one of two surplices (one more decorative than the other), sometimes a long white robe or, very rarely, in a tailored jacket and a printed dress.<br />3) Laurraine Goreau: Mahalia (Lion Pub., UK 1976 – 2nd edition).<br />4) Oh Little Town Of Bethlehem and Joy To The World, mentioned by Laurraine Goreau, do not appear in collector Mark Cantor’s list of films based on the actual broadcasts: it is possible that they were never broadcast on television. The answer of Mark Cantor : “There is a problem, however, with the Christmas titles. Now, keep in mind that these films come from the three complete sets of the films shorts, as sent out by the original producer/distributor. The collections are complete, and they do not match the song titles as noted by Laurraine Goreau in her book Mahalia. I do not know where she got her information, and where the discrepancy arrises from, but these are the four (not six) Christmas titles in the collection. As you can see, the two titles that you note appear not to have been part of the released films; they may have been proposed, even filmed and recorded, but not released with the series.”<br /></span><span class="Soustitre">Part 2: Details</span><span class="Texte"><br />The twenty songs that follow in the official order of the films are all of a very high standard, beautifully sung and representative of different genres and eras.<br />There is again a majority of hymns ranging widely in time, from the Welsh Guide Me Oh Thou Great Jehovah, the words written by William Williams in 1745, although set more recently to music by John Hughes in 1907, which was played at Princess Diana’s funeral. The others are more recent: Sweet Hour Of Prayer (1845) by William Wallford, set to music in 1861 by William Bradbury, Leaning On The Everlasting Arms (1887) and the slightly more grandiose Perfect Day (1909), also included in the Song Book aboard the Titanic and which boosted the morale of US troops serving in France in 1917. Only Believe (1921) and I See God veer a little more to what we might call “pop songs” today. Out Of The Depths by Thelma Gross and It’s So Wonderful by Ralph Good Pasteur are more interesting, as are the two arrhythmic pieces I Am Healed By The Wound In His Side or the Methodist hymn A Child Of The King written by Harriett Buell in 1877 on which Mahalia is truly impressive. Another of her great renditions is the Gospel song His Eye Is On The Sparrow, written by Civilla Martin in 1905 and very popular with numerous singers and religious groups. <br />Then we have the varying rhythms of a beautiful series of traditional Negro Spirituals. Note the excellent backing to the spirited You Can’t Hurry God. Mahalia never issued this on record, nor the well-known Just A Closer Walk With Thee or the up tempo Somebody Touched Me* with some excellent counterpoint provided by Barney Kessel. Not to mention the slaves’ rallying call Steal Away or Let The Church Roll On and even that 19th Century favorite When The Saints, shouted out in Negro churches everywhere to this day and backed here with a perfect tempo.<br />A few modern Gospel songs complete the second volume, including of course a Dorsey piece It Don’t Cost Very Much that Mahalia was very familiar with, Holding My Savior’s Hand, created by her friend Robert Anderson in 1950, and finally It’s No Secret, by country vocalist, guitarist and actor Stuart Hamblen, that she had previously recorded in 1951, long before Elvis Presley’s version!<br />With this second CD we reach the half-way mark: with Mahalia surpassing herself we can look forward to some other great moments.<br />Adapted from the French text <br />of <strong>Jean Buzelin</strong> by Joyce Waterhouse<br /></span><span class="Source">© FRÉMEAUX & ASSOCIÉS 2017</span><span class="Texte"><br />Jean Buzelin is the author of Negro Spirituals and Gospel Songs, Songs of hope and freedom (Ed. du Layeur/Notre Histoire Paris 1998); he collaborated on the Gospel Discography by Cedric J. Hayes & Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.).<br />With special thanks for their help and support to Mark Cantor and Robert Laughton who copied rare films for us, also Philippe Baudoin and Isabelle Marquis, Patrice Buzelin, André Clergeat (†), Michel Pfau (†), Jean-Paul Ricard, Michèle and Joyce Waterhouse who provided very useful research leads.<br />* Mark Cantor has just completed his movie clips collection with an alternate take of Somebody Touched Me.<br /> 1. OUT OF THE DEPTHS (T.V. Gross) - 22<br /> 2. HIS EYE IS ON THE SPARROW (C.H. Gabriel - C.D. Martin - arr. B. Smith) - 23<br /> 3. IT DON’T COST VERY MUCH (T.A. Dorsey) - 24<br /> 4. I SEE GOD (M. Mencher - R. Leveen) - 25<br /> 5. I AM HEALED BY THE WOUND IN HIS SIDE (V. Davis) - 26<br /> 6. YOU CAN’T HURRY GOD (Trad. Arr. M. Jackson) - 27<br /> 7. (TO ME) IT’S SO WONDERFUL (R.H. Good Pasteur) - 28<br /> 8. WHEN THE SAINTS GO MARCHING IN (Trad. - arr. M. Jackson) - 29<br /> 9. IT IS NO SECRET (WHAT GOD CAN DO) (S. Hamblen) - 30<br />10. (JUST) A CLOSER WALK WITH THEE (Trad.) - 31<br />11. (END OF) A PERFECT DAY (C. Jacobs-Bond) - 32<br />12. (I’M) A CHILD OF THE KING (H. Buell) - 33<br />13. GUIDE ME, O THOU GREAT JEHOVAH (J. Hughes - W. Williams - arr. M. Jackson) - 34<br />14. STEAL AWAY (TO JESUS) (Trad.) - 35<br />15. HOLDING MY SAVIOR’S HAND (R. Anderson -Y. Reed) - 36<br />16. SOMEBODY TOUCHED ME (Trad.) - 37<br />17. LEANING ON THE EVERLASTING ARMS (A.J. Showalter - E.A. Hoffman) - 38<br />18. LET THE CHURCH ROLL ON (Trad. - arr. M. Jackson) - 39<br />19. ONLY BELIEVE (P. Rader) - 40<br />20. SWEET HOUR OF PRAYER (W.B. Bradbury - W. Walford) - 41<br />Mahalia Jackson (vocal), with: <br />Mildred Falls (piano, musical director), Edward C. Robinson (organ, poss. piano on some tracks), <br />Louise Overall Weaver-Smothers (organ on some tracks), Barney Kessel (guitar), Keith M. “Red” Mitchell (bass), Sheldon “Shelly” Manne (drums, percussions); the rhythm section is not present on all the tracks.<br />Studios Paramount, Hollywood (CA), mid-June/early July 1961. <br />A TEC Production - distributed by Seven Arts Films.<br />Directed by Larry Peerce<br />Produced by Irving Townsend<br />Art director: Bob Dahlquist<br />Photography: Leugh Wiener<br />Lightning director: Robert Boatman<br />Technical director: Roy White<br />Camera: Baldwin Baker, Ray Figelski, Bill Matheson<br />Audio: Len Peterson<br />Video: Robert Spears<br />Video tape: Richard Krown<br />Stage manager: Hector Highton<br />Executive producer: Harold Goldman<br />Les quatre volumes « Mahalia Jackson Sings » que nous vous présentons dans le cadre de notre Intégrale Mahalia Jackson, constituent un document et un évènement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalité des chansons filmées par la chaîne de télévision TEC en juin et juillet 1961.<br /><strong>Jean BUZELIN<br /></strong></span><span class="Texte">Les quatre CD réalisés par Jean Buzelin, inséparables et complémentaires, représentent le résultat de longues recherches et, au-delà d’une première mondiale, sont un témoignage patrimonial exceptionnel qui enrichit magistralement l’œuvre de la plus grande chanteuse de Gospel du XXe siècle.<br /><strong>Patrick FRÉMEAUX<br /></strong></span><span class="Texte">The four volumes of “Mahalia Jackson Sings” that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961.<br /><strong>Jean BUZELIN</strong><br />The four CDs which we have produced and which are intended to be listened to as a whole, represent the result of long research and, in addition to being a world first, are an outstanding addition to the rich heritage left by the greatest Gospel singer of the 20th Century.     <br /><strong>Patrick FRÉMEAUX</strong><br /></span><span class="Soustitre2"><br />MAHALIA JACKSON Vol. 15 – 1961 - MAHALIA SINGS Part 2<br /></span><span class="Texte"><br />1. OUT OF THE DEPTHS (T.V. Gross)<br /> 2. HIS EYE IS ON THE SPARROW (C.H. Gabriel - C.D. Martin - arr. B. Smith)<br /> 3. IT DON’T COST VERY MUCH (T.A. Dorsey)<br /> 4. I SEE GOD (M. Mencher - R. Leveen)<br /> 5. I AM HEALED BY THE WOUND IN HIS SIDE (V. Davis)<br /> 6. YOU CAN’T HURRY GOD (Trad. Arr. M. Jackson)<br /> 7. (TO ME) IT’S SO WONDERFUL (R.H. Good Pasteur)<br /> 8. WHEN THE SAINTS GO MARCHING IN (Trad. - arr. M. Jackson)<br /> 9. IT IS NO SECRET (WHAT GOD CAN DO) (S. Hamblen)<br />10. (JUST) A CLOSER WALK WITH THEE (Trad.)<br />11. (END OF) A PERFECT DAY (C. Jacobs-Bond)<br />12. (I’M) A CHILD OF THE KING (H. Buell)<br />13. GUIDE ME, O THOU GREAT JEHOVAH (J. Hughes - W. Williams - arr. M. Jackson)<br />14. STEAL AWAY (TO JESUS) (Trad.)<br />15. HOLDING MY SAVIOR’S HAND (R. Anderson -Y. Reed)<br />16. SOMEBODY TOUCHED ME (Trad.)<br />17. LEANING ON THE EVERLASTING ARMS (A.J. Showalter - E.A. Hoffman)<br />18. LET THE CHURCH ROLL ON (Trad. - arr. M. Jackson)<br />19. ONLY BELIEVE (P. Rader)<br />20. SWEET HOUR OF PRAYER (W.B. Bradbury - W. Walford)<br /></span></p>
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      "description" => "<p><p style=\text-align: justify;>Les quatre volumes &laquo; Mahalia Jackson Sings &raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961.&nbsp;</p><p style=\text-align: justify;><strong>Jean BUZELIN&nbsp;</strong></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;>Les quatre CD r&eacute;alis&eacute;s par Jean Buzelin, ins&eacute;parables et compl&eacute;mentaires, repr&eacute;sentent le r&eacute;sultat de longues recherches et, au-del&agrave; d&rsquo;une premi&egrave;re mondiale, sont un t&eacute;moignage patrimonial exceptionnel qui enrichit magistralement l&rsquo;oeuvre de la plus grande chanteuse de Gospel du XXe si&egrave;cle.&nbsp;</p><p style=\text-align: justify;><strong>Patrick FRÉMEAUX</strong></p><p style=\text-align: justify;><br /></p><p><p style=\text-align: justify;><em>The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs fi lmed by the TEC television channel in June and July 1961. <strong>Jean BUZELIN&nbsp;</strong></em></p><p style=\text-align: justify;><em><br /></em></p><p style=\text-align: justify;><em>The four CDs which we have produced and which are intended to be listened to as a whole, represent the result of long research and, in addition to being a world fi rst, are an outstanding addition to the rich heritage left by the greatest Gospel singer of the 20th Century. <strong>Patrick FRÉMEAUX&nbsp;</strong></em></p></p><p style=\text-align: justify;><em><strong><br /></strong></em></p><p><p style=\text-align: justify;><strong>DIRECTION ARTISTIQUE : JEAN BUZELIN</strong></p><p style=\text-align: justify;><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES</strong></p><p style=\text-align: justify;><br /></p><p style=\text-align: justify;>YOU&rsquo;LL NEVER WALK ALONE &bull; JUST AS I AM &bull; LORD, DON&rsquo;T MOVE THE MOUNTAIN &bull; HIGHWAY TO HEAVEN &bull; THE LORD&rsquo;S PRAYER &bull; TELL IT, SING IT, SHOUT IT &bull; THE ROSARY &bull; MY FAITH LOOKS UP TO THEE &bull; COME ON CHILDREN, LET&rsquo;S SING &bull; SOMEBODY BIGGER THAN YOU AND I &bull; I BELIEVE &bull; MY LORD (AND I) &bull; MY FATHER WATCHES OVER ME &bull; I ASKED THE LORD &bull; JOSHUA FIT THE BATTLE OF JERICHO &bull; GOD WILL TAKE CARE OF YOU &bull; DIDN&rsquo;T IT RAIN! &bull; THROW OUT THE LIFELINE &bull; DOWN BY THE RIVER SIDE &bull; HALLELUJAH, &lsquo;TIS DONE! &bull; BY HIS WORD.</p></p><p style=\text-align: justify;><br /></p></p><br><br>"
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      "dwf_livret" => "<h3>Mahalia sings FA1324</h3><p align=justify><span class=Soustitre2><br />INTÉGRALE MAHALIA JACKSON<br />VOL. 14 - 1961</span><span class=Texte><br /></span><span class=Soustitre2>Mahalia Sings 1/4</span><span class=Texte><br /></span><span class=Soustitre>THE TEC SOUNDTRACK JUNE/JULY 1961</span><span class=Texte><br />Les quatre volumes &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961.<br /></span><span class=Soustitre>Jean BUZELIN</span><span class=Texte><br /></span><br /><span class=Texte>Les quatre CD r&eacute;alis&eacute;s par Jean Buzelin,  ins&eacute;parables et compl&eacute;mentaires, repr&eacute;sentent le r&eacute;sultat de longues  recherches et, au-del&agrave; d&rsquo;une premi&egrave;re mondiale, sont un t&eacute;moignage  patrimonial exceptionnel qui enrichit magistralement l&rsquo;&oelig;uvre de la plus  grande chanteuse de Gospel du XXe si&egrave;cle.<br /></span><span class=Soustitre>Patrick FRÉMEAUX</span><span class=Texte><span class=Texte><br /></span>The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961.&nbsp;&nbsp; <br /></span><span class=Soustitre>Jean BUZELIN</span><span class=Texte><br />The four CDs which we have produced and which are intended to be listened to as a whole, represent the result of long research and, in addition to being a world first, are an outstanding addition to the rich heritage left by the greatest Gospel singer of the 20th Century. &nbsp;&nbsp;&nbsp; <br /></span><span class=Soustitre>Patrick FRÉMEAUX</span><span class=Texte><br /></span><span class=Soustitre2><br />MAHALIA JACKSON Vol. 14 &ndash; 1961 - MAHALIA SINGS Part 1</span><span class=Texte><br />1. YOU&rsquo;LL NEVER WALK ALONE&nbsp;&nbsp; &nbsp; 3&rsquo;29<br />2. JUST AS I AM&nbsp;&nbsp; &nbsp;3&rsquo;06<br />3. LORD, DON&rsquo;T MOVE THE MOUNTAIN&nbsp;&nbsp; &nbsp; 3&rsquo;32<br />4. HIGHWAY TO HEAVEN&nbsp;&nbsp; &nbsp; 2&rsquo;30<br />5. THE LORD&rsquo;S PRAYER&nbsp;&nbsp; &nbsp; 3&rsquo;22<br />6. TELL IT, SING IT, SHOUT IT&nbsp;&nbsp; &nbsp; 2&rsquo;37<br />7. THE ROSARY&nbsp;&nbsp; &nbsp;3&rsquo;09<br />8. MY FAITH LOOKS UP TO THEE&nbsp;&nbsp; &nbsp; 3&rsquo;47<br />9. COME ON CHILDREN, LET&rsquo;S SING&nbsp;&nbsp; &nbsp; 2&rsquo;47<br />10. SOMEBODY BIGGER THAN YOU AND I&nbsp;&nbsp; &nbsp; 3&rsquo;00<br />11. I BELIEVE&nbsp;&nbsp; &nbsp; 3&rsquo;02<br />12. MY LORD (AND I)&nbsp;&nbsp; &nbsp;2&rsquo;59<br />13. MY FATHER WATCHES OVER ME &nbsp;&nbsp; &nbsp; 2&rsquo;50<br />14. I ASKED THE LORD&nbsp;&nbsp; &nbsp; 3&rsquo;43<br />15. JOSHUA FIT THE BATTLE OF JERICHO&nbsp;&nbsp; &nbsp; 2&rsquo;35<br />16. GOD WILL TAKE CARE OF YOU&nbsp;&nbsp; &nbsp; 3&rsquo;28<br />17. DIDN&rsquo;T IT RAIN!&nbsp;&nbsp; &nbsp;2&rsquo;41<br />18. THROW OUT THE LIFELINE&nbsp;&nbsp; &nbsp; 2&rsquo;34<br />19. DOWN BY THE RIVER SIDE&nbsp;&nbsp; &nbsp; 2&rsquo;55<br />20. HALLELUJAH, &lsquo;TIS DONE!&nbsp;&nbsp; &nbsp; 2&rsquo;39<br />21. BY HIS WORD&nbsp;&nbsp; &nbsp;2&rsquo;51<br /></span><span class=Soustitre2>INTÉGRALE MAHALIA JACKSON - VOL. 14 &ndash; 1961</span><span class=Texte><br /></span><br /><span class=Soustitre>Par Jean Buzelin</span><span class=Texte><br />Les quatre volumes &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; que nous vous pr&eacute;sentons dans le cadre de notre Int&eacute;grale Mahalia Jackson, constituent un document et un &eacute;v&egrave;nement discographique exceptionnels. Ils contiennent en effet la bande sonore de la totalit&eacute; des chansons film&eacute;es par la cha&icirc;ne de t&eacute;l&eacute;vision TEC en juin et juillet 1961. Certaines d&rsquo;entre elles &ndash; une petite partie &ndash; avaient &eacute;t&eacute; publi&eacute;es en microsillons 33 tours dans les ann&eacute;es 70, puis reprises en CD sans aucune mention de dates ni de provenance, et avec une faible qualit&eacute; sonore. Une partie plus importante de ces petits films, mais non l&rsquo;int&eacute;gralit&eacute; malgr&eacute; l&rsquo;indication de l&rsquo;&eacute;diteur qui les attribue &agrave; la NBC et non &agrave; la TEC, et dont les titres, mentionn&eacute;s seulement sur internet, sont erron&eacute;s ou hautement fantaisistes, a &eacute;t&eacute; publi&eacute;e plus r&eacute;cemment en DVD.<br />Apr&egrave;s une triomphale tourn&eacute;e de pr&egrave;s de deux mois en Europe et au Moyen-Orient, Mahalia Jackson est de retour au pays vers la fin du mois de mai 1961, et pose ses valises chez elle &agrave; Chicago. Pas pour longtemps car, pendant son absence, son producteur de chez Columbia, Irving Townsend, et quelques autres, se sont occup&eacute;s de la pr&eacute;paration des s&eacute;ances d&rsquo;enregistrements film&eacute;s qui doivent &ecirc;tre r&eacute;alis&eacute;s par la cha&icirc;ne Television Enterprise Corporation, dont le pr&eacute;sident est un certain Harold Goldman. La chanteuse doit enregistrer quelques quatre-vingt-cinq chansons de 3 &agrave; 4 minutes en quinze jours, r&eacute;parties en une dizaine de s&eacute;ances, soit environ huit par jour, en commen&ccedil;ant &agrave; 9 heures du matin pour s&rsquo;achever &agrave; 5 heures de l&rsquo;apr&egrave;s-midi. Ce qui n&rsquo;est pas sans l&rsquo;inqui&eacute;ter. Apr&egrave;s une tourn&eacute;e &eacute;puisante, elle n&rsquo;a que trois semaines pour se reposer et se pr&eacute;parer. Mais comme chacun la persuade qu&rsquo;elle est capable de relever ce d&eacute;fi, Mahalia se laisse convaincre et signe de bonne gr&acirc;ce le contrat. On pr&eacute;pare l&rsquo;&eacute;quipe : la fid&egrave;le Mildred Falls, qui l&rsquo;accompagna en Europe, tiendra le piano en alternance avec Edward C. Robinson, et assumera la direction musicale&thinsp;; Louise Overall Weaver sera &agrave; l&rsquo;orgue, &eacute;ventuellement suppl&eacute;&eacute;e en cas de besoin par Dorothy V. Simmons (du Simmons-Akers Trio)&thinsp;; une section rythmique compos&eacute;e de trois musiciens de jazz tout terrain, Barney Kessel (guitare), Red Mitchell (contrebasse), Shelly Manne (batterie), &agrave; qui l&rsquo;on demandera de bien marquer le gospel beat, compl&egrave;tera l&rsquo;effectif musical1. Un secr&eacute;taire, Butch Thornton, s&rsquo;occupe de l&rsquo;intendance, et le tout est plac&eacute; sous la direction artistique de Larry Peerce. Les enregistrements auront lieu aux studios de la Paramount, avenue Melrose &agrave; Hollywood. Le d&eacute;cor est spartiate et aust&egrave;re : quelques ogives &laquo;&thinsp;gothiques&thinsp;&raquo; d&eacute;coup&eacute;es, parfois quelques arbres artificiels, des bancs, un vitrail, souvent rien du tout, des &eacute;clairages fixes, peu de mouvements de cam&eacute;ra. Cet environnement presque nu, qui peut para&icirc;tre dict&eacute; par des raisons &eacute;conomiques, a le m&eacute;rite de mettre en valeur Mahalia qui, film&eacute;e simplement et sans aucuns effets, diffuse une pr&eacute;sence ind&eacute;niable, forte et particuli&egrave;rement prenante, notamment lorsque les gros plans s&rsquo;attardent sur son visage qui laisse voir sa totale implication2.<br />D&rsquo;apr&egrave;s Laurraine Goreau, la biographe de Mahalia Jackson3, qui a sans doute assist&eacute; aux s&eacute;ances, une pause de 5 minutes &eacute;tait pr&eacute;vue chaque heure, ainsi qu&rsquo;un break pour le d&eacute;jeuner, les huit chansons devant &ecirc;tre imp&eacute;rativement mises en bo&icirc;tes pour 5 heures du soir. La premi&egrave;re s&eacute;ance se serait ainsi d&eacute;roul&eacute;e dans l&rsquo;ordre suivant : Where He Leads Me I Will Follow &ndash; Because His Name Is Jesus &ndash; Precious Lord &ndash; Holding My Savior&rsquo;s Hand &ndash; In the Garden &ndash; You&rsquo;ll Never Walk Alone &ndash; To Me, It&rsquo;s So Wonderful &ndash; God Will Take Care of You. Et voici le programme de la seconde : Have Thine Own Way &ndash; Elijah Rock &ndash; God Be With You &ndash; Just As I Am &ndash; The Holy Bible &ndash; Hold Me &ndash; It Is No Secret &ndash; I&rsquo;m a Child of the King. Ensuite, Laurraine Goreau ne poursuit plus l&rsquo;&eacute;num&eacute;ration des titres de chaque s&eacute;ance, se contentant d&rsquo;en citer par-ci, par-l&agrave; quelques-uns3.<br />Mais ce travail intensif se fait aux d&eacute;pends de ses cordes vocales. Apr&egrave;s plusieurs s&eacute;ances, Mahalia a contract&eacute; une laryngite et sa gorge doit &ecirc;tre soign&eacute;e. Tout cela a des effets sur le planning, et le producteur t&eacute;l&eacute;phone quotidiennement, rappelant que chaque journ&eacute;e lui co&ucirc;te 3&thinsp;500 dollars de location du studio ! Les enregistrements reprennent car tout doit &ecirc;tre boucl&eacute; pour le 30 juin. Mais, par la force des choses, il faudra d&eacute;border un peu, et la toute derni&egrave;re s&eacute;ance a lieu le vendredi 7 juillet. Mahalia enregistre ce jour-l&agrave; une s&eacute;rie de chants de No&euml;l : Silent Night, O, Come All Ye Faithful, O Little Town of Bethlehem, A Star Stood Still, Sweet Little Jesus Boy et Joy to the World.<br />84 petites bobines en 16 mm (des clips dirait-on aujourd&rsquo;hui) sont ainsi mises en bo&icirc;te et seront diffus&eacute;es ult&eacute;rieurement, les unes apr&egrave;s les autres, sur la cha&icirc;ne de t&eacute;l&eacute;vision4. Tout le monde est enchant&eacute; : Townsend, Peerce, et particuli&egrave;rement Mr Goldman. Chacun peut bien se f&eacute;liciter, mais c&rsquo;est avant tout Mahalia Jackson elle-m&ecirc;me, l&rsquo;artisane principale de cette magnifique s&eacute;rie de chants sacr&eacute;s de toutes sortes (negro spirituals traditionnels, hymnes compos&eacute;s, gospel songs&hellip;)&thinsp;; sa voix extraordinaire atteint ici une pl&eacute;nitude exceptionnelle, une ampleur magistrale, une ferveur bouleversante.<br />Voici donc la bande sonore de l&rsquo;int&eacute;grale des 82 titres diffus&eacute;s par la cha&icirc;ne de t&eacute;l&eacute;vision&thinsp;; ils ne sont pas pr&eacute;sent&eacute;s dans l&rsquo;ordre chronologique, mais selon le classement &eacute;tabli par le collectionneur Mark Cantor, lequel fait autorit&eacute; : &laquo;&thinsp;Ma num&eacute;rotation est bas&eacute;e sur le registre principal des films. Je suis s&ucirc;r qu&rsquo;ils n&rsquo;ont pas &eacute;t&eacute; enregistr&eacute;s/film&eacute;s dans l&rsquo;ordre de la liste, mais c&rsquo;est ainsi que les producteurs l&rsquo;ont eux-m&ecirc;mes d&eacute;finie.&thinsp;&raquo; <br />Ces enregistrements film&eacute;s n&rsquo;ont pas la qualit&eacute; sonore des disques r&eacute;alis&eacute;s en studio &agrave; l&rsquo;&eacute;poque, en particulier chez Columbia, la maison de disques de Mahalia Jackson, mais nous avons effectu&eacute; tout ce qui &eacute;tait possible, avec Christophe Heynault et Pierre Brousses du studio Art &amp; Son, pour l&rsquo;am&eacute;liorer, m&ecirc;me s&rsquo;il reste quelques traces de pleurage qu&rsquo;il est impossible de supprimer. Mais l&rsquo;int&eacute;r&ecirc;t exceptionnel du document justifiait sa publication.<br />Cette int&eacute;grale &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; pr&eacute;sente la plus large s&eacute;lection possible du r&eacute;pertoire de la chanteuse, et m&ecirc;me bien au-del&agrave;. En effet, &agrave; c&ocirc;t&eacute; des th&egrave;mes qui lui sont familiers et qui font partie, pour la plupart, de ses r&eacute;citals habituels (You&rsquo;ll Never Walk Alone, Joshua Fit the Battle, Didn&rsquo;t It Rain, Down By the Riverside, It Don&rsquo;t Cost Very Much, When the Saints, Elijah Rock, I Found the Answer&hellip;), on en rel&egrave;ve quelques-uns qu&rsquo;elle avait grav&eacute; au d&eacute;but de sa carri&egrave;re (I Want To Rest -son premier disque Apollo en 1946, A Child Of the King - 1949, I Do, Don&rsquo;t You - 1950). Enregistr&eacute;s beaucoup plus r&eacute;cemment, d&rsquo;autres sont toujours dans ses cordes (Somebody Bigger Than You And I, I Believe, My Lord, Holding My Savior&rsquo;s Hand, I Want To Be a Christian, The Only Hope We Have&hellip;).<br />Mais, et ce n&rsquo;est pas le moins &eacute;tonnant, presque la moiti&eacute; des titres est totalement in&eacute;dite, et seuls une poign&eacute;e d&rsquo;entre eux sera enregistr&eacute;e ult&eacute;rieurement sur disque. D&rsquo;o&ugrave; l&rsquo;int&eacute;r&ecirc;t exceptionnel de leur publication. Il est d&rsquo;ailleurs fort probable que Mahalia en ait appris certains pour l&rsquo;occasion, ou qui ne lui sont pas familiers&thinsp;; ainsi nous la voyons, &agrave; plusieurs reprises, tenir la partition en main pour d&eacute;chiffrer les paroles en direct. Nous ne percevons pourtant la moindre h&eacute;sitation, la moindre &laquo;&thinsp;faute&thinsp;&raquo; d&rsquo;interpr&eacute;tation dans tous ces chants qu&rsquo;elle a choisis, ou qui lui ont peut-&ecirc;tre &eacute;t&eacute; propos&eacute;s. Elle les fait siens, d&eacute;finitivement. Un tour de force et une s&eacute;rie de performances exceptionnelles qui laissent l&rsquo;auditeur &ndash; ou le spectateur &ndash; pantois et absolument transport&eacute;. <br />Croyez-vous que la chanteuse se reposa apr&egrave;s une telle &eacute;preuve ? Pas du tout, le dimanche 16 juillet, elle chante au Madison Square Garden, &agrave; New York, dans un spectacle organis&eacute; par Joe Bostic, auquel participe une pl&eacute;iade de grands noms du gospel, comme les Caravans avec Albertina Walker, et l&rsquo;Ernestine Washington Temple Choir, et avec la pr&eacute;sence de Martin Luther King qui appara&icirc;tra sur sc&egrave;ne juste avant Mahalia. Ces deux grandes figures de la &laquo;&thinsp;nation noire&thinsp;&raquo; n&rsquo;ont pas fini de se rencontrer !<br />Jean BUZELIN<br /></span><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2017</span><span class=Texte><br /></span><span class=Soustitre>Notes :</span><span class=Texte><br />1) En r&eacute;alit&eacute;, Edward Robinson jouera principalement de l&rsquo;orgue &ndash; Dorothy Simmons ne semble pas avoir particip&eacute; aux enregistrements &ndash; tandis que la section rythmique ne sera peut-&ecirc;tre pas convoqu&eacute;e &agrave; toutes les s&eacute;ances, hormis peut-&ecirc;tre Shelly Manne, car un certain nombre de chants, en particulier sur tempo lent, ne seront accompagn&eacute;s que par le duo piano/orgue, avec parfois quelques ponctuations de percussions. Si Louise Weaver est une vieille complice de Mahalia, Edward Robinson appara&icirc;t ici pour la premi&egrave;re fois dans l&rsquo;entourage de la chanteuse&thinsp;; on l&rsquo;entendra ensuite souvent &agrave; l&rsquo;orgue ou au piano et il deviendra son accompagnateur r&eacute;gulier apr&egrave;s l&rsquo;&eacute;viction brutale de Mildred Falls (on le verra au Festival d&rsquo;Antibes en 1968). Quant &agrave; Shelly Manne et Red Mitchell, ils seront sollicit&eacute;s pour de futures s&eacute;ances de studio en 1962/63. Notons que les musiciens apparaissent &agrave; plusieurs reprises sur l&rsquo;&eacute;cran, Mildred Falls &eacute;tant toujours au piano, Edward Robinson &agrave; l&rsquo;orgue. <br />2) L&rsquo;habillement de Mahalia Jackson se compose sobrement de deux aubes (une rev&ecirc;tue beaucoup plus que l&rsquo;autre), parfois une robe longue blanche, et tr&egrave;s rarement un tailleur et une robe imprim&eacute;e.<br />3) Laurraine Goreau : Mahalia (Lion Pub., UK 1976 - 2e &eacute;dition).<br />4) O Little Town of Bethlehem et Joy to the World, cit&eacute;s par Laurraine Goreau, n&rsquo;apparaissent pas dans la liste des films &eacute;tablie par le collectionneur Mark Cantor&thinsp;; il est fort possible qu&rsquo;ils n&rsquo;aient jamais &eacute;t&eacute; diffus&eacute;s &agrave; la t&eacute;l&eacute;vision. Mark Cantor r&eacute;pond &agrave; nos interrogations : &laquo;&thinsp;Il y a probl&egrave;me, de toutes mani&egrave;res, avec les titres de No&euml;l. Maintenant, il me revient que ces films venaient des &laquo;&thinsp;3 Complete sets&thinsp;&raquo; de courts-m&eacute;trages, et &eacute;dit&eacute;s &agrave; l&rsquo;origine par les producteurs/distributeurs. Les collections sont compl&egrave;tes et peuvent ne pas correspondre avec les titres de chansons mentionn&eacute;s par Laurraine Goreau dans son livre Mahalia. Je ne sais pas o&ugrave; elle a obtenu son information et d&rsquo;o&ugrave; viennent les divergences, mais il y a quatre (et non six) titres de No&euml;l dans la collection. Comme vous pouvez voir, les deux titres que vous mentionnez n&rsquo;apparaissent pas comme ayant fait partie des films r&eacute;alis&eacute;s&thinsp;; ils ont peut-&ecirc;tre &eacute;t&eacute; propos&eacute;s, voire film&eacute;s et enregistr&eacute;s, mais pas r&eacute;alis&eacute;s dans les s&eacute;ries.&thinsp;&raquo; <br /></span><span class=Soustitre>La premi&egrave;re partie en d&eacute;tail</span><span class=Texte><br />Le premier volume de notre &laquo;&thinsp;Mahalia Jackson Sings&thinsp;&raquo; s&rsquo;ouvre avec le standard &agrave; succ&egrave;s de Richard Rogers et Oscar Hammerstein, You&rsquo;ll Never Walk Alone, que s&rsquo;est appropri&eacute;e durablement la chanteuse depuis 1954 et son premier album Columbia. Cette chanson, film&eacute;e lors de la premi&egrave;re s&eacute;ance, va servir d&rsquo;indicatif &agrave; tous les &laquo;&thinsp;clips&thinsp;&raquo; diffus&eacute;s &agrave; la t&eacute;l&eacute;vision. Une autre chanson c&eacute;l&egrave;bre, I Believe, qui figure au r&eacute;pertoire de Mahalia comme &agrave; celui de nombreux artistes de gospel, fait &eacute;galement partie des premiers titres propos&eacute;s.<br />Le reste pr&eacute;sente une large s&eacute;lection de th&egrave;mes divers, &agrave; commencer par trois negro spirituals traditionnels connus que Mahalia Jackson chante souvent : Joshua Fit the Battle of Jericho, Didn&rsquo;t It Rain, selon l&rsquo;arrangement de Roberta Martin, et Down By the Riverside, le jubilee song. Plusieurs gospel songs, dont Don&rsquo;t Move the Mountain de Doris Akers, Highway To Heaven de Thomas A. Dorsey, dont ce sera sa seule version enregistr&eacute;e, et Come On Children Let&rsquo;s Sing, apportent une note dynamique &agrave; l&rsquo;ensemble.<br />Mais, &agrave; c&ocirc;t&eacute; du Notre P&egrave;re mis en musique par Albert Malotte (connu pour ses musiques de films), ce sont les hymnes qui constituent la moiti&eacute; du disque : Just As I Am de Charlotte Elliott, l&rsquo;une de ses pr&eacute;f&eacute;r&eacute;es, The Rosary (1898) qu&rsquo;elle va rapidement enregistrer sur son prochain 33 tours &ndash; cet hymne &eacute;tait chant&eacute;e lors des offices sur le Titanic &ndash;, My Faith Looks Up To Thee (1830), My Lord (1890) qu&rsquo;elle transforme en un v&eacute;ritable gospel song, le cantique Throw Out the Lifetime (1888) du preacher baptiste blanc Edwin Ufford, et Hallelujah, &lsquo;Tis Done (1874) de Paul Bliss, un ministre du culte anglais. Mahalia ne r&eacute;enregistrera jamais ces deux th&egrave;mes, pas plus que l&rsquo;hymne m&eacute;thodiste God Will Take Care of You, &eacute;crite par Civilla Martin en 1904. Nombre d&rsquo;hymnes du XIXe si&egrave;cle (et m&ecirc;me avant, pensons &agrave; ceux du Dr. Watts) sont en effet souvent l&rsquo;&oelig;uvre d&rsquo;auteurs blancs, en particulier des missionnaires baptistes et m&eacute;thodistes. On peut ainsi constater comment les interpr&egrave;tes afro-am&eacute;ricains se les approprient et les mod&egrave;lent &agrave; leur mani&egrave;re. <br />Ajoutons-y deux solides morceaux du compositeur Johnny Lange, Somebody Bigger Than You and I et <br />I Asked the Lord qui font partie des grandes r&eacute;ussites de la chanteuse, et un gospel hymn, Tell It, Sing It, Shout It, d&ucirc; &agrave; James Rowe. Pr&eacute;sente dans la plupart des morceaux, la section rythmique fournit un excellent accompagnement.<br />Voil&agrave; largement de quoi savourer la beaut&eacute; et la grandeur des interpr&eacute;tations de Mahalia Jackson, au sommet de son art, avant la suite au prochain num&eacute;ro.<br />Jean BUZELIN<br /></span><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2017</span><span class=Texte><br />Jean Buzelin est l&rsquo;auteur de Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998)&thinsp;; il collabore &agrave; la Gospel Discography de Cedric J. Hayes &amp; Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.).<br />Nous remercions particuli&egrave;rement pour leur concours et leur aide Mark Cantor et Robert Laughton qui nous ont copi&eacute; de rares films, ainsi que Philippe Baudoin et Isabelle Marquis, Patrice Buzelin, Andr&eacute; Clergeat (&dagger;), Michel Pfau (&dagger;), Jean-Paul Ricard, Mich&egrave;le et Joyce Waterhouse qui nous ont fourni de bonnes pistes de recherches.<br />Photos : X (D.R.)<br />Nous d&eacute;dions ce volume &agrave; la m&eacute;moire de notre ami Andr&eacute; Clergeat qui nous a mis sur la voie et nous a encourag&eacute; &agrave; poursuivre nos recherches.<br /></span><span class=Texte><br /></span><span class=Soustitre2><br />COMPLETE MAHALIA JACKSON - VOL. 14 &ndash; 1961<br /></span><span class=Soustitre>By Jean Buzelin</span><span class=Texte><br />The four volumes of &ldquo;Mahalia Jackson Sings&rdquo; that form part of our Complete Mahalia Jackson comprise an exceptional recording and historical event. They contain the sound track of all the songs filmed by the TEC television channel in June and July 1961. A small selection of these was issued on several long player records in the 70s and later reprised on CD, without any mention of date or provenance and with extremely poor sound quality. A larger extract of these small films has recently been issued on DVD but not the whole of them, in spite of the publisher claims attributing them to NBC rather than TEC and on which the titles, mentioned only on Internet, are either wrong or completely invented.<br />After a triumphant tour in Europe and the Middle East that lasted almost two months, Mahalia Jackson returned to Chicago in late May 1961. However, she didn&rsquo;t stay at home very long as, during her absence, her producer at Columbia Irving Townsend, along with several others, had arranged several recording sessions to be filmed by the Television Enterprise Corporation channel, whose president was a certain Harold Goldman. She would have to record eighty-five songs, each lasting three to four minutes, over a period of fifteen days, roughly ten or so sessions which meant about eight a day, beginning at 9 in the morning and finishing around 5 in the afternoon. She wasn&rsquo;t very happy about this. After a grueling tour she only had three weeks to rest and prepare herself. But after everybody persuaded her she was up to the challenge, Mahalia agreed to sign the contract. The backing group was chosen: the loyal Mildred Falls, who had accompanied her in Europe, on piano alternating with Edward C. Robinson, and also in charge of the music; Louis Overall Weaver on organ, to be replaced if necessary by Dorothy V. Simmons ( of the Simmons-Akers Trio). A rhythm section composed of three jazz musicians, Barney Kessel (guitar), Red Mitchell (double bass), Shelly Manne (drums), whose job it was to provide the Gospel beat, completed the line-up1. A secretary, Butch Thornton, was in charge of finances and the artistic director was Larry Peerce. The recordings took place at the Paramount Studios in Melrose, Hollywood. The d&eacute;cor was sparse and austere: some silhouettes of Gothic arches, a few artificial trees, benches, a stained glass window, sometimes nothing at all, fixed lighting and barely any camera movement. This almost empty setting, probably the result of cost cutting, had the advantage of placing the focus on Mahalia filmed very simply, without any additional effects, allowing her personality to dominate, particularly during the lingering facial close-ups that showed her complete involvement in what she was singing2.<br />According to Laurraine Goreau, Mahalia&rsquo;s biographer3, who doubtless was present at the sessions, a 5-minute break was allotted every hour, as well as a break for lunch, but the final take of the eight songs had to be done by 5 o&rsquo;clock in the evening. The titles from the first session were recorded in the following order: Where He Leads Me I Will Follow - Because His Name Is Jesus - Precious Lord - Holding My Savior&rsquo;s Hand - In The Garden - You&rsquo;ll Never Walk Alone - To Me, It&rsquo;s So Wonderful - God Will Take Care Of You. And the second session: Have Thine Own Way &ndash; Elijah Rock &ndash; God Be With You &ndash; Just As I Am &ndash; The Holy Bible &ndash; Hold Me &ndash; It Is No Secret &ndash; I&rsquo;m A Child Of The King. After this Laurraine Goreau no longer gives the programme for each session, merely mentioning some here and there3.<br />However, this intensive work load took its toll on Mahalia&rsquo;s vocal chords. After several sessions, she got laryngitis and her throat had to be treated. All this affected the planning with daily phone calls from the producer reminding them that renting the studio was costing him 3,500 dollars a day! So the recordings began again and were definitely supposed to finish by 30 June but inevitably overran a little with the final session on Friday 7 July. On that day Mahalia recorded a series of Christmas songs: Silent Night, Oh Come All Ye Faithful, Oh Little Town Of Bethlehem, A Star Stood Still, Sweet Little Jesus Boy and Joy To The World. 84 small 16mm clips were put in the can to be broadcast later on television4. Everybody was delighted: Townsend, Peerce and especially Mr. Goldman. While they could all congratulate themselves, it was Mahalia Jackson herself who was the principal architect of this magnificent series of religious songs of all kinds (traditional Negro Spirituals, Hymns, Gospel songs &hellip;), her extraordinary voice soaring to exceptional heights or sinking to a beautiful sonority, the whole imbued with her own overwhelming and extremely moving fervor.<br />So here is the sound track of the entire 82 titles broadcast on television. They are not presented in chronological order but according to the classification by collector Mark Cantor, who specifies: &ldquo;My designation of number is based on what is printed on the actual film credits. I am sure they were not filmed/ recorded in the order in the list, but this is how the producers themselves released them.&rdquo; <br />Although the sound quality of these filmed recordings is not as good as studio recordings of the era, especially by Columbia, Mahalia&rsquo;s regular recording company, we have done the utmost with the Art &amp; Son studio to improve it, but there is still the occasional wow or flutter that was impossible to eradicate. However, the undeniable interest of the collection justifies its issue.<br />This complete &ldquo;Mahalia Jackson Sings&rdquo; includes the largest selection possible of the singer&rsquo;s repertoire and even more. In addition to the titles that are associated with her and regularly formed part of her concerts (You&rsquo;ll Never Walk Alone, Joshua Fit The Battle, Didn&rsquo;t It Rain, Down By The Riverside, It Don&rsquo;t Cost Very Much, When The Saints, Elijah Rock, I Found The Answer &hellip;), there are some that were recorded early in her career (I Want To Rest, her first Apollo record in 1946, A Child Of The King &ndash; 1949, I Do Don&rsquo;t You &ndash; 1950). Other more recent recordings have always been part of her song sheet (Somebody Bigger Than You And I, I Believe, My Lord, Holding My Savior&rsquo;s Hand, I Want To Be A Christian, The Only Hope We Have &hellip;). <br />Amazingly most of these titles have never been issued before and only a handful of them were later recorded on disc. Moreover, it is very likely that Mahalia was not familiar with several of them and learnt them for the show as we see her on more than one occasion holding the score to read the lyrics directly. However, there is never a sign of the slightest hesitation or glitch in her interpretation in any of the songs, whether she had chosen them herself or they had been suggested to her. An amazing feat and an impressive performance that leaves the listener &ndash; or the spectator &ndash; spellbound and completely carried away.<br />One may have thought that the singer would have taken a break after such a strenuous stint but not at all! Sunday, 16 July saw her singing at Madison Square Garden in New York, in a show organized by Joe Bostic, alongside a throng of Gospel greats that included the Caravans with Albertina Walker and the Ernestine Washington Temple Choir. Martin Luther King was also present and appeared on stage just before Mahalia. This was not the only time these two great personalities of the &ldquo;African American&rdquo; nation would meet!<br /></span><span class=Soustitre><br />Notes</span><span class=Texte><br />1) In fact it is mainly Edward Robinson on organ &ndash; Dorothy Simmons does not appear to have taken part in the recordings &ndash; while the rhythm section was probably got together for each session, with the possible exception of Shelly Manne, for numerous titles, in particular slow tempo ones, are backed by a piano/organ duo, with occasionally the intervention of drums. If Louise Weaver was an old friend of Mahalia&rsquo;s while this is Edward Robinson&rsquo;s first appearance with the singer; later he was often heard on organ or piano and became her regular accompanist after the brutal sacking of Mildred Falls (he was at the Antibes Festival in 1968). Both Shelly Manne and Red Mitchell were invited back for studio sessions in 1962/63.<br />2) Mahalia was dressed soberly either in one of two surplices (one more decorative than the other), sometimes a long white robe or, very rarely, in a tailored jacket and a printed dress.<br />3) Laurraine Goreau: Mahalia (Lion Pub., UK 1976 &ndash; 2nd edition).<br />4) Oh Little Town Of Bethlehem and Joy To The World, mentioned by Laurraine Goreau, do not appear in collector Mark Cantor&rsquo;s list of films based on the actual broadcasts: it is possible that they were never broadcast on television. The answer of Mark Cantor : &ldquo;There is a problem, however, with the Christmas titles. Now, keep in mind that these films come from the three complete sets of the films shorts, as sent out by the original producer/distributor. The collections are complete, and they do not match the song titles as noted by Laurraine Goreau in her book Mahalia. I do not know where she got her information, and where the discrepancy arrises from, but these are the four (not six) Christmas titles in the collection. As you can see, the two titles that you note appear not to have been part of the released films; they may have been proposed, even filmed and recorded, but not released with the series.&rdquo;<br /></span><span class=Soustitre><br />Part 1: Details</span><span class=Texte><br />The first volume of our &ldquo;Mahalia Jackson Sings&rdquo; opens with the Rogers and Hammerstein hit You&rsquo;ll Never Walk Alone which was first taken up by the singer on her first Columbia recording in 1954. This song, filmed during the first session, serves as the signature tune for all the clips broadcast on television. The well-known, I Believe, that was not only part of Mahalia&rsquo;s repertoire but of numerous other Gospel singers as well, is also one of the first titles.<br />The remainder includes a wide variety of themes, beginning with three familiar traditional Negro Spirituals that Mahalia often sang: Joshua Fit The Battle Of Jericho, Didn&rsquo;t It Rain arranged by Roberta Martin and the Jubilee song Down By The Riverside. Several Gospel songs including Don&rsquo;t Move The Mountain by Doris Akers, the only recorded version of Thomas Dorsey&rsquo;s Highway To Heaven and Come On Children Let&rsquo;s Sing, added a dynamic note to the ensemble.<br />However, alongside The Lord&rsquo;s Prayer set to music by Albert Malotte (known for his film soundtracks), it is hymns that make up half the CD: Just As I Am by Charlotte Elliott, one of her favorites, The Rosary (1898) which she would soon record on one of her long-players &ndash; this hymn was played during the church services on the Titanic &ndash;, My Faith Looks Up To Thee (1830), My Lord (1890) that she transformed into a veritable Gospel song, Throw Out The Lifeline (1888) by the white Baptist preacher Edwin Ufford, and Hallelujah&lsquo;Tis Done (1874) by Paul Bliss an Anglican clergyman. Mahalia never re-recorded these two latter nor the Methodist hymn God Will Take Care Of You, written by Civilla Martin in 1904. Numerous 19th Century hymns (and even earlier ones e.g. those by Dr. Watts) were the work of white composers, mainly Baptist or Methodist ministers, and Afro-American singers tended to adapt them to their own style. <br />In addition to the above there are two excellent pieces by the composer Johnny Lange, Somebody Bigger Than You And I and I Asked The Lord, two of Mahalia&rsquo;s biggest hits, and a Gospel hymn Tell It, Sing It, Shout It by James Rowe. Present throughout most of the songs, the rhythm section provides excellent backing.<br />This first selection will give you a mouth-watering taste of a Mahalia Jackson at her very best before moving on to the next CD. <br />Adapted from the French text <br />of Jean Buzelin by Joyce Waterhouse<br /></span><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS 2017<br /></span><span class=Texte><br />Jean Buzelin is the author of Negro Spirituals and Gospel Songs, Songs of hope and freedom (Ed. du Layeur/Notre Histoire Paris 1998); he collaborated on the Gospel Discography by Cedric J. Hayes &amp; Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.).<br />With special thanks for their help and support to Mark Cantor and Robert Laughton who copied rare films for us, also Philippe Baudoin and Isabelle Marquis, Patrice Buzelin, Andr&eacute; Clergeat&thinsp;(&dagger;), Michel Pfau&thinsp;(&dagger;), Jean-Paul Ricard, Mich&egrave;le and Joyce Waterhouse who provided very useful research leads.<br />&#8199;1. YOU&rsquo;LL NEVER WALK ALONE (R. Rogers - O. Hammerstein II)<br />&#8199;2. JUST AS I AM (W.B. Bradbury - C. Elliott)<br />&#8199;3. LORD, DON&rsquo;T MOVE THE MOUNTAIN (D.M. Akers - M. Jackson)<br />&#8199;4. HIGHWAY TO HEAVEN (T.A. Dorsey)<br />&#8199;5. THE LORD&rsquo;S PRAYER (A.H. Malotte)<br />&#8199;6. TELL IT, SING IT, SHOUT IT (J. Rowe)<br />&#8199;7. THE ROSARY (E. Nevin - R.C. Rogers)<br />&#8199;8. MY FAITH LOOKS UP TO THEE (L. Mason - R. Palmer - arr. M. Jackson)<br />&#8199;9. COME ON CHILDREN, LET&rsquo;S SING (H.E. Smith)<br />10. SOMEBODY BIGGER THAN YOU AND I (J. Lange - H. Heath - S. Burke)<br />11. I BELIEVE (E. Drake - J. Shirl - I. Graham - A. Stillman)<br />12. MY LORD (AND I) (J.D. Little - L. Shorey - adapt. M. Jackson)<br />13. MY FATHER WATCHES OVER ME (W.C. Martin) <br />14. I ASKED THE LORD (J. Lange - J. Duncan)<br />15. JOSHUA FIT THE BATTLE OF JERICHO (Trad. - arr. M. Jackson)<br />16. GOD WILL TAKE CARE OF YOU (W.S. Martin - C.D. Martin)<br />17. DIDN&rsquo;T IT RAIN! (Trad. - arr. R. Martin)<br />18. THROW OUT THE LIFELINE (E.S. Ufford)<br />19. DOWN BY THE RIVER SIDE (Trad.)<br />20. HALLELUJAH, &lsquo;TIS DONE! (P.P. Bliss)<br />21. BY HIS WORD (W. Huntley - W. Campbell)<br /><strong>Mahalia Jackson (vocal), with: <br />Mildred Falls (piano, musical director), Edward C. Robinson (organ, poss. piano on some tracks), <br />Louise Overall Weaver-Smothers (organ), Barney Kessel (guitar), Keith M. &ldquo;Red&rdquo; Mitchell (bass), <br />Sheldon &ldquo;Shelly&rdquo; Manne (drums, percussions); the rhythm section is not present on all the tracks.<br />Studios Paramount, Hollywood (CA), mid-June/early July 1961. <br />A TEC Production - distributed by Seven Arts Films.<br />Directed by Larry Peerce<br />Produced by Irving Townsend<br />Art director: Bob Dahlquist<br />Photography: Leugh Wiener<br />Lightning director: Robert Boatman<br />Technical director: Roy White<br />Camera: Baldwin Baker, Ray Figelski, Bill Matheson<br />Audio: Len Peterson<br />Video: Robert Spears<br />Video tape: Richard Krown<br />Stage manager: Hector Highton<br />Executive producer: Harold Goldman<br /></strong><br /></span></p>"
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      "description" => "<p>&laquo; La triomphale tourn&eacute;e europ&eacute;enne de Mahalia Jackson en 1961 lui permet d&rsquo;&ecirc;tre reconnue partout comme l&rsquo;une des plus grandes chanteuses du monde, tous genres confondus. &raquo; <br /><strong>Jean BUZELIN</strong><br />L&rsquo;Int&eacute;grale chronologique Mahalia Jackson (de m&ecirc;me que la s&eacute;rie consacr&eacute;e &agrave; Sister Rosetta Tharpe) offre l&rsquo;oeuvre exhaustive de celle qui restera l&rsquo;une des plus grandes artistes de Gospel, et par la m&ecirc;me, l'une des grandes inspiratrice de la culture noire-am&eacute;ricaine du XXe si&egrave;cle. Les disques sources, en provenance de la collection de Jean Buzelin, auteur de l'Int&eacute;grale, aid&eacute; par l&rsquo;ensemble des collectionneurs des oeuvres de Mahalia Jackson, font l&rsquo;objet des meilleurs transferts analogiques et d&rsquo;une restauration num&eacute;rique utilisant les technologies les plus sophistiqu&eacute;es sans jamais recourir &agrave; une modification du son d&rsquo;origine.<br /><em><br />&ldquo;Mahalia Jackson&rsquo;s triumphal European tour in 1961 resulted in her being recognised universally as one of the greatest singers in the world, in whatever musical genre.&rdquo; </em><br /><strong>Jean BUZELIN</strong><br /><em>The complete Mahalia Jackson recordings (presented chronologically as in the Sister Rosetta Tharpe series) reveal a personality who will remain one of the greatest-ever Gospel artists, a singer who filled 20th century Afro-American culture with inspiration. The source of this vital music is the collection of Jean Buzelin, the author of this anthology, together with the aid of collectors of Mahalia Jackson's work; all these recordings have been restored with the best analog transfers and most sophisticated technology available, to avoid any alteration of the original sound.</em><br /><strong>DIRECTION ARTISTIQUE : JEAN BUZELIN</strong><p><strong>DROITS : DP / FREMEAUX &amp; ASSOCIES.<br /></strong><br />IN EUROPE : TELL THE WORLD ABOUT THIS &bull; THERE IS A BALM IN GILEAD &bull; DOWN BY THE RIVERSIDE &bull; IN MY HOME OVER THERE &bull; HE&rsquo;S RIGHT ON TIME &bull; ELIJAH ROCK &bull; IT DON&rsquo;T COST VERY MUCH &bull; YOU&rsquo;LL NEVER WALK ALONE &bull; HOW I GOT OVER &bull; JOSHUA FIT THE BATTLE OF JERICHO &bull; I FOUND THE ANSWER &bull; ELIJAH ROCK &bull; DIDN&rsquo;T IT RAIN &bull; WHEN THE SAINTS GO MARCHING IN.<br /></p></p><br><br>"
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      "dwf_livret" => "<h3>Int. vol. 13 Mahalia Jackson FA1323</h3><p class=MsoNormal><span class=Soustitre2><br /></span></p><p class=MsoNormal><span class=Soustitre2>INTÉGRALE</span></p><p class=MsoNormal><span class=Soustitre2>MAHALIA JACKSON</span></p><p class=MsoNormal><span class=Soustitre2> </span></p><p class=MsoNormal><span class=Soustitre2>VOL. 13</span></p><p class=MsoNormal><span class=Soustitre2>1961</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Soustitre>Par Jean Buzelin</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>En cette fin du mois de mars 1961, Mahalia Jackson, accompagnée de sa fidèle pianiste Mildred Falls, s’embarque pour le Vieux Continent. Elle doit effectuer une tournée de deux mois qui la conduira en Angleterre, en France, aux Pays-Bas, au Danemark, en Suède, en Italie, ainsi qu’en Israel. C’est la première fois que la chanteuse retourne en Europe depuis l’automne 1952. Près de neuf ans se sont donc écoulés depuis cette première tournée au bilan mitigé — bien reçue en France, elle n’obtint pas l’accueil escompté en Angleterre — et interrompue en cours de route pour cause de maladie (1). Une longue absence mise à profit par sa grande rivale Sister Rosetta Tharpe qui, voyant sa popularité décliner aux Etats-Unis, s’est, depuis quelques années, tourné avec profit vers l’Europe où elle a occupé le terrain. Mais la Mahalia de 1961 n’est plus celle de 1952. Appuyée par une puissante major compagnie, Columbia, elle est devenue une immense vedette mondiale. Les conditions sont cette fois réunies pour que cette nouvelle aventure soit un succès.</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>Après une semaine de traversée sur l’Océan (rappelons qu’en 1951 elle avait effectué le voyage en avion), Mahalia débarque le mardi 4 avril à Southampton. Direction Londres. Après l’enregistrement d’un «?Mahalia Jackson Show?» à la télévision (auquel participe notamment l’orchestre de Chris Barber qui a accompagné Rosetta Tharpe lors de ses tournées), qui sera diffusé sur la BBC le 24 mai suivant, elle donne son premier récital le vendredi 7 au Royal Albert Hall devant 6000 spectateurs. Les Londoniens, qui l’avaient un peu boudée en 1952, lui font cette fois une standing ovation. Et la presse est dithyrambique : «?An extraordinary spell?» écrit Noel Goodwin dans The Express, et il ajoute «?Mahalia Jackson sang to ME last night?». citons aussi le Daily Herald et Francis Newton dans le New Statesman dont l’article fera les liner notes du futur album «?Recorded Live in Europe?» (2).</span></p><p class=MsoNormal><span class=Texte>Le lundi 10 avril, elle est en Allemagne?; un concert au Muzikhalle de Hambourg, le 14, est filmé par la télévision. Puis elle retourne en Angleterre avant de se produire en Belgique. Le mardi 18, c’est le Three Falcon Theatre qui la reçoit, et le lendemain elle chante au Konzerthuset de Stockholm où le concert, enregistré, constituera l’album précité (3).</span></p><p class=MsoNormal><span class=Texte>Alors qu’elle doit se rendre à Paris dans les prochains jours, éclate à Alger, le vendredi 21, le putsch des généraux. La capitale est sur le pied de guerre et cela ne va pas sans inquiéter la chanteuse. Finalement, après un passage à Amsterdam, Mahalia atterrit à Orly le dimanche 23 avril, d’où elle est conduite à l’hôtel George V. Elle rencontre Hugues Panassié, le critique français qui a fait beaucoup pour elle à ses débuts (4), et sa collaboratrice Madeleine Gautier. Le mardi, le putsch est terminé, la ville respire et Mahalia fait du tourisme : Notre-Dame, l’Étoile, la Madeleine… Le concert à l’Olympia doit avoir lieu le soir même. À ce propos, Mahalia s’informe pour savoir si ce music-hall est un endroit «?convenable?» pour un récital de chants religieux ! Accompagnée par Mildred Falls, Mahalia Jackson fait son entrée et attaque avec In My Home Over There. Mais laissons la plume à notre regretté ami Jean Tronchot :</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>«?En ce 25 avril, la salle de l’Olympia était remplie d’une assistance silencieuse et recueillie. Bien des gens n’avaient pas hésité à payer jusqu’à 45 NF (le concert le plus cher que l’on ait vu) pour venir applaudir «?the World’s greatest Gospel Singer?» (…). C’est vraiment le propre des grands artistes de réussir à tenir la scène une soirée entière sans que le public éprouve une impression d’ennui, seuls, ou presque, puisque Mahalia Jackson ne disposait que de Mildred Falls pour tout accompagnement (…). Mahalia Jackson possède, nul n’en disconviendra, une voix extraordinaire, un timbre personnel, des intonations qui ne peuvent laisser personne dans l’indifférence (…). Par son talent, cette grande chanteuse dépasse le cadre propre de la musique religieuse pour atteindre les sommets de la beauté universelle. (…).</span></p><p class=MsoNormal><span class=Texte>Mahalia interpréta surtout des œuvres assez connues comme Didn’t It Rain, I Found The Answer, To Me It’s Wonderful ou Steal Away. Le public, hétérogène, fut comblé d’aise lorsqu’elle chanta When The Saints Go Marchin’ In ou encore les premières mesures d’In The Upper Room et Nobody Knows qu’il avait réclamé à corps et à cri. Les amateurs de jazz, eux, auraient souhaité la présence d’une basse et d’une batterie aux côtés de Mahalia, afin de «?matérialiser?», en quelque sorte, le balancement de sa musique car il faut bien reconnaître que si les accords de Mildred Falls étaient corrects en eux-mêmes, ils furent exécutés sans aucun swing, voire avec raideur. Ce défaut se faisait sentir particulièrement dans des thèmes en tempo modéré comme Down By The Riverside ou Joshua Fit The Battle Of Jericho qu’elle ponctuait de «?Halleluyah !?» enflammés. Ce qui importe, au fond, pour Mahalia, c’est la conviction qu’elle apporte à chanter (…). Ici, le terme de «?message?», si galvaudé ces dernières années, prend tout son sens : Mahalia se veut apôtre avant d’être artiste.?»(5)</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>Si l’on peut s’étonner du jugement sévère de Jean Tronchot à propos du jeu de Mildred Falls, unanimement apprécié depuis, il faut le remettre dans son contexte. Par rapport aux disques récents de Mahalia aux accompagnements plus (et parfois trop) étoffés, un simple accompagnement de piano pouvait paraître un peu maigre dans une grande salle comme celle de l’Olympia. Mais pour lui qui, comme pour de nombreux spectateurs, découvrait pour la première fois Mahalia Jackson en direct, il faut reconnaître la finesse de son jugement.</span></p><p class=MsoNormal><span class=Texte>De son côté, Hugues Panassié, dans le Bulletin du Hot-Club de France, constate que la chanteuse a reçu «?l’une des plus formidables ovations qu’un(e) artiste noir ait reçu à Paris, et il ajoute : Mahalia Jackson est sans l’ombre d’un doute l’une des plus grandes artistes de notre époque.?»</span></p><p class=MsoNormal><span class=Texte>Notons aussi l’enthousiasme (un peu maladroit) du rédacteur du texte de pochette de l’édition française du disque «?Recorded Live?» : «?(…) le public de l’Olympia lui réserve un accueil triomphal. Pendant son récital, le public qui ne veut plus partir la rappelle à neuf reprises sur la scène, mais quand elle termine la soirée en chantant Jesus Met The Woman At The Well, l’impression causée par cette prière est telle que le public n’ose plus insister et se met à quitter la salle lentement.?»(6)</span></p><p class=MsoNormal><span class=Texte>Parmi les amis qui vont saluer la chanteuse dans sa loge, on retrouve Mezz Mezzrow et Billy Strayhorn, le collaborateur de Duke Ellington qu’elle avait rencontré lors de son enregistrement de la Black Brown and Beige (7).</span></p><p class=MsoNormal><span class=Texte>Après Paris, Mahalia Jackson se rend en Allemagne : Munich, Hambourg, Düsseldorff, Francfort, Essen… et Berlin-Est où, dans l’immense salle du Sportpalast, elle chante The Lord’s Prayer devant 6000 personnes — c’était quelques mois avant la construction du mur. Elle poursuit par la Suisse et l’Italie. Le 6 mai, elle est reçue en audience privée par le pape Jean XXIII au Vatican. Elle s’envole ensuite pour Israël, se rend sur les rives du Jourdain — Roll, Jordan, Roll — qu’elle imaginait bien plus large ! à Bethlehem et en d’autres endroits de la «?Terre Sainte?». Elle donne des concerts à Jérusalem, à Tel-Aviv, puis poursuit son voyage en Égypte, au Liban (Beyrouth), en Syrie (Damas)…</span></p><p class=MsoNormal><span class=Texte>Ainsi s’achève une tournée triomphale de huit semaines, voyages compris. Il y en aura d’autres…</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>Le répertoire choisi par Mahalia Jackson se compose d’un large choix effectué parmi ses Gospel songs favoris et des negro spirituals que tout le monde connaît. Mais elle ne semble répondre qu’à minima aux demandes des spectateurs. Il semble d’ailleurs que ce vaste répertoire varie d’une soirée à l’autre et n’est pas fixé dans un ordre précis une fois pour toutes. Ainsi les titres cités par Jean Tronchot ou qui, enregistrés à l’Olympia, complètent notre volume, sont assez différents des morceaux qui figurent sur le microsillon du concert de Stockholm que nous reproduisons ici dans son entier et dans l’ordre du 33 tours original, sachant qu’il ne propose lui-même que des extraits d’un récital qui, selon toute vraisemblance, devait être beaucoup plus long.</span></p><p class=MsoNormal><span class=Texte>Parmi les negro spirituals, on note Didn’t It Rain qu’elle avait enregistré une première fois en 1953 pour Apollo, puis à plusieurs reprises pour Columbia les années suivantes?; ce traditionnel largement «?modernisé?» par Roberta Martin, est l’un des chevaux de bataille de Mahalia. Elle l’a chanté à Newport en 1958, de même que When The Saints et Joshua Fit The Battle. Enregistrés en studio plus récemment, en 1959, elle a mis à son répertoire Tell The World About This, I Found The Answer et Elijah Rock?; ce dernier titre deviendra aussi l’un de ses favoris. Enfin nous remarquons que There Is A Balm In Gilead n’a encore jamais fait l’objet d’un disque en studio. De même que He’s Right On Time, un chant gospel composé par Dorothy Love Coates et enregistré par elle-même et ses Gospel Harmonettes en 1954. It Don’t Cost Very Much, de Thomas A. Dorsey, est également une valeur sûre pour Mahalia qui l’a aussi chanté au festival de Newport. Elle relance également In My Home Over There, l’un de ses premiers disques, gravé pour Apollo en 1947, et le célèbre How I Got Over qui fut l’un de ses premiers grands succès en 1951. Et puis elle a conservé You’ll Never Walk Alone, ce standard de Broadway remis au goût du jour qu’elle enregistra lors de sa première séance pour Columbia en 1954. Tout cela forme un programme très varié et équilibré que nous pouvons apprécier de nouveau, pour la voix, la présence, l’entrain et la force de conviction de la chanteuse, au demeurant parfaitement accompagnée par Mildred Falls, même si la prise de son live relègue un peu le piano à l’arrière-plan. Enfin, ces extraits enregistrés témoignent à merveille de l’impact et du succès que Mahalia Jackson a obtenu durant cette tournée, l’enthousiasme palpable du public est là pour le confirmer. Un enchantement !</span></p><p class=MsoNormal><span class=Soustitre>Jean BUZELIN</span></p><p class=MsoNormal><span class=Texte>© FRÉMEAUX &amp; ASSOCIÉS 2015</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>Jean Buzelin est l’auteur de Negro Spirituals et Gospel Songs, Chants d’espoir et de liberté (Ed. du Layeur/Notre Histoire, Paris 1998)?; il collabore à la Gospel Discography de Cedric J. Hayes &amp; Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.).</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><strong><span class=Texte>Notes :</span></strong></p><p class=MsoNormal><span class=Texte>(1) Voir Complete Mahalia Jackson Vol. 3 (FA 1313).</span></p><p class=MsoNormal><span class=Texte>(2) Mahalia Jackson, Recorded Live in Europe during her latest Concert Tour (Columbia CL 1726).</span></p><p class=MsoNormal><span class=Texte>(3) Àu sujet de la date de ce concert, les avis divergent. Le disque mentionne la date du 18, reprise ensuite dans les discographies </span></p><p class=MsoNormal><span class=Texte>(cf. Gospel Discogrphy), tandis que Laurraine Goreau, sa biographe, le situe le jeudi 20 puisque, d’après elle, la chanteuse était à </span></p><p class=MsoNormal><span class=Texte>Copenhague le 18 (p. 291 et 293), et elle est très précise quant à l’emploi du temps de Mahalia les 18, 19 et 20.</span></p><p class=MsoNormal><span class=Texte>(4) Panassié l’avait rencontré à New York en 1949 en compagnie de Mezz Mezzrow.</span></p><p class=MsoNormal><span class=Texte>(5) Jean Tronchot, in Jazz Hot N° 166, juin 1961. </span></p><p class=MsoNormal><span class=Texte>(6) Texte de pochette, signé D.S.?; l’édition française est titrée Mahalia Jackson en Europe (Philips B. 47.147.L).</span></p><p class=MsoNormal><span class=Texte>(7) Voir Complete Mahalia Jackson Vol. 8 (FA 1318).</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><strong><span class=Texte>Ouvrages consultés :</span></strong></p><p class=MsoNormal><span class=Texte>Laurraine Gorreau : Mahalia (Lion Pub., UK 1976 - 2e édition)</span></p><p class=MsoNormal><span class=Texte>Jules Schwerin : God To Tell It :Mahalia Jackson (Oxford University Press, 1992)</span></p><p class=MsoNormal><span class=Texte>Cedric J. Hayes &amp; Robert Laughton : Gospel Discography 1943-1970 (Eyeball Productions Inc., 2007)</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>Remerciements à Patrice Buzelin</span></p><p class=MsoNormal><span class=Texte>Photos &amp; collections : Aubert, X (D.R.)</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Soustitre2>COMPLETE MAHALIA JACKSON - VOL 13 - 1961</span></p><p class=MsoNormal><span class=Soustitre>By Jean Buzelin</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>At the end of March 1961 Mahalia Jackson, accompanied by her loyal pianist Mildred Falls, set sail for a two-month long European tour that would take her to England, France, Germany, the Netherlands, Denmark, Sweden, Italy as well as Israel. It was her first trip to Europe since autumn 1952. It was almost 9 years since this first tour which had a mixed reception — well received in France but less so in England — and which had to be interrupted due to illness (1). This long absence was taken advantage of by her great rival Sister Rosetta Tharpe who, seeing her popularity wane in America, had been making several European tours where she held the stage. However, the Mahalia of 1961 was no longer the Mahalia of 1952. Backed by the powerful recording company Columbia she had become a huge international star. Everything suggested that this new tour would be a great success.</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>After a week’s voyage (she had flown to Europe in 1951 but had developed a deep-seated fear of flying), she disembarked at Southampton on Tuesday 4 April and headed for London. After a TV recording of “The Mahalia Jackson Show” (backed by Chris Barber who had accompanied Rosetta Tharpe on her tours) which was aired on the BBC on 24 May, she gave her first concert Friday 7 at the Royal Albert Hall to a 6000-strong audience. Although she had received a somewhat lukewarm welcome her first visit, this time there was a standing ovation. The press raved about her: “An extraordinary spell” Noel Goodwin wrote in The Express, adding “Mahalia Jackson sang to ME last night”. The Daily Herald was equally enthusiastic and an article by Francis Newton in the New Statesman was later used as the liner notes for the album “Live in Europe”. Newton, obviously deeply moved by Mahalia’s performance, writes in glowing terms: “Mahalia is one of those artists who are beyond good or bad taste She has the awe-inspiring gift of communicating the original true meaning of the words. When she sings the word “soul” we know what it is. When she sings Oh Lord My God, sending out her leonine contralto like a gigantic whip, or You’ll Never Walk Alone, placing each syllable separately like a pillar of steel, we are with her in Zion. Her astonishing voice can produce anything from small, round, convinced sound in the upper register, to a deep, soft, chest-tone of immediately communicated ecstasy and that unforgettable jubilant archangel call. As a good professional…she knows her instrument, tending to finish each song with a characteristic effect – generally a deep, smeared, rough-edged bent sound We can congratulate ourselves on two things: that this very great woman and artist is universally appreciated as the queen of Gospel singers and that she has done us the honour of visiting this country”. (2)</span></p><p class=MsoNormal><span class=Texte>Monday 10 April saw her in Germany, where a concert at the Muzikhalle in Hamburg on the 14 was filmed for TV, then back to England before appearing in Belgium. On Tuesday 18 she performed at the Three Falcons Theatre and the next day sang at the Konzerthuset in Stockholm where the recorded concert formed the album men­­tioned above (3).</span></p><p class=MsoNormal><span class=Texte>She was due in Paris shortly after but, on Friday 21, war broke out in Alger with the attempted military coup. The capital was on the brink of war which really worried Mahalia. Finally, after a gig in Amsterdam, she landed at Orly on Sunday 23 April and stayed at the George V hotel. She met French critic Hugues Parnassié who had helped her a lot in her early days (4), and his colleague Madeleine Gautier. The coup ended on the Tuesday, the city heaved a sigh of relief and Mahalia enjoyed a spot of tourism: Notre Dame, the Etoile, the Madeleine The concert that evening was planned at the Olympia, and Mahalia had first to be reassured that this “music hall” was a suitable venue for religious music! Accompanied by Mildred Falls, Mahalia opened with My Home Over There. He late Jean Tronchot takes up the tale:</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>“On the 25 April the Olympia was packed out with a silently expectant audience that had paid 45 new francs (the most expensive concert ever) to hear the “World’s Greatest Gospel Singer” Mahalia Jackson, backed only by Mildred Falls, certainly has an extraordinary voice that can leave no-one unmoved She surpasses the simple bounds of religious music to reach the heights of a universal beauty She sang mainly familiar titles ( I Found The Answer, To Me It’s Wonderful, Didn’t It Rain, Steal Away etc.) and delighted the audience with When The Saints Go Marchin’ In and when she launched into the opening bars of In The Upper Room or Nobody Knows Jazz fans, however, would have preferred to hear drums or double bass behind Mahalia to provide more balance for, although her phrasing was correct , it lacked swing, particularly on up-tempo tunes e.g. Down By The Riverside or Joshua Fit The Battle of Jericho.” (5)</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>Although Jean Tronchot’s opinion of Mildred Falls’ contribution may appear somewhat harsh, it should be judged within the context of the time. Compared to Mahalia’s recent records with a bigger (sometimes too big) backing, a single piano accompaniment could seem a little thin for a large venue such as the Olympia. But for him, as well as for numerous spectators, seeing Mahalia Jackson for the first time live, we must acknowledge the acuteness of his judgement.</span></p><p class=MsoNormal><span class=Texte>Hugues Parnassié, on his part, in the Bulletin du Hot Club de France, wrote that the singer received “one of the most formidable ovations that a black artist has received in Paris”, adding “Mahalia Jackson is without the shadow of a doubt one of the greatest artists of our era”.</span></p><p class=MsoNormal><span class=Texte>There is also the enthusiasm of the sleeve note writer on the French version of the “Recorded Live” album: “the Olympia audience gave her a triumphal welcome. During her performance they didn’t want to leave and called her back on stage nine times but, when she closed with a </span></p><p class=MsoNormal><span class=Texte>version of Jesus Met The Woman At The Well, the effect caused by this prayer was such that they didn’t dare insist any longer and began to file out quietly.” (6)</span></p><p class=MsoNormal><span class=Texte>The friends who went to congratulate her back stage included Mezz Mezzrow and Billy Strayhorn, Duke Ellington’s sideman whom she had met when recording Black, Brown and Beige (7).</span></p><p class=MsoNormal><span class=Texte>After Paris Mahalia, went to Germany: Munich, Hamburg, Düsseldorf, Frankfurt, Essen and East Berlin where, in the huge Sportpalast, she sang The Lord’s Prayer to a crowd of 6,000 – just a few months before the Wall went up. Then on to Switzerland and Italy. On the 6 May she had a private audience with Pope John XXIII at the </span></p><p class=MsoNormal><span class=Texte>Vatican. She then flew to Israel where she visited the banks of the River Jordan — Roll, Jordan, Roll — that she had expected to be much wider, and Bethlehem and various other places in the Holy Land. She gave concerts in Jerusalem and Tel-Aviv before going on to Egypt, Libya (Beirut) and Syria (Damascus).</span></p><p class=MsoNormal><span class=Texte>And so ended a two-month triumphant tour. There would be others …</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>The repertoire chosen by Mahalia included many of her favourite Gospel songs and Negro Spirituals that everybody was familiar with. However she did not appear to be particularly influenced by public demand. It also appears that this vast repertoire varied from one concert to another and there was no fixed programme. Thus, the titles quoted by Jean Tronchot which, recorded at the Olympia, complete this CD are different from the pieces on the LP of the Stockholm concert which we include here in full and in the order of the original record, while he, himself, mentions only extracts from a concert which must have been much longer.</span></p><p class=MsoNormal><span class=Texte>She had already first recorded the Negro Spiritual Didn’t It Rain for Apollo in 1953, then several times for Columbia later; this traditional song, largely updated by Roberta Martin, remained one of Mahalia’s favourites. She sang it at Newport in 1958, along with When The Saints and Joshua Fit The Battle. On a more recent studio recording in 1959 she added Tell The World About This, I Found The Answer and Elijah Rock to her repertoire, the latter also becoming one of her favourites. However, she never made a studio recording of There Is A Balm In Gilead. Neither of He’s Right On Time, a Gospel song composed by Dorothy Love Coates and recorded by herself and her Gospel Harmonettes in 1954. Thomas A. Dorsey’s It Don’t Cost Very Much also was one of Mahalia’s most popular renditions which she also sang at the Newport Festival. She also relaunched In My Home Over There, one of her first recordings for Apollo in 1947 and the famous How I Got Over which was one of her first big hits in 1951. And, of course, she stuck by the Broadway standard You’ll Never Walk Alone that enjoyed a new-found popularity when she recorded it at her first Columbia session in 1954. All of this made up a very varied and balanced programme, which enables us to appreciate yet again the voice, the presence, the drive and profound conviction of the singer, backed as always by Mildred Falls, even though the sound recording on live performances often relegates the piano to the background. Overall, these recorded extracts reveal to perfection the impact that Mahalia had during this tour, confirmed by the palpable public enthusiasm. A delight!</span></p><p class=MsoNormal><span class=Soustitre>Adapted from the French text of Jean BUZELIN </span></p><p class=MsoNormal><span class=Soustitre>by Joyce WATERHOUSE</span></p><p class=MsoNormal><span class=Texte>© FRÉMEAUX &amp; ASSOCIÉS 2015</span></p><p class=MsoNormal><span class=Texte><br /></span></p><p class=MsoNormal><span class=Texte>Jean Buzelin is the author of Negro Spirituals and Gospel Songs, Songs of hope and freedom (Ed. du Layeur/Notre Histoire Paris 1998); he collaborated on the Gospel Discography by Cedric J. Hayes &amp; Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.).</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><strong><span class=Texte>Notes</span></strong></p><p class=MsoNormal><span class=Texte>See Complete Mahalia Jackson Vol.3 (FA1313).</span></p><p class=MsoNormal><span class=Texte>Mahalia Jackson, Recorded live in Europe during her latest Concert Tour (Columbia CL 1726).</span></p><p class=MsoNormal><span class=Texte>Opinions differ as to the date of this concert. The record mentions the 18th, the same date repeated again in discographies (e.g. Gospel Discography) while her biographer Laurraine Goreau situates it on Thursday 20 since, according to her, the singer was in Copenhagen on the 18 (p. 291 and 293) and she is very precise about Mahalia’s movements on the 18,19 and 20.</span></p><p class=MsoNormal><span class=Texte>Parnassié had met her in New York in 1949, together with Mezz Mezzrow.</span></p><p class=MsoNormal><span class=Texte>Jean Tronchot, in Jazz Hot N° 166, June 1961.</span></p><p class=MsoNormal><span class=Texte>Sleeve note signed D.S; the French version is entitled Mahalia Jackson en Europe (Philips B. 47.147.L).</span></p><p class=MsoNormal><span class=Texte>See Complete Mahalia Jackson Vol.8 (FA1318).</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><strong><span class=Texte>Works consulted:</span></strong></p><p class=MsoNormal><span class=Texte>Laurraine Gorreau: Mahalia (Lion Pub. UK 1976 – 2nd edition)</span></p><p class=MsoNormal><span class=Texte>Jules Schwerin: God To Tell It: Mahalia Jackson (O.U.P., 1992)</span></p><p class=MsoNormal><span class=Texte>Cedric J. Hayes &amp; Robert Laughton: Gospel Discography 1943 – 1970 (Eyeball Productions, Inc. 2007)</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>With special thanks Patrice Buzelin</span></p><p class=MsoNormal><span class=Texte>Photos &amp; Collections: Aubert, X (D.R.)</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>?1. TELL THE WORLD ABOUT THIS (Trad. - arr. M. Jackson) XSM 54863</span></p><p class=MsoNormal><span class=Texte>?2. THERE IS A BALM IN GILEAD (Trad.) XSM 54863</span></p><p class=MsoNormal><span class=Texte>?3. DOWN BY THE RIVERSIDE (Trad.) XSM 54863</span></p><p class=MsoNormal><span class=Texte>?4. IN MY HOME OVER THERE (H.J. Ford) XSM 54863</span></p><p class=MsoNormal><span class=Texte>?5. HE’S RIGHT ON TIME (D. Love) XSM 54863</span></p><p class=MsoNormal><span class=Texte>?6. ELIJAH ROCK (Trad. - arr. J. Hairston) XSM 54864</span></p><p class=MsoNormal><span class=Texte>?7. IT DON’T COST VERY MUCH (T.A. Dorsey) XSM 54864</span></p><p class=MsoNormal><span class=Texte>?8. YOU’LL NEVER WALK ALONE (R. Rodgers - O. Hammerstein II) XSM 54864</span></p><p class=MsoNormal><span class=Texte>?9. HOW I GOT OVER (W.M. Brewster) XSM 54864</span></p><p class=MsoNormal><span class=Texte>10. JOSHUA FIT THE BATTLE OF JERICHO (Trad. - arr. M. Jackson) Job 62613B</span></p><p class=MsoNormal><span class=Texte>11. I FOUND THE ANSWER (J. Lange) Job 62613B</span></p><p class=MsoNormal><span class=Texte>12. ELIJAH ROCK (Trad. - arr. J. Hairston) Job 62613B</span></p><p class=MsoNormal><span class=Texte>13. DIDN’T IT RAIN (Trad. - arr. R. Martin) Job 62613B</span></p><p class=MsoNormal><span class=Texte>14. WHEN THE SAINTS GO MARCHING IN (Trad. - arr. M. Jackson) Job 62613B</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>Mahalia Jackson (vocal), accompagned by Mildred Falls (piano) :</span></p><p class=MsoNormal><span class=Texte>(1-9) Recorded live, Konzerthuset, Stockholm (SW), 18 or 20/04/1961</span></p><p class=MsoNormal><span class=Texte>(10-14) Recorded live, Olympia, Paris (F), 25/04/1961</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>En cette fin du mois de mars 1961, Mahalia Jackson, accompagnée de sa fidèle pianiste Mildred Falls, s’embarque pour le Vieux Continent. Elle doit effectuer une tournée de deux mois qui la conduira en Angleterre, en France, aux Pays-Bas, au Danemark, en Suède, en Italie, ainsi qu’en Israel…</span><span class=Soustitre> Jean Buzelin</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>At the end of March 1961 Mahalia Jackson, accompanied by her loyal pianist Mildred Falls, set sail for a two-month long European tour that would take her to England, France, Germany, the Netherlands, Denmark, Sweden, Italy as well as Israel…</span><span class=Soustitre>Jean Buzelin</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>La triomphale tournée européenne de Mahalia Jackson en 1961 lui permet d’être reconnue partout comme l’une des plus grandes chanteuses du monde, tous genres confondus.</span></p><p class=MsoNormal><span class=Texte>Mahalia Jackson’s triumphal European tour in 1961 resulted in her being recognised universally as one of the greatest singers in the world, in whatever musical genre.</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>L’Intégrale chronologique Mahalia Jackson (de même que la série consa­crée à Sister Rosetta Tharpe) offre l’œuvre exhaustive de celle qui restera l’une des plus grandes artistes de Gospel, et par la même, l'une des grandes inspiratrice de la culture noire-américaine du XXe siècle. Les disques sources, en provenance de la collection de Jean Buzelin, auteur de l'Intégrale, aidé par l’ensemble des collectionneurs des œuvres de Mahalia Jackson, font l’objet des meilleurs transferts analogiques et d’une restauration numérique utilisant les technologies les plus sophistiquées sans jamais recourir à une modification du son d’origine.         </span><span class=Soustitre>Patrick Frémeaux et Claude Colombini</span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Texte>The complete Mahalia Jackson recordings (presented chronologically as in the Sister Rosetta Tharpe series) reveal a personality who will remain one of the greatest-ever Gospel artists, a singer who filled 20th century Afro-American culture with inspiration. The source of this vital music is the collection of Jean Buzelin, the author of this anthology, together with the aid of collectors of Mahalia Jackson's work; all these recordings have been restored with the best analog transfers and most sophisticated technology available, to avoid any alteration of the original sound.           </span></p><p class=MsoNormal><span class=Texte> </span></p><p class=MsoNormal><span class=Soustitre>MAHALIA JACKSON Vol. 13 – 1961</span></p><p class=MsoNormal><span class=Soustitre>IN EUROPE</span></p><p class=MsoNormal><span class=Texte>?1. TELL THE WORLD ABOUT THIS     2’48</span></p><p class=MsoNormal><span class=Texte>?2. THERE IS A BALM IN GILEAD         5’18</span></p><p class=MsoNormal><span class=Texte>?3. DOWN BY THE RIVERSIDE 4’51</span></p><p class=MsoNormal><span class=Texte>?4. IN MY HOME OVER THERE 6’34</span></p><p class=MsoNormal><span class=Texte>?5. HE’S RIGHT ON TIME 2’51</span></p><p class=MsoNormal><span class=Texte>?6. 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      "dwf_livret" => "<h3>Mahalia Jackson vol. 12</h3><p><span class=Soustitre2>COMPLETE MAHALIA JACKSON<br />INTÉGRALE MAHALIA JACKSON<br />VOL. 12 - 1961</span><span class=Texte><br /></span><span class=Soustitre2><br />INTÉGRALE MAHALIA JACKSON<br />VOL. 12 - 1961</span><span class=Texte><br /></span><span class=Soustitre>Par Jean Buzelin</span><span class=Texte><br /></span></p><p align=justify><span class=Texte>1960 : première année d’une décennie qui allait apporter nombre de remue-ménage, perturbations et remises en question, tant aux États-Unis que dans les pays occidentaux. En cet été, le pays est en pleine période électorale, et Mahalia Jackson est sollicitée pour apporter son soutien à la campagne du jeune candidat démocrate, John Fitz­gerald Kennedy. Celui-ci, largement soutenu par la communauté noire dans son ensem­ble, sera élu le 8 novembre.</span><br /><span class=Texte>Après ses enregistrements du mois de mai sous la conduite de Johnny Williams, qui ont donné l’album «?I Believe?» (1), Mahalia reprend ses tournées, concerts, shows télévisés… Relevons une brève dans le mensuel Jazz Magazine (N°60-juin 1960) : «?Mahalia Jackson a décidé de consacrer la totalité des rentrées d’argent que lui procure son nouveau contrat chez Columbia à l’édification d’un «?temple Mahalia Jackson?» à Chicago.?» (2) Et dans le numéro suivant de cette même revue (N°61-juillet/août 1960), nous trouvons un témoignage de poids et significatif concernant l’engagement, la force (powerful) et la solidité des racines qui constituent l’essence de son expression et de son art. </span><br /><span class=Texte>Il s’agit d’un blindfold-test (3) qui est soumis au contrebassiste «?rebelle?» Charles Mingus, alors fer de lance des jazzmen radicaux et engagés. Après l’écoute de six disques de jazzmen divers et non des moindres (4), le contrebassiste constate : «?Je suis chez un disquaire et j’ai écouté les six disques que vous m’avez passés jusqu’ici. Je n’ai envie d’en acheter aucun.?» Son interlocuteur, Leonard Feather, passe au suivant, I’m Going To Live The Life I Sing About In My Songs (5), et Mingus s’exclame : «?Ce disque, je tiens à l’acheter. (…) voilà ce qui manque terriblement aux autres — non seulement dans leur façon de jouer, mais dans leur manière de vivre. (…) Mettez cinq étoiles filantes?».(2)</span><br /><span class=Texte>Le 21 janvier 1961, invitée à l’intronisation du nouveau président, Mahalia Jackson entonne The Star-Spangled Banner, qu’elle connaît évidemment depuis les bancs de l’école. Quelques jours plus tard, le 27, la chanteuse rejoint Harry Belafonte, Sammy Davis Jr, Count Basie, Tony Bennett, Dean Martin et Frank Sinatra entre autres, sur la scène du Carnegie Hall de Nex York. Ils sont réunis autour de Martin Luther King pour soutenir son action en faveur des droits civiques. Rappelons que Mahalia est proche du pasteur depuis la Convention nationale démocrate de 1956, et qu’elle avait participé, en mai 1957, à un «?Prayer Pilgrimage for Freedom?» au Lincoln Memorial, chantant devant 35 000 personnes ; un rassemblement qui, a posteriori, peut être considéré comme un prélude à la grande marche d’août 1963 sur le même parvis.</span><br /><span class=Texte>Mahalia est sur la route en compagnie de ses accompagnatrices Mildred Falls et Louise Overall Weaver, et de son vieil ami Theo Frye (6) qui conduit la Cadillac — elle n’aime pas voyager en avion. Après (ou avant) l’Ohio, l’Arkansas, le Montana, le Texas… elle se retrouve, comme souvent, en Californie. Au Shrine Auditorium de Los Angeles, elle chante Green Leaves, la mélodie tirée de la musique du film «?Alamo?» que vient de composer Dimitri Tiomkin (7). Ce n’est pas un gospel song, dit-elle, «?mais il en donne la même impression?».(8) Mais, lorsque au UCLA’s Royce Hall, quelqu’un lui demande de chanter Rusty Old Halo dont elle fit un tube (N°1 au Top 40 en 1955) (5), elle s’exécute, mais tient à préciser qu’elle n’aime pas cette chanson «?Besides, my halo’s not going to be rusty?».(8)</span><br /><span class=Texte>À Hollywood, le 27 février, Mahalia Jackson enregistre Nobody But You Lord pour le programme de l’ONU destiné à venir en aide aux réfugiés du monde entier. Ce morceau traditionnel, interprété sur un rythme de gospel waltz, figurera sur un album United Nations UNM1. Probablement le lendemain, Mahalia enregistre un magnifique The Love Of God où elle atteint les cimes du grandiose grâce à un chant admirable et dépourvu de toute emphase, essentiellement soutenu par le piano, et ce durant plus de 9 minutes! Ce morceau, composé en 1917 par Frederick M. Lehman (1868-1953), est basé sur un poème juif araméen, Haddamut, datant du XIe siècle. Il sera inclus dans le prochain album de la chanteuse et même, un peu plus tard sur un 45 tours couplé avec Elijah Rock tiré d’un de ses récitals européens. Enre­gistré par les Voices of Tabernacle en 1959, The Love Of God est repris également, en ce même mois de février 61, par James Cleveland, puis par les Meditations Singers.</span><br /><span class=Texte>Tous les autres thèmes devant constituer le nouvel album Columbia de la chanteuse, «?Everytime I Feel The Spirit?», vont être enregistrés le 7 mars. Pour ce faire, la production a eu la bonne idée de confier à nouveau la baguette (et les baguettes car il joue lui-même de la batterie) et l’écriture des arrangements au jeune Johnny Williams qui s’était plutôt bien sorti de l’exercice précédent : </span><br /><span class=Texte>«?I Believe?». Il fait encore mieux cette fois-ci : le chœur mixte d’une douzaine de membres n’est pas envahissant, et la rythmique discrète et non omniprésente. Mildred Falls est évidemment au piano, et Louise Weaver tient à nouveau l’orgue. Depuis le premier concert du Carnegie Hall en 1950, et jusqu’en 1972, Mahalia fera souvent appel à cette organiste (décédée à Chicago en 1990 à l’âge de 74 ans).</span><br /><span class=Texte>Everytime I Fell The Spirit I Pray, chanté et joué sur un tempo bien rythmé et enlevé, n’est pas le negro spiritual bien connu, mais une re-création de Mahalia Jackson elle-même. De même, sur un rythme médium assez soutenu qui encadre une partie centrale arythmique, Mahalia reprend le traditionnel Walking In Jerusalem qu’elle avait enregistré en 1953 pour Apollo (9), et qui devient Rockin’ In Jerusalem. Little David, Play On Your Harp, avec un refrain très rapide qui alterne avec des couplets lents, et l’hymne I Want To Be A Christian, sont également deux morceaux traditionnels bien connus. S’ajoutent au programme un puissant Have You Any Time For Jesus de Kenneth Morris, un deep song lancinant de toute beauté, et deux œuvres de son vieux partenaire Robert Anderson, une reprise de Prayer Changes Things, un pur chant gospel enregistré une première fois en 1949 (10), et What A Difference Since My Heart’s Been Changed, un morceau lent dont Mahalia donne une interprétation vibrante exceptionnelle. Deux pièces moins «?fortes?», Trail To Heaven, de forme plus classique, et The Only Hope We Have, un gospel moderne écrit par Margaret Aikens-Jenkins, une jeune chanteuse qui commence à se faire connaître, complètent ce disque qui apparaît, après quelques albums «?discutables?» qui lui ont été imposés, comme l’un des meilleurs de Mahalia Jackson depuis des années. Comme il est écrit au verso de la pochette, et à part deux titres : «Ce nouveau disque comprend des chants encore jamais enregistrés par Miss Jackson, et seulement familiers des congrégations d’églises comme sa Greater Salem Baptist Church à Chicago» dont elle est membre depuis sa jeunesse.</span><br /><span class=Texte>Tandis que Mahalia Jackson s’apprête à embarquer </span><span class=Texte>pour une traversée d’une semaine en direction du Vieux Continent — le départ est prévu le 23 mars —, son producteur Irving Townsend négocie un projet pour la télévision : réaliser quatre-vingt cinq chansons filmées pour être ensuite diffusées régulièrement (comme des clips) dans la durée telle une série. Les tournages sont envi­sagés au retour au pays, vers la mi-juin 1961.</span><span class=Texte> Ces évènements seront bien sûr au programme des prochains épisodes de notre intégrale.</span><br /><span class=Texte>Nous avons déjà évoqué à plusieurs reprises, au cours de notre saga Mahalia Jackson, le nom de Studs Terkel, ami de longue date de la chanteuse. Journaliste et écrivain d’origine juive russe, Louis «?Studs?» Terkel, né à New York en 1912, habite à Chicago depuis l’âge de 8 ans. Américain libéral (11), il participe au milieu des années 30, durant le New Deal, à la Works Progress Administration’ Federal Writers project. Homme de radio, il est l’un des premiers à diffuser de la musique noire sur une chaîne «?blanche?». Dès 1946/47, les premiers disques Apollo de Mahalia Jackson attirent son attention. Il va l’entendre chanter à la Greater Salem Baptist Church et la reçoit dans son émission «?The Wax Museum?» sur la chaîne WENR de Chicago. Il l’invite une seconde fois puis la programme, vers 1949, dans son nouveau show télévisé «?Studs Place?», une première pour un(e) artiste de gospel. Lorsque Mahalia, qui vient de signer avec Columbia, est sollicitée par CBS qui veut lui consacrer une émission régulière, la chanteuse exige, et obtient, que la direction artistique soit confiée à Terkel, lequel est indésirable sur la chaîne car son nom figure sur la «?liste noire?» de Red Channels. CBS accepte à condition qu’il ne soit pas cité à l’antenne. Le premier «?Mahalia Jackson Show?» hebdomadaire est diffusé le 26 septembre 1954, le vingtième et dernier le 6 février 1955. Toujours grâce à Studs, un «Mahalia Jackson Show?» est programmé, peu après, sur la chaîne WBBM-TV.</span><span class=Texte> Studs Terkel a animé une émission à Chicago, «?The Studs Terkel Program?» sur la chaîne WFMT, de 1952 à 1997, où il a interviewé de multiples personnalités, allant des plus anonymes aux plus célèbres, qui constituent des témoignages de premier plan. Il reçoit notamment une nouvelle fois Mahalia Jackson le 30 septembre 1957. Ses entretiens ont été publiés dans plusieurs recueils parmi lesquels : Giants of Jazz (1956), Hard Times – Histoires orales de la Grande Dépression (1970), Working – Histoires orales du travail aux États-Unis (1974), La Bonne Guerre – Histoires orales de la Seconde Guerre mondiale, qui a obtenu le Prix Pulitzer en 1984, Race – Histoires orales d’une obsession américaine (1990) (12). Studs Terkel, qui était membre de l’Académie des Arts et Lettres aux USA depuis 1997, est mort à Chicago en 2008.</span><br /><span class=Texte>L’extrait d’une émission de télévision, publié sur un rare 45 tours U.S.A. 109, qui permet d’entendre Studs Terkel présenter Mahalia Jackson, offre une belle conclusion à notre présent volume.??</span><br /><span class=Texte>Les célébrations du cinquantenaire de la grande marche de Washington le 28 août 1963, où plusieurs centaines de milliers de personnes se sont rassemblées pour l’égalité des droits, ont permis la révélation d’un témoignage étonnant, celui de Clarence B. Jones, alors conseiller de Martin Luther King. Celui-ci a raconté au New Orleans Times (13) que Mahalia Jackson, qui avait chanté auparavant  How I Got Over, et qui se trouvait à proximité du leader noir pendant son intervention, lui aurait lancé : «?Parle-leur du rêve, Martin ! parle-leur du rêve.?» (Elle l’avait entendu quelques semaines plus tôt faire référence à ce rêve lors d’un discours à Détroit le 23 juin). Et c’est à partir de là que le Dr King a changé la teneur de son allocution en enchaînant avec le désormais historique I had a dream. Clarence Jones ajoute : «?C’était l’une des plus grandes chanteuses de Gospel du monde qui criait ses conseils à l’un des plus grands prédicateurs baptistes du monde (…). Elle a peut-être tenu compte du fait qu’il y avait 300?000 personnes, et elle a juste crié «?Parle-leur du rêve?». Quelqu’un d’autre lui aurait crié dessus, il l’aurait probablement ignoré. Il n’a pas ignoré Mahalia Jackson.?»</span><br /><strong><span class=Texte>Jean BUZELIN</span></strong><br /><span class=Source>© FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Soustitre>Notes </span><br /><span class=Texte>(1) Voir Complete Mahalia Jackson Vol. 11 (FA 1321).</span><br /><span class=Texte>(2) Lire dans le supplément «?Les Archives JazzMag 1960/62?» du N° 645-janvier 2013. </span><br /><span class=Texte>(3) Écoute de disques «?à l’aveugle?» ; l’auditeur ne connaît pas les interprètes et doit attribuer un certain nombre d’étoiles (jusqu’à 5) à ce qu’il vient d’entendre.</span><br /><span class=Texte>(4) Manny Albam, Clifford Brown, George Shearing, Johnny Hodges, le trio Lambert-Hendrix-Ross, Sonny Stitt et Oscar Peterson, puis Dizzy Reece… Excusez du peu !</span><br /><span class=Texte>(5) Voir Complete Mahalia Jackson Vol. 5 (FA 1315). </span><br /><span class=Texte>(6) Mahalia Jackson a connu Theo Frye en 1938, comme Robert Anderson, alors qu’ils étaient membres des premiers Roberta Martin Singers.</span><br /><span class=Texte>(7) Dimitri Tiomkin (1894-1979), né en Ukraine et arrivé aux États-Unis en 1925, est l’un des plus illustres et prolifiques compositeurs de musiques de films.</span><br /><span class=Texte>(8) Cité par Laurraine Gorreau ; voir les ouvrages consultés.</span><br /><span class=Texte>(9) Voir Complete Mahalia Jackson Vol. 4 (FA 1314).</span><br /><span class=Texte>(10) Voir Complete Mahalia Jackson Vol. 2 (FA 1312).</span><br /><span class=Texte>(11) Ce qu’on traduit en France par «?appartenant à la gauche radicale?».</span><br /><span class=Texte>(12) Traduits en français (Ed. Amsterdam).</span><br /><span class=Texte>(13) Entendu également dans le documentaire «?La Longue Marche de Martin Luther King?» de John Akomfrah diffusé sur France 3, ce témoignage circule largement sur internet. </span><br /><span class=Texte> </span><br /><span class=Soustitre>Ouvrages consultés </span><br /><span class=Texte>Laurraine Gorreau : Mahalia (Lion Pub., UK 1976 - 2e édition)</span><br /><span class=Texte>Jules Schwerin : God To Tell It :Mahalia Jackson (Oxford University Press, 1992)</span><br /><span class=Texte>Cedric J. Hayes &amp; Robert Laughton : Gospel Discography 1943-1970 (Eyeball Productions Inc., 2007)</span><br /><span class=Texte>Nous remercions particulièrement pour leur aide Patrice Buzelin et Friedrich Mülhöcker, qui nous a prêté le rare disque U.S.A. 109.</span><br /><span class=Texte><strong>Photos &amp; collections</strong> : Sony Music Photos Archives, Bob Parent, X (D.R.).</span><br /><strong><br /></strong><span class=Texte><strong>Photo de couverture</strong> : Mahalia Jackson au Lincoln Memorial le 17 mai 1957.</span><br /><span class=Soustitre2><br />COMPLETE MAHALIA JACKSON - VOL 12</span><br /><span class=Soustitre>By Jean Buzelin</span><br /><span class=Texte>1960: the start of a decade that would bring turmoil, numerous disturbances and many questions, both in the United States and the Western world. In the summer America was in full electoral swing and Mahalia Jackson was in demand to lend her support to the campaign of the young Democrat candidate John F. Kennedy. On 8 November, with wide support from the black community, he was elected President. </span><br /><span class=Texte>Following her recordings in May directed by Johnny Williams, which resulted in the album “I Believe” (1), Mahalia continued with her tours, concerts, radio shows… A short article in the monthly French Jazz Magazine (N° 60-June 1960) reported “Mahalia Jackson has decided to donate all the proceeds from her new contract with Columbia to the construction of a “Mahalia Jackson temple” in Chicago”. (2) And in the following number of the same magazine (N° 61-July/August 1960), there was a very strong testament to the strength, power and deep roots that formed the essence of her art. It took the form of a blindfold test (3) on double bass player Charles Mingus, at the time leader a group of radical and committed jazz men. After listening to six recordings by various excellent musicians (4), the bass player said “I’ve just listened to six recordings and I’ve no desire to buy any of them.” His interviewer, Leonard Feather, then played the next one, I’m Going To Live The Life I Sing About In My Songs (5), and Mingus exclaimed “I want to buy this record… this is what is lacking in the others… not only in the way they play, but in their way of life… give it 5 shooting stars”. (2)</span><br /><span class=Texte>On 21 January 1961, as a guest at the inauguration of the new president, Mahalia sang The Star Spangled Banner which, of course, she had known since her schooldays. A few days later, on the 27th, she joined up with Harry Belafonte, Sammy Davis Jr, Count Basie, Tony Bennett, Dean Martin and Frank Sinatra among others on stage at the Carnegie Hall in New York. They had gathered together around Martin Luther King in support of his Civil Rights movement. Mahalia had close ties with the preacher since the National Democratic Convention in 1956 and, in May 1957, she had taken part in a “Prayer Pilgrimage for Freedom” at the Lincoln Memorial, singing to a crowd of 35,000; a gathering that can be seen with hindsight as a prelude to the great march of August 1963 to the same square. </span><br /><span class=Texte>Mahalia was then back on the road together with her accompanists Mildred Falls and Louise Overall and her old friend Theo Frye (6) who drove the Cadillac – she did not like travelling by plane. After (or before) Ohio, Arkansas, Montana, Texas… she ended up, as so often, in California. At the Shrine Auditorium in Los Angeles, she sang Green Leaves, the air from the film “Alamo” which Dimitri Tiomkin had just composed. (7) She said it wasn’t a gospel song but “it feels like one”. (8) However, at UCLA’s Royce Hall, when someone requested Rusty Old Halo with which she had had a hit (N°1 in the Top 40 in 1955) (5), she sang it but insisted on explaining that she didn’t like the song “Besides, my halo’s not going to be rusty”. (8)</span><br /><span class=Texte>In Hollywood, on 27 February, Mahalia recorded Nobody But You Lord for the UNO programme in aid of refuges throughout the world. A traditional piece which, inter­preted as a gospel waltz, featured on the album United Nations UNM1. It was probably the next day when Mahalia recorded a magnificent The Love Of God on which she surpasses herself with a superb vocal stripped of any false pomposity, backed mainly by the piano and which goes on for over 9 minutes! Composed in 1917 by Frederick M. Lehman (1868-1953), it is based on an Armenian Jewish poem Haddamut, dating from the 11th century. It was included in her next album and even, a little later, on a single 45 backed by Elijah Rock from one of her European concerts. Recorded by the Voices of the Tabernacle in 1959, The Love Of God was also reprised, and again in February 1961 by James Cleveland, then by the Meditations Singers.</span><br /><span class=Texte>All the other themes that would make up the singer’s new Columbia album “Every Time I Feel The Spirit”, were recorded on 7 March. The production team had the excellent idea of entrusting the leadership and arrangements to the young Johnny Williams (also drummer) who had made a good job of the preceding “I Believe”. He did even better this time: the mixed choir of a dozen members and the rhythm section remain discreetly in the background, while Mildred Falls is clearly heard on piano and Louise Weaver is again on organ. Since her first Carnegie Hall concert in 1950, until 1972, Mahalia frequently called on this organist (who died in Chicago in 1990 at the age of 74). </span><br /><span class=Texte>The upbeat and rhythmic version of Everytime I Feel The Spirit I Pray is not the well-known Negro spiritual but a re-working by Mahalia herself. Similarly, with a sustained medium rhythm framing a central arrhythmic part, Mahalia reprised the traditional Walking In Jerusalem which she had recorded in 1953 for Apollo (9) and which became Rockin’ In Jerusalem. Little David, Play On Your Harp, with a rapid chorus alternating with slower couplets, and the hymn I Want To Be A Christian are familiar traditional titles. The programme also included a powerful Have You Any Time For Jesus by Kenneth Morris, a piercingly moving and very beautiful song plus two works by her old partner Robert Anderson, a revival of Prayer Changes Things, a pure gospel song recorded for the first time in 1949 (10), and What A Difference Since My Heart’s Been Changed, a slow piece which Mahalia interprets in an exceptionally emotive way. Two quieter titles, the more classical Trail To Heaven and The Only Hope We Have, a modern gospel song written by Margaret Aikens-Jenkins, an up and coming young singer, complete this record which, after several “doubtful” albums that she had been forced to make, was one of Mahalia Jackson’s best for several years. As the sleeve notes point out “This new record includes songs never recorded by Miss Jackson before and familiar only to the congregations of such churches as her Greater Salem Baptist Church in Chicago” where she had been a member since her youth.</span><br /><span class=Texte>While Mahalia was getting ready to embark on a week’s crossing to Europe – her departure was planned for 23 March – her producer Irving Townsend negotiated a television project: eighty-five songs filmed and to be broadcast regularly as clips which would last the length of a series. Filming was planned for her return to the US, towards mid-June 1961.</span><br /><span class=Texte>These will, of course, feature in the next episodes of the Mahalia Jackson story.</span><br /><span class=Texte>Throughout this story we have already mentioned several times the name of Studs Terkel, Mahalia’s long-time friend. A journalist and writer of Russian Jewish extraction, Louis “Studs” Terkel, born in New York in 1912, lived in Chicago from the age of eight. An American liberal (11), in the mid-30s during the New Deal, he was part of the Works Progress Administration Federal Writers’ Project. A radio man, he was one of the first to broadcast black music on a white channel. As early as 1946/47 his attention was drawn to the Apollo records of Mahalia Jackson. He went to hear her sing at the Greater Salem Baptist Church and had her as a guest on his “The Wax Museum” show on Chicago’s WENR channel. He invited her a second time and then, towards 1949, featured her on his new TV show “Studs’ Place”, a first for a Gospel singer. When Mahalia, who had just signed up with Columbia, was approached by CBS who wanted to give her a regular programme, the singer insisted that that Terkel should be artistic director but he was persona non gratis on the channel as his name was on the black list of the Red Channels. CBS accepted on condition that his name was not mentioned on air. The first weekly “Mahalia Jackson Show” was aired on 26 September 1954 and the 20th and final one on 6 February 1955. Thanks to Studs, a “Mahalia Jackson Show” went out shortly after on WBBM-TV.</span><br /><span class=Texte>Studs Terkel chaired a show in Chicago, “The Studs Terkel Program” on WFMT channel from 1952 to 1997, where he interviewed numerous personalities, from virtual unknowns to the most famous, which provides a wealth of information. In particular, he received Mahalia Jackson again on 30 September 1957. His interviews were published in several collections including: Giants of Jazz (1956), Hard Times – An Oral History of the Great Depression (1970), Working – People Talk About What They Do All Day and How They Feel About What They Do (1974), The Good War which won the Pulitzer Prize in 1984 (12), Race: What Blacks and Whites Think and Feel About The American Obsession (1992). Studs Terkel, who became a member of the American Academy of Arts and Letters in 1997, died in Chicago in 2008. </span><br /><span class=Texte>The extract from a TV programme, issued on a rare 45 USA 109, on which Studs Terkel interviews Mahalia Jackson, provides the perfect conclusion to this CD.</span><br /><span class=Texte>Celebrations of the 50th Anniversary of the march on Washington on 28 August 1963, when thousands of people gathered to support the Civil Rights movement, led to an astonishing testimony, that of Clarence B. Jones, Martin Luther King’s adviser at the time. He told the New Orleans Times (12) that Mahalia Jackson, after singing How I Got Over, and was standing near the black leader during his speech called out to him “Tell them about the dream, Martin!” (A few weeks earlier she had heard him refer to this dream during a speech in Detroit on 23 June). And it was as a result that Dr. King changed the tenor of his speech launching into the historic I had a dream. Clarence Jones added: “This was one of the greatest Gospel singers in the world shouting advice to one of the greatest Baptist preachers in the world (…). She perhaps took into account the 300,000 strong crowd and just shouted “Tell them about the dream”. If someone else had shouted at him he would probably have ignored it. He didn’t ignore Mahalia Jackson.”</span><br /><span class=Texte>Adapted from the French text of<strong> Jean BUZELIN</strong> by <strong>Joyce WATERHOUSE</strong></span><br /><span class=Source>© FRÉMEAUX &amp; ASSOCIÉS 2014</span><br /><span class=Soustitre>Notes</span><br /><span class=Texte>(1) See Complete Mahalia Jackson Vol.11 (FA1321).</span><br /><span class=Texte>(2) See in the supplement to “Les Archives JazzMag” 1960/62, N° 645 January 2013.</span><br /><span class=Texte>(3) In a blindfold test the listener does not know who is performing and must award a certain number of stars (up to 5) to what he hears.</span><br /><span class=Texte>(4) Manny AlbaM, Clifford Brown, George Shearing, Johnny Hodges, the Lambert-Hendrix-Ross trio, Sonny Stitt, Oscar Peterson and then Dizzy Reece.</span><br /><span class=Texte>(5) See Complete Mahalia Jackson Vol.5 (FA1315).</span><br /><span class=Texte>(6) Mahalia Jackson knew Theo Frye in 1938, like Robert Anderson, when they were part of the first Roberta Martin Singers.</span><br /><span class=Texte>(7) Dimitri Tiomkin (1894-1979), born in Ukraine and arrived in the States in 1925, was one of the most illustrious and prolific composers of film music.</span><br /><span class=Texte>(8) Quoted by Laurraine Gorreau; see works consulted.</span><br /><span class=Texte>(9) See Complete Mahalia Jackson Vol.4 (FA1314).</span><br /><span class=Texte>(10) See Complete Mahalia Jackson Vol.2 (FA1312).</span><br /><span class=Texte>(11) In French translates as “appartenant à la gauche radicale”.</span><br /><span class=Texte>(12) Also heard in “The Long March of Martin Luther King” by John Akomfrah broadcast on France 3, and widely available on Internet.</span><br /><span class=Soustitre>Works consulted</span><br /><span class=Texte>Laurraine Gorreau: Mahalia (Lion Pub. UK 1976 – 2nd edition).</span><br /><span class=Texte>Jules Schwerin: God To Tell It: Mahalia Jackson (O.U.P., 1992).</span><br /><span class=Texte>Cedric J. Hayes &amp; Robert Laughton: Gospel Discography 1943 – 1970 (Eyeball Productions, Inc. 2007).</span><br /><span class=Texte>With special thanks for their help to Patrice Buzelin and Friedrich Mühlöcker for the loan of the rare U.S.A. 109 record.</span><br /><strong><br /><span class=Texte>Photos &amp; collections: Sony Music Photos Archives, Bob Parent, X (D.R.).</span><br /></strong><span class=Texte><strong>Cover photo:</strong> Mahalia Jackson at the Lincoln Memorial on May 17th 1957.</span><br /><span class=Texte><strong>1. NOBODY BUT YOU LORD</strong> (Trad.) RHCO 70006</span><br /><span class=Texte><strong>2. THE LOVE OF GOD </strong>(F.M. Lehman) RHCO 7000?</span><br /><span class=Texte><strong>3. EVERYTIME I FEEL THE SPIRIT I PRA</strong>Y (M. Jackson)</span><br /><strong><br /></strong><span class=Texte><strong>4. HAVE YOU ANY TIME FOR JESUS?</strong> (K. Morris)</span><br /><span class=Texte><strong>5. LITTLE DAVID, PLAY ON YOUR HARP </strong>(Trad. - arr. M. Jackson)</span><br /><strong><br /></strong><span class=Texte><strong>6. I WANT TO BE A CHRISTIAN</strong> (Trad. - arr. B. Smith)</span><br /><span class=Texte><strong>7. ROCKIN’ IN JERUSALEM</strong> (Trad. - arr. M. Jackson)</span><br /><span class=Texte><strong>8. TRAIL TO HEAVEN</strong> (F. Arquilla)</span><br /><span class=Texte><strong>9. I KNOW PRAYER CHANGES THINGS</strong> (R. Anderson)</span><br /><span class=Texte><strong>10. THE ONLY HOPE WE HAV</strong>E (M. Aikens)</span><br /><strong><br /></strong><span class=Texte><strong>11. WHAT A DIFFERENCE SINCE MY HEART’S BEEN CHANGED</strong> (R. Anderson)</span><br /><span class=Texte><strong>12. THE HOLY BIBLE Pt.1</strong> (Trad.) SL 2098</span><br /><span class=Texte><strong>13. THE HOLY BIBLE Pt.2</strong> (Trad.) SL 2099</span><br /><span class=Texte><strong>Mahalia Jackson</strong> (vocal) with:</span><br /><span class=Texte>(1-2) prob. Mildred Falls (piano), Louise Overall Weaver-Smothers (organ), Bob Bain (guitar on 1), Keith M. “Red“ Mitchell (bass on 1), Johnny Williams (drums on 1), unknown (vocal choir on 2). Hollywood, 27-28/02/1961.</span><br /><span class=Texte>(3-11) <strong>Orchestra &amp; Chorus cond. by Johnny Williams featuring Mildred Falls</strong> ; Mildred Falls (piano), Louise Overall Weaver-Smothers (organ), Tommy Tedesco (guitar), Phil Stephens (bass), Johnny Williams (drums). Hollywood, 07/03/1961.</span><br /><span class=Texte>(12-13)<strong> Studs Terkel </strong>(speaking on 12), unknown (piano)(celeste)(organ)(mixed vocal group). Prob. TV The Ed Sullivan Show. Prob. New York City, ca. early 1960s.</span><br /><span class=Texte>1960 : première année d’une décennie qui allait apporter nombre de remue-ménage, perturbations et remises en question, tant aux États-Unis que dans les pays occidentaux. En cet été, le pays est en pleine période électorale, et Mahalia Jackson est sollicitée pour apporter son soutien à la campagne du jeune candidat démocrate, John Fitzgerald Kennedy. Celui-ci, largement soutenu par la communauté noire dans son ensemble, sera élu le 8 novembre.</span><br /><strong><span class=Texte>Jean Buzelin</span></strong><br /><span class=Texte>1960: the start of a decade that would bring turmoil, numerous disturbances and many questions, both in the United States and the Western world. </span><span class=Texte>In the summer America was in full electoral swing and Mahalia Jackson was in demand to lend her support to the campaign of the young Democrat candidate John F. Kennedy. On 8 November, with wide support from the black community, he was elected President. </span><br /><strong><span class=Texte>Jean Buzelin</span></strong><br /><span class=Texte>«?Parle-leur de ton rêve, Martin?».</span><br /><strong><span class=Texte>Mahalia JACKSON à Martin Luther KING </span></strong><br /><span class=Texte>(Washington, le 23 août 1963)</span><br /><span class=Texte>“Tell them about your dream, Martin”.</span><br /><strong><span class=Texte>Mahalia Jackson to Martin Luther King </span></strong><br /><span class=Texte>(Washington, 23 August 1963)</span><br /><span class=Texte>L’Intégrale chronologique Mahalia Jackson (de même que la série consa­crée à Sister Rosetta Tharpe) offre l’œuvre exhaustive de celle qui restera l’une des plus grandes artistes de Gospel, et par la même, l'une des grandes inspiratrice de la culture noire-américaine du XXe siècle. Les disques sources, en provenance de la collection de Jean Buzelin, auteur de l'Intégrale, aidé par l’ensemble des collectionneurs des œuvres de Mahalia Jackson, font l’objet des meilleurs transferts analogiques et d’une restauration numérique utilisant les technologies les plus sophistiquées sans jamais recourir à une modification du son d’origine.    <br /><strong>Patrick Frémeaux et Claude Colombini    </strong></span><br /><span class=Texte>The complete Mahalia Jackson recordings (presented chronologically as in the Sister Rosetta Tharpe series) reveal a personality who will remain one of the greatest-ever Gospel artists, a singer who filled 20th century Afro-American culture with inspiration. The source of this vital music is the collection of Jean Buzelin, the author of this anthology, together with the aid of collectors of Mahalia Jackson's work; all these recordings have been restored with the best analog transfers and most sophisticated technology available, to avoid any alteration of the original sound.<br /></span></p><p><br /><span class=Source>CD Complete Mahalia Jackson - Intégrale Mahalia Jackson vol. 12 1961 © Frémeaux &amp; Associés 2014</span></p>"
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      "description" => "<p><p>&laquo; 1960, l&rsquo;aube d&rsquo;une d&eacute;cennie qui va changer le monde : le message universel que d&eacute;livre Mahalia Jackson gr&acirc;ce &agrave; son chant bouleversant, non seulement demeure d&rsquo;actualit&eacute; mais il annonce irr&eacute;m&eacute;diablement les temps &agrave; venir. &raquo; <br /><strong>Jean BUZELIN</strong><br /><em>&ldquo;1960, the dawn of a decade that would change the world: the universal message conveyed by Mahalia Jackson&rsquo;s deeply moving singing was not only relevant to its time but also an inescapable sign of what was to come.&rdquo; <br /></em>Jean BUZELIN<br />&nbsp;<br />DIRECTION ARTISTIQUE : JEAN BUZELIN</p><p>DROITS : DP / FREMEAUX &amp; ASSOCIES</p><br /><p>WITH PERCY FAITH : HOLY, HOLY, HOLY &bull; NEARER, MY GOD, TO THEE &bull; MY COUNTRY &lsquo;TIS OF THEE (AMERICA) &bull; THE HOLY CITY &bull; ONWARD, CHRISTIAN SOLDIERS &bull; THE LORD IS MY LIGHT &bull; LIFT UP YOUR HEADS &bull; ABIDE WITH MEWITH JOHNNY WILLIAMS : I SEE GOD &bull; I&rsquo;M GRATEFUL &bull; TROUBLE &bull; I ASKED THE LORD &bull; SOMEBODY BIGGER THAN YOU AND I &bull; ALWAYS LOOK UP, NEVER LOOK DOWN &bull; HOLDING MY SAVIOUR&rsquo;S HAND &bull; MY GOD AND &bull; I HEAR THE ANGELS &bull; I BELIEVE</p><br /></p><br><br>"
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      "dwf_livret" => "<h3>Mahalia Jackson vol. 11 FA 1321</h3><p><span class=Soustitre2>COMPLETE MAHALIA JACKSON  Vol.11</span></p><p><span class=Soustitre2>INTÉGRALE MAHALIA JACKSON VOL. 11 1960<br /></span></p><p><br /></p><p align=justify><p><span class=Texte>Nous avions quitté Mahalia Jackson le 21 février 1960, alors qu’elle venait d’enregistrer, en compagnie du célèbre chef d’orchestre et arrangeur Percy Faith, les quatre premiers titres d’un futur album. Nous la retrouvons le lendemain, dans le même studio d’Hollywood, pour la suite du programme : non pas des negro spirituals ni des gospel songs, mais une série d’hymnes chrétiens connus dans toutes les communautés américaines.<br /><strong>Jean Buzelin</strong></span></p><br /><p><span class=Texte>We left Mahalia Jackson on 21 February 1960 when, alongside the famous bandleader and arranger Percy Faith, she had just recorded the first four tracks of a future album. We rejoin her the following day, in the same Hollywood studios, for the rest of the programme: neither Negro spirituals nor Gospel songs, but a series of Christian hymns familiar to all Americans.<br /><strong>Jean Buzelin</strong></span></p><br /><p><span class=Texte>«?1960, l’aube d’une décennie qui va changer le monde : le message universel que délivre Mahalia Jackson grâce à son chant bouleversant, non seulement demeure d’actualité mais il annonce irrémédiablement les temps à venir.?» <br /><strong>Jean Buzelin</strong></span></p><br /><p><span class=Texte>“1960, the dawn of a decade that would change the world: the universal message conveyed by Mahalia Jackson’s deeply moving singing was not only relevant to its time but also an inescapable sign of what was to come.” <br /><strong>Jean Buzelin</strong></span></p><br /><p><span class=Texte>L’Intégrale chronologique Mahalia Jackson (de même que la série consa­crée à Sister Rosetta Tharpe) offre l’œuvre exhaustive de celle qui restera l’une des plus grandes artistes de Gospel, et par la même, l'une des grandes inspiratrice de la culture noire-américaine du XXe siècle. Les disques sources, en provenance de la collection de Jean Buzelin, auteur de l'Intégrale, aidé par l’ensemble des collectionneurs des œuvres de Mahalia Jackson, font l’objet des meilleurs transferts analogiques et d’une restauration numérique utilisant les technologies les plus sophistiquées sans jamais recourir à une modification du son d’origine. <br /><strong>Patrick Frémeaux et Claude Colombini <br /></strong>The complete Mahalia Jackson recordings (presented chronologically as in the Sister Rosetta Tharpe series) reveal a personality who will remain one of the greatest-ever Gospel artists, a singer who filled 20th century Afro-American culture with inspiration. The source of this vital music is the collection of Jean Buzelin, the author of this anthology, together with the aid of collectors of Mahalia Jackson's work; all these recordings have been restored with the best analog transfers and most sophisticated technology available, to avoid any alteration of the original sound.</span></p><br /><p><span class=Texte><strong>WITH PERCY FAITH<br /></strong>1. HOLY, HOLY, HOLY 2’53<br />2. NEARER, MY GOD, TO THEE 4’02<br />3. MY COUNTRY ‘TIS OF THEE (AMERICA) 2’34<br />4. THE HOLY CITY 5’31<br />5. ONWARD, CHRISTIAN SOLDIERS 2’51<br />6. THE LORD IS MY LIGHT 3’43<br />7. LIFT UP YOUR HEADS 3’57<br />8. ABIDE WITH ME 3’02<br /><strong>WITH JOHNNY WILLIAMS<br /></strong>9. I SEE GOD 3’22<br />10. I’M GRATEFUL 2’52<br />11. TROUBLE 3’13<br />12. I ASKED THE LORD 2’58<br />13. SOMEBODY BIGGER THAN YOU AND I 3’03<br />14. ALWAYS LOOK UP, NEVER LOOK DOWN 3’14<br />15. HOLDING MY SAVIOUR’S HAND 3’17<br />16. MY GOD AND I2’04<br />17. I HEAR THE ANGELS 4’50<br />18. I BELIEVE 3’06</span></p><br /><p><span class=Texte>Nous avions quitté Mahalia Jackson le 21 février 1960, alors qu’elle venait d’enregistrer, en compagnie du célèbre chef d’orchestre et arrangeur Percy Faith, les quatre premiers titres d’un futur album. Nous la retrouvons le lendemain, dans le même studio d’Hollywood, pour la suite du programme : non pas des negro spirituals ni des gospel songs, mais une série d’hymnes chrétiens connus dans toutes les communautés américaines. Mahalia en avait fait le choix elle-même avant qu’ils ne soient confiés à la lourde patte de Percy Faith. Elle avait notamment insisté pour chanter My Country ‘tis Of Thee, connu aussi sous le simple titre America, dont les paroles sont écrites sur l’air du God Save the King/Queen. “Je veux chanter un hymne de mon pays”, avait-elle déclaré. Un hymne que s’est appropriée volontiers la communauté afro-américaine?; souvenons nous récemment de la magnifique interprétation qu’en a donnée Aretha Franklin lors de la première investiture de Barack Obama. Ce qui n’empêche pas cet album, “The Power And The Glory”, de laisser les amateurs de gospel de marbre, s’ils sont indulgents, ou de leur hérisser le poil tellement les arrangements et l’accompagnement surchargés n’ont pas l’once d’un rapport avec la tradition afro-américaine. Le démarrage en fanfare, pompier, Holy, Holy, Holy, ne les mettra pas en de bonnes dispositions. Mais il faut reconnaître que, malgré cet environnement oppressant, Mahalia chante magnifiquement. Elle arrive à transfigurer des cantiques comme Nearer, My God, To Thee ou The Holy City et parvient à leur donner une grandeur grâce à sa voix et son chant qui atteint, en cette période, des sommets. “Cet homme connaît son affaire”, dira-t-elle en parlant de Faith. On pourra paraphraser son commentaire : seul un(e) artiste d’exception pouvait se sortir aussi brillamment de ce guêpier. Publié sous les deux noms de Mahalia Jackson et de Percy Faith d’égale grosseur sur la pochette, cet album fera un best-seller aux États-Unis. Compte tenu des goûts du public visé, les dirigeants de Columbia, et en particulier Irving Townsend, ne s’étaient pas trompés.<br />Durant son séjour californien, Mahalia Jackson répond a diverses invitations, et participe notamment à un banquet à Long Beach organisé par la hiérarchie baptiste, la première réunion mixte (Noirs et Blancs) de ce genre.<br />Accompagnée de ses accompagnateurs Mildred Falls et de Willie Webb, qui étaient restés sagement assis sur leur chaise durant l’enregistrement des hymnes, Mahalia s’envole directement pour Boston, où elle doit donner un récital au Constitution Hall devant 3 000 personnes. Parmi elles sont présents Townsend, le grand disc-jockey noir Joe Bostic qui la suit depuis ses débuts à New York, et une importante délégation de sommités religieuses de Chicago, dont le révérend John Thurston. Son ami, et fan, Chester Bowles, ancien sénateur démocrate du Connecticut (et futur ambassadeur en Inde), lui fait rencontrer au Capitol Hill le vice-président Hubert Humphrey et d’autres personnalités, avant de l’inviter dans sa maison de Georgetown.<br />Parmi ses activités, elle donne un concert à Pittsburgh devant 18?000 personnes. Mais toujours réticente à apparaître sur les scènes de music-hall, elle refuse de participer à la comédie musicale de Langston Hughes, “Tambourine for Glory”.<br />Pendant ce temps, son producteur Irving Townsend prépare une nouvelle séance qui doit se dérouler à Los Angeles au mois de mai 1960. Cette fois-ci, comme il le note lui-même au dos de la pochette, il sollicite “un jeune pianiste-arrangeur californien, Johnny Williams, avec l’accompagnatrice de Mahalia, Mildred Falls au piano, et comme à l’habitude sur les disques de Mahalia, l’orchestre et le chœur comprennent des musiciens de jazz et des membres de son église.”<br />Ce jeune pianiste-arrangeur californien est devenu depuis l’un des musiciens américains les plus célèbres. Né en 1932, John T. Williams effectue de sérieuses études musicales avant de diriger, dès l’âge de 15 ans, son propre orchestre de jazz. Il commence à se faire connaître en 1958 par ses musiques de films, et va, au fil des années, acquérir une réputation considérable dans ce domaine, composant des dizaines et des dizaines de musiques pour des productions cinématographiques qui feront le tour du monde : “Star Wars”, “E.T.”, “Superman”, “Harry Potter”, etc. (1) Il est le compositeur attitré de George Lucas et de Steven Spielberg, sa dernière partition accompagnant “Tintin : Le Secret de la Licorne”. Williams est également connu pour ses œuvres dans le domaine “classique” (concertos, quatuors, musiques symphoniques…), et il est l’auteur de la pièce pour quatuor également jouée pour l’investiture du président Obama. Également chef d’orchestre réputé, il a été invité par les plus grandes institutions mondiales. Bref, “c’est quelqu’un”, dirait le populaire !<br />Lorsqu’il écrit ses arrangements et prend la baguette pour habiller le chant de Mahalia Jackson en mai 1960, il n’est pas encore très connu. Et là, force est de reconnaître qu’Irving Townsend a bien choisi. En effet, l’écoute du résultat obtenu montre qu’il s’en est bien mieux sorti que Percy Faith — on ne lui a pas demandé la même chose. En grand connaisseur du jazz, Johnny Williams a su inscrire ses arrangements de bon goût, jamais envahissants, sur un soubassement rythmique qui laisse transparaître le swing, même si tous les tempos sont lents. Les entrées de l’orchestre et du chœur sont légères et délicates. Bref, l’arrangeur s’est mis au service de la soliste et ne l’a pas noyée sous un déluge de cordes. Williams a eu la bonne idée de confier le piano à Mildred Falls, qu’on entend abondamment en introduction et en contrepoint de la chanteuse, il a laissé des espaces pour l’orgue que tient la “revenante” Louise Weaver (2), glissé quelques interventions de guitare, etc. <br />S’il ne s’agit pas de gospel à l’état brut, sauvage, enflammé, si le choix du répertoire est parfois discutable, quoique bien choisi et varié, il en résulte à l’arrivée un bel album, homogène et bien composé. Il comprend pour moitié des reprises, pour moitié des nouveautés pour la chanteuse.<br />Somebody Bigger than You and I, de Johnny Lange, figurait dans son premier 33 tours Columbia?; il avait été enregistré lors de la première séance de Mahalia pour cette compagnie, en novembre 1954, avec le Falls-Jones Ensemble (3). Quant à la première mouture de I See God, elle datait de juin 1955 et recevait l’appui de l’orchestre de Ray Ellis (3)?; nous préférons cette nouvelle version. Une autre composition de Johnny Lange, I Asked the Lord, avait été enregistrée en novembre 1955, toujours avec Mildred Falls au piano et Ralph Jones à l’orgue, en même temps que I’m Grateful, de Ervin Darke et Jimmy Shirl (4). Enfin, des mêmes auteurs, nous retrouvons le célèbre I Believe, qui donnera son titre à l’album, et dont la première version par Mahalia remontait à une séance Apollo d’août 1953 (5).<br />À l’exception peut-être de Always, Look Up…, les morceaux nouveaux ont une caractéristique gospel plus marquée. Trouble est une pièce de son amie Doris Mae Akers que celle-ci a enregistré en 1957, et Holding My Saviour’s Hand, une de Robert Anderson qui l’avait créée sur disque en 1950. Mahalia retrouve d’ailleurs son ancien pianiste des années 40 pour l’écriture de I Hear the Angels.<br />Reste un morceau qui interroge l’amateur et l’historien. Il s’agit de My God and I, adaptation d’un air folklorique lituanien par le compositeur A. A. Wihtol (6). Il ne figure que dans l’édition mono de l’album “I Believe”, et non dans l’édition originale stéréo. <br />A-t-il été rajouté ? Provient-il d’une séance antérieure ? Ce titre avait été déjà enregistré le 27 mars 1956 (donc en mono) et, depuis, est toujours été resté inédit d’après les discographes. S’agirait-il de cette première mouture ? D’autant que si l’on entend le piano, la guitare, quelques cloches comme ailleurs dans l’album, c’est la seule pièce où il n’y a pas d’accompagnement orchestral. Pourtant, l’écoute attentive des autres morceaux de la séance de 1956 ne penche pas en faveur de cette option : le son en est très différent (7). À défaut donc de trancher catégori­quement, laissons My God and I à sa place, dans la chronologie établie par la “Gospel Discography”.<br />Curieusement, ce premier album, très réussi, avec Johnny Williams (8) n’a jamais fait l’objet d’une réédition. Nous pouvons donc l’écouter ici pour la première fois en CD dans les meilleures conditions de restauration, d’autant que le son stéréophonique d’origine était excellent et la gravure irréprochable. Il permet d’apprécier dans toutes ses nuances vocales, ses modulations, sa puissance et sa force de conviction, le chant de la grande Mahalia Jackson, alors à l’apogée de son art.<br />En ce printemps 1960, la chanteuse est sollicitée pour soutenir la campagne présidentielle de John F. Kennedy. Il sera élu le 8 novembre, et Mahalia chantera The Star-Spangled Banner lors de la cérémonie de son investiture, le 27 janvier 1961.<br />Peu de temps après, elle s’envolera pour l’Europe, près de neuf ans après sa première tournée en demi-teinte. Cette foi-ci, le Vieux Continent (dont l’Angleterre qui l’avait boudé à l’automne 1952) est prêt à l’accueillir comme il se doit, c’est-à-dire comme une Reine. <br /><strong>Jean BUZELIN<br /></strong><span class=Soustitre>Jean Buzelin</span> est l’auteur de Negro Spirituals et Gospel Songs, Chants d’espoir et de liberté (Ed. du Layeur/Notre Histoire, Paris 1998)?; il collabore à la Gospel Discography de Cedric J. Hayes &amp; Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.).</span><br /><span class=Source>© FRÉMEAUX &amp; ASSOCIÉS</span></p><br /><p><span class=Texte><span class=Soustitre>Notes<br /></span>(1) Liste impressionnante qu’on peut consulter sur Wikipédia.<br />(2) Alors organiste de la 44th Street Baptist Church de Chicago du Rev. Thurston, Louise Overall Weaver avait déjà enregistré avec Mahalia en septembre et octobre 1950, et l’a souvent accompagnée en concert et en tournée.<br />(3) Voir Complete Mahalia Jackson Vol. 5 (FA 1315).<br />(4) Voir Complete Mahalia Jackson Vol. 6 (FA 1316). Notons que I Asked the Lord avait été créé par le chanteur country Fiddlin’ John Carson en 1924, et qu’Elvis Presley venait de l’enregistrer en 1959.<br />(5) Voir Complete Mahalia Jackson Vol. 4 (FA 1914). I Believe, créé par Jane Froman en 1953, et dont Frankie Laine fit un énorme hit, a été, au fil du temps, enregistré par une multitude d’artistes, parmi lesquels Sister Rosetta Tharpe (Complete Vol. 6 - FA 1306), Alex Bradford, Bessie Griffin, Marion Williams, les Five Blind Boys of Alabama, Swan Silvertones, Ward Singers, Edwin Hawkins Singers, etc., sans oublier Frank Sinatra, Elvis Presley, Barbra Streisand… et Mouloudji en français !<br />(6) Né à Riga en 1889, Austria A. Wihtol émigra aux États-Unis en 1909. Le titre My God and I a été déposé en 1935.<br />(7) Voir Complete Mahalia Jackson Vol. 7 (FA 1317).<br />(8) Le résultat de cette première collaboration a dû satisfaire tout un chacun, puisque Johnny Williams sera sollicité à plusieurs reprises dans les années qui suivirent : albums “Everytime I Feel the Spirit”, “Great Songs of Love and Faith”, “Silent Night”…<br /><span class=Soustitre>Ouvrages consultés <br /></span>Laurraine Gorreau : Mahalia (Lion Pub., UK 1976 - 2e édition)<br />Jules Schwerin : God To Tell It :Mahalia Jackson (Oxford University Press, 1992)<br />Anthony Heilbut : The Gospel Sound (Limelight Ed., 1992)<br />Cedric J. Hayes &amp; Robert Laughton : Gospel Discography 1943-1970 (Eyeball Productions Inc., 2007)<br />Nous remercions particulièrement pour leur aide Patrice Buzelin et Friedrich Mülhöcker.<br />Photos &amp; collections : Gilles Pétard, Sony Music Photos Archives, X (D.R.)</span></p><br /><p><br /><span class=Texte>We left Mahalia Jackson on 21 February 1960 when, alongside the famous bandleader and arranger Percy Faith, she had just recorded the first four tracks of a future album. We rejoin her the following day, in the same Hollywood studios, for the rest of the programme: neither Negro spirituals nor Gospel songs, but a series of Christian hymns familiar to all Americans. Mahalia had chosen them herself before they could be handed over to Percy Faith’s somewhat heavier treatment. In particular she insisted on singing My Country ‘Tis Of Thee, also known under the simpler title America, the words written to the tune of God Save The King/Queen. “I want to sing one hymn to my country” she declared. An anthem that was readily accepted by the Afro-American community, as is evident in the recent magnificent interpretation by Aretha Franklin at Barack Obama’s first inauguration. This did not, however, prevent this album “The Power and the Glory” from receiving a cool reception on the part of some gospel fans and incensing others with its over-embellished arrangements and backing which were far removed from the Afro-American tradition. The pompous opening fanfare of Holy, Holy, Holy did not please them at all. Yet, in spite of this oppressive ambience, Mahalia’s singing is still superb. She manages to transform and imbue with a certain grandeur such hymns as Nearer My God To Thee and The Holy City, thanks to her interpretation and her voice which was at its peak at the time. She said of Faith “that man knows what he’s doing” but the same might be said of her. Only an exceptional performer, whether male or female, would have been able to create something so brilliant out of this confusion. Issued under the names of Mahalia Jackson and Percy Faith, both of which were given equal prominence on the cover, the album became a best-seller in the United States. The heads of Columbia, and Irving Townsend in particular, had judged public taste to a T.During her stay in California Mahalia accepted several invitations, attending in particular a banquet at Long Beach organised by the Baptist hierarchy, the first mixed-race meeting of its kind.<br />Together with her accompanists, Mildred Falls and Willie Webb, who had been there during the recording of the hymns, Mahalia took off directly for Boston where she gave a recital in the Constitution Hall to an audience of 3000. Among them Townsend, the great black DJ Joe Bostic who had followed her career since her early days in New York, and a large delegation of prominent religious leaders from Chicago including the Reverend John Thurston. Her friend and fan, Chester Bowles, ex-Democrat Senator for Connecticut (and future Ambassador to India), introduced her on caption Hill to Vice-President Hubert Humphrey and other well-known figures, before inviting her to his home in Georgetown. <br />She also gave a concert in Pittsburgh that attracted an audience of 18000 but, reluctant as always to appear on the music hall stage, she refused to take part in Langston Hughes’ musical comedy “Tambourine for Glory”.<br />Meanwhile, her producer Irving Townsend was preparing a new session to take place in Los Angeles in May 1960. This time, as he notes himself on the sleeve notes, he called on “a young Californian arranger-pianist Johnny Williams, with Mahalia’s accompanist Mildred Falls on piano. And, as customary on Mahalia’s records, the orchestra and chorus include jazz musicians and members of her church.”<br />This young Californian arranger-pianist has since become one of the most famous American musicians. Born in 1932, John T. Williams studied music before fronting, at the age of 15, his own jazz band. He began to be noticed in 1958 for his film music and over the years would make a considerable name for himself in this domain, composing dozens of scores for films that would become known world-wide: “Star Wars”, “E.T.”, “Superman”, “Harry Potter” etc. (1) He was George Lucas and Steven Spielberg’s regular composer, his final score is the soundtrack for “Tintin: the Secret of the Unicorn”. Williams was also known for his classical work (concertos, quartets, symphonies…) and wrote the quartet that was played during Barack Obama’s inauguration. Also a respected conductor, he appeared with some of the world’s leading orchestras. However, when he was chosen to accompany Mahalia Jackson in May 1960, he was still relatively unknown but Irving Townsend had chosen well. In fact, he came out of it much better than Percy Faith – although he was not asked to do the same thing. Because of his familiarity with jazz Williams was able to adapt tasteful, unobtrusive arrangements to a rhythmic backing that was allowed to swing, even on slow numbers. The introductions of the orchestra and choir are light and delicate. In short, the arranger was there to serve the soloist and not to drown her in a deluge of notes. Williams had the great idea of entrusting the piano to Mildred Falls, who provides extensive introductions and counterpoint for the singer, but he also left room for the organ in the hands of Louise Weaver (back once more) (2) and slipped in a few guitar interventions etc. While this was not rough, earthy gospel and the choice of repertoire, although very varied, left much to be desired, the result was still an excellent, homogenous and well put together album. It included fifty percent of reprises by the singer and fifty percent new titles. <br />Somebody Bigger Than You And I, featured on her first Columbia LP, was recorded during Mahalia’s first session for the company in November 1954, with the Falls-Jones Ensemble (3). The first take of I See God, backed by the Ray Ellis orchestra, dates from June 1955; personally we prefer the newer version. Another Johnny Lange composition, I Asked The Lord, was recorded in November 1955, again with Mildred Falls on piano and Ralph Jones on organ, at the same time as I’m Grateful by Ervin Darke and Jimmy Shirl. (4) Finally, by the same composers, we have I Believe, from which the album gets its title and the first version of which by Mahalia goes back to the Apollo in August 1953. (5) With the exception perhaps of Always Look Up…, the new titles are more markedly gospel. Trouble is by her friend Doris Mae Akers which the latter had recorded in 1957 and Holding My Saviour’s Hand by Robert Anderson which he cut in 1950. Moreover Mahalia joined up again with her pianist from the 40s for I Hear The Angels.<br />There still remains an intriguing piece, My God And I, adapted from a Latvian folk song by the composer A.A. Wihtol. (6) It only appears on the mono issue of the LP “I Believe” and not on the original stereo issue. Was it added? Does it come from a previous session? This title had already been recorded on 27 March 1956 (hence in mono) and since then had always remained unissued according to discographies. Could this be the first take? Particularly because, although one can hear the piano, the guitar and a few bells as elsewhere on the album, it is the only piece without orchestral accompaniment. <br />However, close scrutiny of the other titles of the 1956 session does not support this option as the sound is very different (7). So without reaching any definitive conclusion let us leave My God And I in its place as established chronologically in the “Gospel Discography”. <br />Strangely enough, this first very successful album with Johnny Williams (8) has never been reissued. Hence we can hear it here on this CD for the very first time, in an excellently restored version, especially as the original sound was first rate and the recording technique faultless. It enables us to appreciate to the full all the vocal nuances, the modulations, power and conviction of the great Mahalia Jackson’s superb voice, at the height of her powers.<br />In spring 1960, the singer was invited to support John F. Kennedy’s presidential campaign. He was elected on 8 November and Mahalia sang The Star-Spangled Banner at his inauguration on 27 January 1961.<br />Shortly afterwards she took off for Europe, almost nine years after her first rather subdued tour. This time Europe (including England which had largely ignored her in autumn 1952) was ready to welcome her as she deserved, that is as a Queen. <br />Adapted from the French text of <strong>Jean BUZELIN</strong> by <strong>Joyce WATERHOUSE<br /></strong><br /><span class=Soustitre>Jean Buzelin</span> is the author of Negro Spirituals et Gospel Songs, Chants d’espoir et de liberté (Ed. du Layeur/Notre Histoire, Paris 1998); he collaborated on the Gospel Discography by Cedric J. Hayes &amp; Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.).<br /><span class=Source>© FRÉMEAUX &amp; ASSOCIÉS</span></span></p><br /><p><span class=Texte><span class=Soustitre>Notes<br /></span>(1) An impressive list that can be consulted on Wikipedia.<br />(2) While organist at the 44th Street Baptist Church in Chicago of the Rev. Thurston, Louise Overall Weaver had already recorded with Mahalia in September and October 1950, and had often accompanied her in concert on tour...<br />(3) See Complete Mahalia Jackson Vol.5 (FA1315).<br />(4) See Complete Mahalia Jackson Vol.6 (FA1316). Note that I Asked The Lord was created by country singer Fiddlin’ John Carson in 1924, and that Elvis had just recorded it in 1959.<br />(5) See Complete Mahalia Jackson Vol.4 (FA1314.). I Believe, created by Jane Froman in 1953, and with which Frankie Laine had a huge hit, was later recorded by numerous artistes, including Sister Rosetta Tharpe (Complete Vol. 6 - FA 1306), Alex Bradford, Bessie Griffin, Marion Williams, the Five Blind Boys of Alabama, Swan Silverstones, Ward Singers, Edwin Hawkins Singers etc., without forgetting Frank Sinatra, Elvis Presley, Barbra Streisand… and Mouloudji in French!<br />(6) Born in Riga in 1889, Austria, A. Wihtol emigrated to the USA in 1909. The title My God And I was registered in 1935.<br />(7) See Complete Mahalia Jackson Vol.7 (FA1317).<br />(8) The result of this first collaboration must have pleased everyone since Johnny Williams was frequently called on over the following years: albums “Everytime I Feel The Spirit”, “Great Songs Of Love And Faith”, Silent Night”…<br /><span class=Soustitre>Works consulted<br /></span>Laurraine Gorreau: 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. 1992).<br />Cedric J. Hayes &amp; Robert Laughton: Gospel Discography 1943 – 1970 (Eyeball Productions, Inc. 2007).<br />With special thanks for their help to Patrice Buzelin and Friedrich Mühlöcker. <br />Photos &amp; collections : Gilles Pétard, Sony Music Photos Archives, X (D.R)</span></p><br /><p><span class=Texte><strong>1. HOLY, HOLY, HOLY</strong> (R. Heber - J. Dykes) RHCO46496<br /><strong>2. NEARER, MY GOD, TO THEE</strong> (S. Adams - L. Mason) RHCO46497<br /><strong>3. MY COUNTRY ‘TIS OF THEE</strong> (AMERICA) (S. Smith - H. Carey) RHCO46498<br /><strong>4. THE HOLY CITY</strong> (F. Weatherly - S. Adams) RHCO 46499<br /><strong>5. ONWARD, CHRISTIAN SOLDIERS</strong> (S. Baring-Gould - A. Sullivan) RHCO 46500<br /><strong>6. THE LORD IS MY LIGHT</strong> (F. Allisten - words from Psalm 27) RHCO46501<br /><strong>7. LIFT UP YOUR HEADS</strong> (E. Ashford) RHCO46502<br /><strong>8. ABIDE WITH ME</strong> (H. Lyte - W. Monk) RHCO46503<br /><strong>9. I SEE GOD</strong> (R. Leveen - M. Mencher) <br /><strong>10. I’M GRATEFUL</strong> (E. Drake - J. Shirl)<br /><strong>11. TROUBLE</strong> (D.M. Akers)<br /><strong>12. I ASKED THE LORD</strong> (J. Lange - J. Duncan)<br /><strong>13. SOMEBODY BIGGER THAN YOU AND I</strong> (J. Lange - H. Heath - S. Burke)<br /><strong>14. ALWAYS LOOK UP, NEVER LOOK DOWN</strong> (J. Beal - J. Shank - F. James)<br /><strong>15. HOLDING MY SAVIOUR’S HAND</strong> (R. Anderson - Y. Reed)<br /><strong>16. MY GOD AND I</strong> (A.A. Wihtol)<br /><strong>17. I HEAR THE ANGELS</strong> (R. Anderson - M. Jackson)<br /><strong>18. I BELIEVE (</strong>E. Drake - I. Graham - J. Shirl - A. Stillman)</span></p><br /><p><span class=Texte>Mahalia Jackson (vocal) with:<br />(1-8) Orchestra &amp; choir cond. by Percy Faith. Hollywood, 22/02/1960<br />(9-13) Orchestra &amp; choir cond. by Johnny Williams featuring Mildred Falls; Mildred Falls (piano), Louise Overall Weaver (organ). Los Angeles, 23/05/1960.<br />(14-18) Same. Los Angeles, 24/05/1960.<br /></span></p><br /><span class=Source>CD Complete Mahalia Jackson - Intégrale Mahalia Jackson  vol. 11 1960, © Frémeaux &amp; Associés 2013.</span></p>"
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      "description" => "<p><p>Chante, &ocirc; m&egrave;re des Noirs ! Le chant est chose solide.<br /><strong>Langston HUGHES<br /></strong></p><br /><p align=justify><p>L&rsquo;Int&eacute;grale chronologique Mahalia Jackson (de m&ecirc;me que la s&eacute;rie consacr&eacute;e &agrave; Sister Rosetta Tharpe) offre l&rsquo;oeuvre exhaustive de celle qui restera l&rsquo;une des plus grandes artistes de Gospel, et par la m&ecirc;me, l'une des grandes inspiratrice de la culture noire-am&eacute;ricaine du XXe si&egrave;cle. Les disques sources, en provenance de la collection de Jean Buzelin, auteur de l'Int&eacute;grale, aid&eacute; par l&rsquo;ensemble des collectionneurs des oeuvres de Mahalia Jackson, font l&rsquo;objet des meilleurs transferts analogiques et d&rsquo;une restauration num&eacute;rique utilisant les technologies les plus sophistiqu&eacute;es sans jamais recourir &agrave; une modification du son d&rsquo;origine.<br /><em>Sing, oh black Mother, song is a strong thing.<br /></em><strong>Langston HUGHES&rsquo;s poem &ldquo;Spirituals&ldquo;<br /></strong></p><br /><p><em>The complete Mahalia Jackson recordings (presented chronologically as in the Sister Rosetta Tharpe series) reveal a personality who will remain one of the greatest-ever Gospel artists, a singer who filled 20th century Afro-American culture with inspiration. The source of this vital music is the collection of Jean Buzelin, the author of this anthology, together with the aid of collectors of Mahalia Jackson's work; all these recordings have been restored with the best analog transfers and most sophisticated technology available, to avoid any alteration of the original sound.<br /></em></p></p><p><strong>DIRECTION : JEAN BUZELIN</strong></p><strong>DROITS : FREMEAUX &amp; ASSOCIES<br /></strong><p>1959 : 1. TROUBLE OF THE WORLD &bull; 2. HE MUST HAVE KNOWN &bull; 3. MY JOURNEY TO THE SKY &bull; 4. BROWN BABY &bull; 5. YOU MUST BE BORN AGAIN &bull; 6. THE CHRISTIAN&rsquo;S TESTIMONY &bull; 7. IF WE NEVER NEEDED THE LORD BEFORE &bull; 8. COME ON CHILDREN, LET&rsquo;S SING &bull; 9. ONE STEP &bull; 10. BECAUSE HIS NAME IS JESUS &bull; 11. KEEP A-MOVIN&rsquo; &bull; 12. A CHRISTIAN DUTY &bull; 1960 : 13. IN THE GARDEN &bull; 14. JUST AS I AM &bull; 15. ROCK OF AGES &bull; 16. JESUS, SAVIOR, PILOT ME.</p></p><br><br>"
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      "dwf_livret" => "<h3>MAHALIA JACKSON VOLUME 10 F1320</h3><p><span class=Soustitre2>COMPLETE MAHALIA JACKSON<br />INTÉGRALE MAHALIA JACKSON VOL. 10<br /></span><span class=Soustitre2>1959-1960<br /></span></p><p align=justify><br /><p><span class=Texte>En cette ann&eacute;e 1959, la firme Columbia, l&rsquo;une des plus importantes maisons de disques au monde, peut &ecirc;tre fi&egrave;re. Elle a r&eacute;ussi &agrave; faire d&rsquo;une grande chanteuse de gospel noire, une immense vedette aux Etats-Unis, l&rsquo;&eacute;gale des plus c&eacute;l&egrave;bres artistes blancs. Mahalia Jackson rejoint en cela Louis Armstrong, Sammy Davis Jr, Nat King Cole et quelques autres, et pr&eacute;c&egrave;de de quelques ann&eacute;es Ray Charles. Que de talent et de pers&eacute;v&eacute;rance doivent d&eacute;ployer les artistes de couleur pour rejoindre, sur les m&ecirc;mes pi&eacute;destaux, leurs confr&egrave;res et cons&oelig;urs qui n&rsquo;ont pas ce handicap de la race.<br /></span></p><br /><p><span class=Texte>Son impressionnante apparition dans le film &laquo;&thinsp;Imitation of Life (Mirage de la vie)&thinsp;&raquo; va lui donner un nouveau coup de pouce. Bien qu&rsquo;il ne soit pas encore sur les &eacute;crans, Mahalia r&eacute;enregistre en studio, un mois avant sa sortie (le 30 avril 1959), sa chanson Trouble Of The World, ses producteurs pressentant peut-&ecirc;tre le futur succ&egrave;s du film. Elle avait d&eacute;j&agrave; enregistr&eacute; ce th&egrave;me tra&shy;ditionnel trois ans auparavant, sur un rythme de gospel waltz un peu plus enlev&eacute;, et avec une dur&eacute;e plus importante. Ce titre figurait dans l&rsquo;album &laquo;&thinsp;Bless This House&thinsp;&raquo; (1). Curieusement, cette nouvelle version, avec ch&oelig;urs, ne sera publi&eacute;e qu&rsquo;en 45 tours uniquement, coupl&eacute;e avec Tell The World About It r&eacute;alis&eacute; trois semaines plus t&ocirc;t (2), et, &agrave; notre connaissance, jamais r&eacute;&eacute;dit&eacute;e jusqu&rsquo;&agrave; aujourd&rsquo;hui. Deux autres excellents morceaux sont mis en bo&icirc;te le m&ecirc;me jour et compl&egrave;teront, eux, la s&eacute;ance pr&eacute;c&eacute;dente qui donnera l&rsquo;album &laquo;&thinsp;Great Getting up Morning&thinsp;&raquo;. Mahalia chante magnifiquement ces trois morceaux, My Journey To The Sky comportant des accents presque bluesy.<br />Puis la chanteuse reprend la route. Dans le Nord, elle se produit &agrave; Boston, &agrave; Baltimore, &agrave; Pittsburgh, &agrave; Buffalo, &agrave; New York&hellip; &Agrave; Chicago, elle donne un benefit concert pour un preacher d&eacute;c&eacute;d&eacute;. Elle se trouve dans le Sud, au Texas (Little Rock, Houston, Dallas), lorsque &laquo;&thinsp;Imitation of Life&thinsp;&raquo; est projet&eacute; sur tous les &eacute;crans du pays. En compagnie des Ward Singers, tout juste rentr&eacute;es d&rsquo;une tourn&eacute;e europ&eacute;enne, Mahalia Jackson participe au &laquo;&thinsp;First Annual Gospel, Spiritual and Folk Festival&thinsp;&raquo; qu&rsquo;organise son agent Joe Bostic au Madison Square Garden. L&rsquo;acteur Sidney Poitier l&rsquo;introduit sur la sc&egrave;ne (le ring !?) et elle d&eacute;die son concert au regrett&eacute; r&eacute;v&eacute;rend Russell Roberts, son ami.<br />Et voil&agrave; la Cadillac de Mahalia en route pour la Virginie&hellip; &Agrave; Montgomery (Alabama), elle ne manque pas de rendre visite &agrave; son ami Martin Luther King et &agrave; sa famille. Parfois, elle voyage en chemin de fer&#8200;: Tampa, Jacksonville, Orlando, Miami&hellip; se produisant d&eacute;sormais dans les plus grandes salles de concert, dans lesquelles on commence &agrave; apercevoir quelques &ldquo;visages p&acirc;les&rdquo; au milieu d&rsquo;un public de couleur&thinsp;; pr&eacute;misses d&rsquo;une int&eacute;gration qu&rsquo;on attendra longtemps ! Elle chante When The Saints &agrave; la t&eacute;l&eacute;vision &agrave; Coco (Floride), pr&egrave;s de Cap Canaveral, et &ldquo;fait&rdquo; une autre t&eacute;l&eacute; dans sa ville natale, la Nouvelle-Orl&eacute;ans.<br />Mahalia chante &eacute;galement pour le 50e anniversaire de la NAACP (National Association for the Advancement of Coloured People), fond&eacute;e le 19 f&eacute;vrier 1909 par W.E.B. DuBois et quelques autres pr&eacute;curseurs des droits civiques. Cela se passe au Polo Grounds, le grand stade de Manhattan, devant 18.000 personnes. Elle se produit &eacute;galement au Hollywood Bowl (Los Angeles). Cet &eacute;t&eacute;-l&agrave;, c&rsquo;est l&rsquo;organiste Elliott Beal qui l&rsquo;accompagne en tourn&eacute;e, aux c&ocirc;t&eacute;s de Mildred Falls.<br />Le 20 juillet, toujours &agrave; Los Angeles, elle enregistre un seul morceau, Brown Baby, la premi&egrave;re composition du chanteur Oscar Brown Jr. Une interpr&eacute;tation de 5&rsquo;30 &agrave; la fois d&eacute;pouill&eacute;e et majestueuse. En octobre, Mahalia Jackson est invit&eacute;e &agrave; chanter &agrave; la Maison-Blanche pour les 69 ans du pr&eacute;sident Eisenhower. <br />Notori&eacute;t&eacute; oblige, la chanteuse doit r&eacute;pondre &agrave; de multiples demandes. Outre les tourn&eacute;es &agrave; travers le pays, o&ugrave; ses fans se bousculent parfois tellement, comme &agrave; Louisville (Kentucky), qu&rsquo;il faut demander &agrave; la police de lui frayer un passage pour qu&rsquo;elle puisse sortir de son h&ocirc;tel, elle doit faire face aux gens du m&eacute;tier, aux &eacute;glises, &agrave; la famille, aux amis, aux importuns, etc., et cela ne va pas sans r&eacute;percussion sur une sant&eacute; toujours fragile. Elle doit lutter contre un gros rhume, et cela inqui&egrave;te ses proches, Mildred Falls, James Lee, Willie Webb&hellip;<br />Mahalia vient de renouveler son contrat avec Columbia et se trouve en novembre &agrave; Los An&shy;geles, o&ugrave; une session est organis&eacute;e sur deux jours. C&rsquo;est pr&eacute;cis&eacute;ment Willie Webb qui tient l&rsquo;orgue aux c&ocirc;t&eacute;s de la pianiste Mildred Falls. Willie Webb est un ancien chanteur des Roberta Martin Singers&thinsp;; il participe &agrave; la premi&egrave;re s&eacute;ance du groupe en 1947 avant d&rsquo;y tenir l&rsquo;orgue dans les ann&eacute;es 1952-53. Il a fond&eacute; en 1950 ses propres Willie Webb Singers, un groupe mixte sur le mod&egrave;le de celui de Roberta Martin, dans lequel figure le jeune Alex Bradford. Il a &eacute;galement jou&eacute; avec les Soul Stirrers lors d&rsquo;une s&eacute;ance en 1957.<br />Quatre titres sont enregistr&eacute;s le premier jour, dont trois courts morceaux tr&egrave;s entra&icirc;nants dans lesquels la chanteuse se lib&egrave;re totalement. You Must Be Born Again est une composition du chanteur de country gospel Stuart Hamblen, dont elle avait d&eacute;j&agrave; chant&eacute; It Is No Secret en 1951 et His Hands en 1955&thinsp;; The Christian&rsquo;s Testimony est une pi&egrave;ce de David Weston, &eacute;crite en 1955&thinsp;; et Come On Children Let&rsquo;s Sing, une &oelig;uvre de l&rsquo;organiste et chef de chorale Harold Smith, qui a enregistr&eacute; avec elle en d&eacute;but d&rsquo;ann&eacute;e. Au milieu de cela, on a recours comme souvent &agrave; Thomas A. Dorsey, le &ldquo;P&egrave;re du gospel moderne&rdquo;, avec une pi&egrave;ce peu connue, &eacute;crite en 1943, plus longue et plus calme, If We Never Needed The Lord Before.<br />Retour au studio le lendemain pour quatre autres morceaux, cette fois-ci majoritairement sur tempos lents voire arythmiques. Les ch&oelig;urs sont un peu plus &mdash; trop ? &mdash; pr&eacute;sents, les th&egrave;mes un peu &eacute;loign&eacute;s de la grande tradition des negro spirituals, &agrave; part A Christian Duty, compos&eacute; justement par Willie Webb. On appr&eacute;ciera toutefois un bel obligato du grand guitariste de jazz Jimmy Raney dans One Step. Ces huit titres, augment&eacute;s de Brown Baby, vont n&eacute;anmoins constituer un album, intitul&eacute; &laquo;&thinsp;Come On Children, Let&rsquo;s Sing&thinsp;&raquo;, tout &agrave; fait estimable, et qui montre la chanteuse en pleine possession de son art.<br />Coup de fil de son producteur Irving Townsend, d&eacute;sormais vice-pr&eacute;sident de la Columbia depuis le d&eacute;part de Mitch Miller, qui lui propose un enregistrement avec Percy Faith ! En France et en Europe, on per&ccedil;oit mal la popularit&eacute; de ces chefs d&rsquo;orchestres, compositeurs et orchestrateurs de la &ldquo;grande vari&eacute;t&eacute;&rdquo; am&eacute;ricaine. Percy Faith (1908-1976), n&eacute; &agrave; Toronto et naturalis&eacute; am&eacute;ricain en 1945, s&rsquo;est notamment illustr&eacute; dans les musiques de films et de t&eacute;l&eacute;vision. Proche de Mitch Miller, il travaille pour Columbia et &eacute;crit beaucoup d&rsquo;arrangements pour des chanteurs comme Tony Bennett, Doris Day ou Johnny Mathis. Plus de quatre-vingts albums sous son nom seront publi&eacute;s, et il obtiendra notamment un N&deg; 1 Pop en 1960 avec le th&egrave;me du film A Summerplace, musique de Max Steiner. Mahalia est quelque peu perturb&eacute;e : &laquo;&thinsp;Je ne suis pas une &eacute;toile de l&rsquo;op&eacute;ra !&thinsp;&raquo; r&eacute;pond-elle tout de go. Bien s&ucirc;r, il y a eu le pr&eacute;c&eacute;dent avec Duke Ellington, mais elle &eacute;tait dans son monde, entre gens de m&ecirc;mes racines, de m&ecirc;me culture. La notori&eacute;t&eacute; de Percy Faith l&rsquo;impressionne, et elle ne se voit pas improviser librement, comme elle a pu le faire avec Duke, devant quarante musiciens. Le projet pr&eacute;voit de lui faire enregistrer, non pas des negro spirituals ou des gospel songs, mais des hymnes am&eacute;ricains qu&rsquo;elle choisira elle-m&ecirc;me. Elle attend plusieurs mois avant de donner son accord et r&eacute;pondre &agrave; l&rsquo;invitation. Enfin, en f&eacute;vrier 1960, accompagn&eacute;e de la fid&egrave;le Mildred Falls, elle se rend &agrave; Hollywood.<br />Quatre th&egrave;mes sont enregistr&eacute;s le premier jour, dont Just As I Am, son hymne pr&eacute;f&eacute;r&eacute;, que la chanteuse avait d&eacute;j&agrave; grav&eacute; en 1951 pour Apollo, dans une version beaucoup plus d&eacute;pouill&eacute;e (piano et orgue)(3). Ces titres ne surprendront d&rsquo;ailleurs pas car ils ont &eacute;t&eacute; interpr&eacute;t&eacute;s et enregistr&eacute;s par quantit&eacute; de chanteurs et de groupes de gospel. Ce qui surprend, ce sont &eacute;videmment les orchestrations, leur ampleur et l&rsquo;omnipr&eacute;sence des violons et autres cordes. Nous sommes &agrave; l&rsquo;&eacute;vidence &agrave; cent lieues de la grande tradition musicale afro-am&eacute;ricaine, mais Mahalia Jackson, qui a l&rsquo;art de transmuter tout ce qu&rsquo;elle touche, les chante merveilleusement, au point o&ugrave; l&rsquo;on peut se demander si ces hymnes, dans un tel &eacute;crin, n&rsquo;ont jamais &eacute;t&eacute; aussi bien chant&eacute;s ! Aussi, m&ecirc;me si nous sommes tent&eacute;s, peut-on parler de grandiloquence alors qu&rsquo;il n&rsquo;y a aucune emphase ni la moindre affectation dans le chant de Mahalia ?<br />Le lendemain, elle enregistrera huit autres th&egrave;mes, et c&rsquo;est avec ceux-ci que nous commencerons notre prochain volume.<br />Jean BUZELIN</span></p><p><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS</span></p><br /><p><span class=Texte><strong>Jean Buzelin</strong> est l&rsquo;auteur de Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998)&thinsp;; il collabore &agrave; la Gospel Discography&nbsp; de Cedric J. Hayes &amp; Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.).</span></p><br /><p><br /><span class=Texte><strong>Notes :<br /></strong>(1) Voir Complete Mahalia Jackson Vol. 7 (FA 1317).<br />(2) Voir Complete Mahalia Jackson Vol. 9 (FA 1319).<br />(3) Voir Complete Mahalia Jackson Vol. 3 (FA 1313).<br /><strong>Ouvrages consult&eacute;s :<br /></strong>Laurraine Gorreau : Mahalia (Lion Pub., UK 1976 - 2e &eacute;dition)<br />Jules Schwerin : God To Tell It :Mahalia Jackson (Oxford University Press, 1992)<br />Anthony Heilbut : The Gospel Sound (Limelight Ed., 1992)<br />Cedric J. Hayes &amp; Robert Laughton : Gospel Discography 1943-1970 (Eyeball Productions Inc., 2007)<br />Nous remercions nos amis Friedrich M&uuml;lh&ouml;cker et Étienne Peltier qui, comme &agrave; l&rsquo;habitude, nous ont largement ouvert leurs discoth&egrave;ques.<br /><strong>Photos &amp; collections : </strong>Sony Music Photos Archives, X (D.R.).</span></p><br /><p><span class=Texte>1959 was the year in which Columbia, one of the most important record companies in the world, could be justifiably proud for they had succeeded in making a great black Gospel singer a star in the USA, on a par wit the most famous white performers. Mahalia Jackson had joined the ranks of such great names as Louis Armstrong, Sammy Davis Jr, Nat King Cole and several others, paving the way for Ray Charles a few years later. So much more hard work and determination was required for equally talented black artists to reach the same level as their white contemporaries.</span></p><br /><p><span class=Texte>Her impressive appearance in the film &ldquo;Imitation of Life&rdquo; was another rung on the ladder of fame. On 30 April 1959, a month before its general release, Mahalia recorded Trouble Of The World, her producers probably banking on the success of the film. She had already recorded a longer and slightly more up-beat, gospel waltz version three years before, featured on the album &ldquo;Bless This House&rdquo; (1). Oddly enough, this new version with choir was only published on a 45 rpm, backed by Tell The World About It, recorded three weeks earlier (2) and, so far as we know, never reissued before today. Two other excellent titles were cut the same day to complete the previous session which resulted in the album &ldquo;Great Getting Up Morning&rdquo;. Mahalia is in magnificent voice on all three tracks, My Journey To The Sky descending into pure blues.<br />Then she took to the road again. In the North appearing in Boston, Baltimore, Pittsburgh, Buffalo, New York &hellip; In Chicago she gave a benefit concert for a preacher who had recently died. She was in the South in Texas (Little Rock, Houston, Dallas) when &ldquo;Imitations of Life&rdquo; hit the screens. Accompanied by the Ward Singers, back from their recent European tour, she was part of the &ldquo;First Annual Gospel Spiritual and Folk Festival&rdquo; organised by her agent Joe Bostic at the Madison Square Garden. Introduced by actor Sidney Poitier, she dedicated the concert to the recently deceased Reverend Russell Roberts, her friend.<br />And then Mahalia&rsquo;s Cadillac was en route for Virginia &hellip; in Montgomery (Alabama) she called on her old friend Martin Luther King and his family. Sometimes she travelled by train: Tampa, Jacksonville, Orlando, Miami &hellip; appeared in numerous big concert halls where the occasional white face began to appear among the predominantly black audiences; the first glimmer of a long-awaited integration! She sang When The Saints on TV in Coco (Florida), near Cape Canaveral and did another TV show in her home town near Mildred Falls. </span></p><br /><p><span class=Texte>Mahalia also sang at the 50th anniversary of the NAACP (National Association for the Advancement of Coloured People), founded on 19 February 1909 by W.E.B. Dubois and a handful of other Civil Rights precursors. A celebration that took place in the huge Polo Grounds stadium in Manhattan, in front of an audience of 18,000. She also appeared at the Hollywood Bowl (Los Angeles) and, throughout this summer, she was accompanied by organist Elliott Beal alongside Mildred Falls.<br />On 20 July, still in Los Angeles, she recorded a single title, a sparse yet majestic version of Brown Baby, lasting 5&rsquo;30, the first composition of the singer Oscar Brown Jr. In October, Mahalia was invited to sing at the White House on the occasion of President Eisenhower&rsquo;s 69th birthday.<br />With growing fame came increasing demands on her time. In addition to tours throughout the States, where police sometimes had to clear a way through her hordes of fans, she had to deal with demands from colleagues, churches, her family, friends, hangers-on etc. and all this had an effect on her already delicate health. She caught a severe cold that worried those close to her: Mildred Falls, James Lee, and Willie Webb. After having renewed her contract with Columbia, Mahalia was back in November in Los Angeles where a two-day session was arranged, with Willie Webb on organ alongside pianist Mildred Falls. Previously Webb had been a vocalist with the Roberta Martin Singers, present on the group&rsquo;s first session in 1947, before moving over to organ during 1952-3. In 1950 he had founded his own Willie Webb Singers, a mixed group modelled on Roberta Martin&rsquo;s, which included the young Alex Bradford. He also played with the Soul Stirrers on a 1957 session. <br />Four titles were cut on the first day, including three short rousing pieces on which Mahalia really let herself go. You Must Be Born Again was composed by the Country Gospel singer Stuart Hamblen, whose It Is No Secret she had already recorded in 1951 and His Hands in 1955. The Christian&rsquo;s Testimony was written by David Weston in 1955, while Come On Children Let&rsquo;s Sing is the work of choir leader Harold Smith who had recorded with her at the beginning of the year. In addition, as so often is the case we have a longer, quieter piece by the &ldquo;Father of modern Gospel&rdquo;, Thomas A. Dorsey, the little-known If We Never Needed The Lord Before written in 1943. The next day four further tracks were cut, mainly slow tempo ones. The choirs are perhaps rather too prominent, the themes not really traditional Gospel ones, with the exception of Christian Duty, another Willie Webb composition. However, the great jazz guitarist Jimmy Raney treats us to a beautiful obbligato on One Step. These eight tracks, with the addition of Brown Baby, nevertheless made up an entirely laudable album entitled &ldquo;Come On Children, Let&rsquo;s Sing&rdquo;, with Mahalia in excellent form.</span></p><br /><p><span class=Texte>Then came a phone call from her producer Irving Townsend, who had replaced Mitch Miller as vice-president of Columbia, offering her the chance to record with Percy Faith! At the time, Europeans did not really appreciate the huge popularity of band leaders, composers and orchestral arrangers on the American variety scene. Percy Faith (1908-1976), born in Toronto but who took American nationality in 1945, made his name principally by writing theme music for TV and mainstream films. A close friend of Mitch Miller, he worked for Columbia and wrote numerous arrangements for singers such as Tony Bennett, Doris Day and Johnny Mathis. Over eighty albums were published under his name, and he achieved a N&deg; 1 Pop place in 1960 with his theme from the film A Summer Place, music by Max Steiner. Mahalia was not entirely happy, immediately declaring &ldquo;I&rsquo;m not an opera star!&rdquo; Of course, there had been a precedent with Duke Ellington, but she was more at home in her own world, among people sharing the same roots, the same culture. She was overawed by Percy Faith&rsquo;s reputation and could not imagine improvising freely, as she felt able to do with the Duke, in front of forty musicians. The suggested project was that, rather than Negro spirituals and Gospel songs, she should sing American hymns of her own choice. She waited several months before accepting the invitation. Finally, in February 1960, accompanied by the ever loyal Mildred Falls, she left for Hollywood. <br />Four tracks were cut the first day, including her favourite hymn Just As I Am which she had already recorded for Apollo in 1951, in a much sparser version (piano and organ) (3). There was nothing surprising about the choice of these titles for they had been interpreted and recorded by countless singers and Gospel groups. What is surprising is their orchestration, their fullness of tone and the overall presence of violins and other strings. This may seem far removed from the great tradition of Afro-American music but Mahalia Jackson, who has the gift of transforming everything she touches, sings them so superbly as to justify the claim that, in such a setting, they had never been sung so well before! Even the term &ldquo;grandiose&rdquo; would not be an exaggeration, although there is not the slightest pomposity or affectation in Mahalia&rsquo;s singing. The following day she recorded eight other titles with which we will open our next volume. <br />Adapted from the French texte <br />of Jean BUZELIN by Joyce WATERHOUSE</span></p><p><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS</span></p><br /><p><span class=Texte>Jean Buzelin is the author of Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998); he collaborated on the Gospel Discography by Cedric J. Hayes &amp; Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.).<br /><strong>Notes<br /></strong>(1) See complete Mahalia Jackson Vol. 7 (FA 1317).<br />(2) See Complete Mahalia Jackson Vol.9 (FA1319).<br />(3) See Complete Mahalia Jackson Vol.3 (FA1313).<br /><strong>Works consulted:<br /></strong>Laurraine Gorreau: Mahalia (Lion Pub. UK 1976 &ndash; 2nd edition).<br />Jules Schwerin: God To Tell It: Mahalia Jackson (O.U.P., 1992).<br />Anthony Heilbut: The Gospel Sound (Limelight Ed. 1992).<br />Cedric J. Hayes &amp; Robert Laughton: Gospel Discography 1943 &ndash; 1970 (Eyeball Productions, Inc. 2007).<br />With sincere thanks to Friedrich M&uuml;hl&ouml;cker and Etienne Peltier, who as usual have given us free access to their record collections.<br /><strong>Photos &amp; collections :</strong> Sony Music Photos Archives, X (D.R.).</span></p><br /><span class=Texte><strong>&nbsp; 1959<br /></strong></span><p><span class=Texte><strong>&ensp;1. TROUBLE OF THE WORLD</strong> (Trad.) CO63081<br /><strong>&ensp;2. HE MUST HAVE KNOWN</strong> (Trad.) CO63082<br />&ensp;<strong>3. MY JOURNEY TO THE SKY</strong> (Trad.) CO63083<br /><strong>&ensp;4. BROWN BABY</strong> (O. Brown Jr.)<br /><strong>&ensp;5. YOU MUST BE BORN AGAIN</strong> (S. Hamblen)<br /><strong>&ensp;6. THE CHRISTIAN&rsquo;S TESTIMONY</strong> (D. Weston)<br /><strong>&ensp;7. IF WE NEVER NEEDED THE LORD BEFORE (WE SURE DO NEED HIM NOW)</strong> (T.A. Dorsey)<br /><strong>&ensp;8. COME ON CHILDREN, LET&rsquo;S SING</strong> (H. Smith)<br /><strong>&ensp;9. ONE STEP (TOWARD THE LORD)</strong> (J. Hoffman - J. McDonald)<br /><strong>10. BECAUSE HIS NAME IS JESUS</strong> (E.O. Excell)<br /><strong>11. KEEP A-MOVIN&rsquo;</strong> (B. Baron - B. Long)<br /><strong>12. A CHRISTIAN DUTY</strong> (W. Webb)<br /><strong>1960<br />13. IN THE GARDEN</strong> (C. Miles) RHCO46492<br /><strong>14. JUST AS I AM</strong> (C. Elliott - W. Bradsbury) RHCO46493<br /><strong>15. ROCK OF AGES</strong> (A. Toplady - T. Hastings) RHCO46494<br /><strong>16. JESUS, SAVIOR, PILOT ME</strong> (E. Hopper - J. Gould) RHCO46495</span></p><p><br /><span class=Texte><strong>Mahalia Jackson</strong> (vocal) with:<br />(1-3) Unknown (piano)(organ)(bass)(drums)(vocal choir). New York City, 01/04/1959.<br />(4) <strong>Falls-Jones Ensemble:</strong> Mildred Falls (piano), Ralph Jones (organ), unknown (guitar)(bass)<br />(drums)(vocal choir). Los Angeles, 20/07/1959.<br />(5-8) Mildred Falls (piano), Willie Webb (organ), Jimmy Raney (guitar), Aaron Bell (bass), Osie Johnson (drums), unknown (vocal choir, claps on 5). Los Angeles, 17/11/1959.<br />(9-12) Same; unknown (vocal choir on 9, 11). Los Angeles, 18/11/1959.<br />(13-16) <strong>Orchestra &amp; chorus dir. Percy Faith.</strong> Hollywood, 21/02/1960.</span></p><br /><p><span class=Texte>En cette ann&eacute;e 1959, la firme Columbia, l&rsquo;une des plus importantes maisons de disques au monde, peut &ecirc;tre fi&egrave;re. Elle a r&eacute;ussi &agrave; faire d&rsquo;une grande chanteuse de gospel noire, une immense vedette aux États-Unis, l&rsquo;&eacute;gale des plus c&eacute;l&egrave;bres artistes blancs. Mahalia Jackson rejoint en cela Louis Armstrong, Sammy Davis Jr, Nat King Cole et quelques autres, et pr&eacute;c&egrave;de de quelques ann&eacute;es Ray Charles.<br />Jean Buzelin</span></p><br /><p><span class=Texte>1959 was the year in which Columbia, one of the most important record companies in the world, could be justifiably proud for they had succeeded in making a great black Gospel singer a star in the USA, on a par wit the most famous white performers. Mahalia Jackson had joined the ranks of such great names as Louis Armstrong, Sammy Davis Jr, Nat King Cole and several others, paving the way for Ray Charles a few years later.<br />Jean Buzelin</span></p><br /><p><span class=Texte>&ldquo;Chante, &ocirc; m&egrave;re des Noirs ! Le chant est chose solide.&rdquo; <br />Langston Hughes</span></p><br /><p><span class=Texte>&ldquo;Sing, oh black Mother, song is a strong thing.&rdquo; <br />Langston Hughes&rsquo;s poem &ldquo;Spirituals&ldquo;<br /><p class=MsoNormal><span class=Source>CD COMPLETE MAHALIA JACKSON INTEGRALE MAHALIA JACKSON VOLUME 10 1959-1960, MAHALIA JACKSON &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont,&nbsp;CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></p><br /></span></p></p>"
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      "dwf_livret" => "<h3>INTÉGRALE MAHALIA JACKSON VOL. 9</h3><p align=justify><span class=Soustitre2>INTÉGRALE MAHALIA JACKSON VOL. 9 </span><span class=Texte><br /></span><span class=Soustitre>1958-1959&nbsp; </span><span class=Texte><br />Notre nouveau chapitre de l&rsquo;histoire de l&rsquo;&oelig;uvre enregistr&eacute;e de Mahalia Jackson commence par un petit retour en arri&egrave;re. Nous sommes en effet le lendemain de la seconde journ&eacute;e consacr&eacute;e &agrave; compl&eacute;ter l&rsquo;enregistrement de la suite &ldquo;Black, Brown and Beige&rdquo; de Duke Ellington (1). La chanteuse retourne dans le m&ecirc;me studio de Los Angeles et met en bo&icirc;te deux morceaux, uniquement accompagn&eacute;e par un organiste et un ch&oelig;ur : Sweet Jesus, malheureusement rest&eacute; in&eacute;dit, et (Lord) Don&rsquo;t Move the Mountain. Ils ont &eacute;t&eacute; compos&eacute;s par Doris Mae Akers &agrave; laquelle Mahalia a donn&eacute; un coup de main (1). Peut-&ecirc;tre son amie &eacute;tait-elle pr&eacute;sente au studio ce jour-l&agrave; ? Peut-&ecirc;tre que ces deux th&egrave;mes ont &eacute;t&eacute; &eacute;crit le jour m&ecirc;me ? Nous n&rsquo;en connaissons pas de versions ant&eacute;rieures et Doris Akers ne les reprendra &agrave; son compte qu&rsquo;au milieu des ann&eacute;es 60.&nbsp; Apr&egrave;s un passage &agrave; Kansas City o&ugrave; elle donne deux concerts au profit d&rsquo;un h&ocirc;pital noir, et un crochet vers le sud pour rendre visite &agrave; sa famille &agrave; la Nouvelle-Orl&eacute;ans, Mahalia rentre chez elle &agrave; Chicago. Le 10 mars, elle enregistre (au moins) un morceau, et non des moindres, le negro spiritual He&rsquo;s Got the Whole World in His Hands qu&rsquo;elle chantera quelques mois plus tard &agrave; Newport (1) et que Tony Heilbut consid&egrave;re comme l&rsquo;une de ses interpr&eacute;tations les plus inspir&eacute;es et &ldquo;abandonn&eacute;es&rdquo;. Cette pi&egrave;ce est coupl&eacute;e, sur un 45 tours, avec son Didn&rsquo;t It Rain provenant de sa premi&egrave;re s&eacute;ance Columbia de novembre 1954, et qui n&rsquo;avait &eacute;t&eacute; publi&eacute; que sur son premier 33 tours &ldquo;The World&rsquo;s Greatest Gospel Singer&rdquo; (2). C&rsquo;est peut-&ecirc;tre autour de cette date que se glisse le myst&eacute;rieux The Lord Has Been a Shelter qui figure sur le m&ecirc;me album que Don&rsquo;t Move the Mountain et d&rsquo;autres pi&egrave;ces r&eacute;alis&eacute;es entre 1954 et 1957. Arrive le m&eacute;morable concert du Newport Jazz Festival et la s&eacute;ance du 10 ao&ucirc;t o&ugrave; plusieurs titres sont refaits en studio et mont&eacute;s sur le 33 tours original que nous avons r&eacute;&eacute;dit&eacute; dans notre pr&eacute;c&eacute;dent volume (1). Mais entre-temps, deux jours apr&egrave;s Newport, Mahalia avait enregistr&eacute; deux autres morceaux qui seront &agrave; leur tour coupl&eacute;s sur un single. La reconnaissance par les amateurs de jazz et la diffusion de ses albums aupr&egrave;s du grand public majoritairement blanc et international ne doivent pas faire oublier que Mahalia Jackson conserve une forte popularit&eacute; aupr&egrave;s de ses fr&egrave;res de couleur. D&rsquo;o&ugrave; la publication r&eacute;guli&egrave;re de 45 tours qui leur sont plus particuli&egrave;rement destin&eacute;s. T&eacute;moin ces deux nouveaux morceaux, Have You Any Rivers (= God Specializes) et For My Good Fortune (cr&eacute;&eacute; par Pat Boone), fortement rythm&eacute;s et teint&eacute;s d&rsquo;une coloration rhythm and blues que savent mettre en valeur les excellents jazzmen de studio qui sont charg&eacute;s de l&rsquo;accompagner.&nbsp; <br />Parmi les diverses activit&eacute;s et apparitions m&eacute;diatiques de la chanteuse, sa participation au film de Douglas Sirk, &ldquo;Imitation of Life&rdquo; (&ldquo;Le Mirage de la vie&rdquo;) reste un moment marquant de sa carri&egrave;re. Des millions de spectateurs (am&eacute;ricains et du monde entier) seront frapp&eacute;s et souvent boulevers&eacute;s par son interpr&eacute;tation de Trouble of the World (3) qu&rsquo;elle chante &agrave; la fin du film pour les fun&eacute;railles d&rsquo;Annie (Juanita Moore), la servante noire, dans l&rsquo;&eacute;glise baptiste d&rsquo;Hollywood. Le film sortira sur les &eacute;crans au printemps de l&rsquo;ann&eacute;e suivante. En d&eacute;cembre 1958, elle enregistre deux nouveaux morceaux, dont le traditionnel Elijah Rock qu&rsquo;elle inclura d&eacute;sormais dans son programme de concerts. Toutes ces excellentes interpr&eacute;tations &eacute;dit&eacute;es en 45 tours en direction de la communaut&eacute; noire ne seront, pour la plupart, ni reprises en albums, ni r&eacute;&eacute;dit&eacute;es depuis leur parution originale. Ce qui en fait leur raret&eacute;. Malgr&eacute; tout, ce sont quand m&ecirc;me les albums 33 tours 30 cm qui b&eacute;n&eacute;ficient du maximum d&rsquo;attention, car ils sont destin&eacute;s au march&eacute; mondial et Mahalia Jackson est devenue l&rsquo;une des artistes phares de la compagnie Columbia, tous genres confondus. La chanteuse entretient d&rsquo;excellentes relations avec son nouveau directeur artistique, Irving Townsend, celui qui a eu l&rsquo;id&eacute;e de g&eacute;nie de la faire enregistrer avec Duke Ellington. Il est devenu un ami, presque un confident, et pr&eacute;pare longuement &agrave; l&rsquo;avance la composition et la r&eacute;alisation d&rsquo;un album. &ldquo; &Ccedil;a n&rsquo;a jamais &eacute;t&eacute; facile de l&rsquo;enregistrer, disait-il &agrave; Laurraine Goreau. Elle travaille dur et, en g&eacute;n&eacute;ral, est assez coop&eacute;rative. Nous divisons les albums en trois ou quatre sessions, et celles-ci ne durent pas plus de deux ou trois heures&rdquo;. Les r&eacute;p&eacute;titions de chansons nouvelles se font avec Mildred Falls, sa fid&egrave;le accompagnatrice depuis 1947, peut-&ecirc;tre la seule &agrave; comprendre et &agrave; anti&shy;ciper les changements de moods et de rythmes, comme le pense Tony Heilbut. L&rsquo;occasion de donner un coup de projecteur sur cette femme de l&rsquo;ombre &agrave; laquelle Jules Schwerin a consacr&eacute; un chapitre dans son ouvrage sur Mahalia. Voici ce qu&rsquo;il dit en substance et en r&eacute;sum&eacute; :&nbsp; <br />Aucun des pianistes enregistr&eacute;s, aussi talentueux soient-ils, n&rsquo;a pu se hisser au niveau de l&rsquo;exceptionnelle Mildred Falls. Elle est en grande partie responsable de la &ldquo;couleur&ldquo; des chants &mdash; des disques &mdash; de Mahalia Jackson. Accords de blues, triolets, 4-4, bounce (rebondissements), sa musique a la r&eacute;sonance d&rsquo;un ch&oelig;ur ou d&rsquo;une congr&eacute;gation. Elle adorait Mahalia et &eacute;tait heureuse de jouer r&eacute;guli&egrave;rement avec elle. Pourtant, selon Brother John Sellers, Mahalia la payait&nbsp; tr&egrave;s mal. La reconnaissance du talent de Mildred Falls a &eacute;t&eacute; tr&egrave;s tardive. Elle est morte &agrave; Chicago, rejet&eacute;e par la seule personne qui n&rsquo;aurait jamais d&ucirc; l&rsquo;abandonner. Sa contribution unique n&rsquo;a pas &eacute;t&eacute; r&eacute;compens&eacute;e &agrave; sa juste valeur. Mahalia mit fin &agrave; ses services lorsque Mildred se risqua &agrave; lui demander une augmentation. Tout le clan Jackson lui tourna le dos ; Brother John trouva cela honteux et sa vieille admiration pour Mahalia en prit un coup. Quand elle passait &agrave; la t&eacute;l&eacute;vision, Mahalia Jackson prenait le ch&egrave;que et d&eacute;cidait de ce qu&rsquo;elle allait donner &agrave; Mildred. Un temps o&ugrave; Mahalia gagnait de 3000 &agrave; 7000 dollars par concert, voire plus &mdash; 10 000 ces temps-ci &agrave; Atlantic City &mdash;, Mildred &eacute;tait pay&eacute;e 200 dollars par semaine, plus 100 dollars pour se nourrir et se loger. Et quand elle osa lui demander 100 dollars de plus, elle fut remerci&eacute;e&hellip; Au milieu des ann&eacute;es 60, Mildred Falls, malade, vivait de l&rsquo;aide sociale chez elle &agrave; Chicago.&nbsp; Personne ne l&rsquo;a aid&eacute;e. Elle est d&eacute;c&eacute;d&eacute;e en 1973, peu apr&egrave;s Mahalia, pauvre et abandonn&eacute;e, sans avoir re&ccedil;u, semble-t-il, la petite part dont elle aurait &eacute;t&eacute; b&eacute;n&eacute;ficiaire lors de la succession Mahalia Jackson.&nbsp; Pr&eacute;cis&eacute;ment, c&rsquo;est le chanteur Brother John Sellers qui se trouve sur sc&egrave;ne avec son groupe en compagnie de Mahalia le 13 f&eacute;vrier 1959 &agrave; l&rsquo;Orchestra Hall&mdash;Chicago&rsquo;s Carnegie. Le po&egrave;te Langston Hughes, qui est venu sp&eacute;cialement de New York pour introduire la chanteuse, a pr&eacute;par&eacute; pour l&rsquo;occasion un texte sur les negro spirituals et les gospel songs. Quelques jours plus tard, Mildred Falls retrouve son piano pour l&rsquo;enregistrement de deux chansons, dont le Just to Behold His Face de Lucie Campbell ; une chorale et une rythmique jazzy renforcent l&rsquo;accompagnement. Puis sept autres morceaux, destin&eacute;s &agrave; composer le futur album &ldquo;Great Getting Up Morning&ldquo;, sont mis sur bande le 11 mars avec Mildred et une rythmique similaire dont il faut souligner l&rsquo;&agrave;-propos et la souplesse. Le ch&oelig;ur, toujours pr&eacute;sent, en fait parfois &ldquo;un peu trop&rdquo; dans la mani&egrave;re, comme dans When I&rsquo;ve Done My Best de Thomas Dorsey. En revanche, I Found the Answer, d&eacute;pouill&eacute;e de l&rsquo;orgue et des ch&oelig;urs, est une interpr&eacute;tation excellente et rafra&icirc;chissante. Notons par ailleurs que l&rsquo;organiste de ces s&eacute;ances, le Professeur Alfred Miller, est le directeur de l&rsquo;Angelic Choir of Washington Temple Church (4) qui a mis &agrave; son r&eacute;pertoire To Me It&rsquo;s Wonderful et Tell the World About This que vient d&rsquo;enregistrer Mahalia. Ce dernier titre sera coupl&eacute; avec une nouvelle version de Trouble of the World que la chanteuse va enregistrer le mois suivant (5), anticipant la sortie du &ldquo;Mirage du la vie&rdquo; (le 30 avril). Ce film sera, en effet, l&rsquo;un des plus gros succ&egrave;s cin&eacute;matographiques de l&rsquo;ann&eacute;e 1959, y compris dans le Sud o&ugrave;, pourtant, les rapports blancs-noirs sont toujours grin&ccedil;ants. La pres&shy;tation de la chanteuse, servie par une rare puissance d&rsquo;expression et de conviction, fait l&rsquo;unanimit&eacute;, comme l&rsquo;&eacute;crit Tony Heilbut : &ldquo;La performance de Mahalia dans Trouble of the World fut le grand moment d&rsquo;intensit&eacute; du film, et son flamboyant &ldquo;I want to see my mother&rdquo; provoqua des torrents de larmes dans les cin&eacute;mas de banlieue&rdquo;. Voici pour la premi&egrave;re fois sur un disque, la copie de cet inoubliable moment.&nbsp; <br /><em>Jean BUZELIN&nbsp;</em>&nbsp; <br />Jean Buzelin est l&rsquo;auteur de Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998) ; il collabore &agrave; la Gospel Discography&nbsp; de Cedric J. Hayes &amp; Robert Laughton (rubriques Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet, etc.). <br /></span><span class=Source>Notes : <br />1. En ce qui concerne la &ldquo;Black, Brown and Beige&rdquo;, le festival de Newport, et Doris Akers, voir Complete Mahalia Jackson Vol. 8 (FA 1318). <br />2. Voir Complete Mahalia Jackson Vol. 5 (FA 1315). <br />3. Elle a enregistr&eacute; une premi&egrave;re fois ce th&egrave;me en studio en mars 1966, voir Complete Mahalia Jackson Vol. 7 (FA 1317). <br />4. &Agrave; ne pas confondre avec la c&eacute;l&egrave;bre Angelic Choir dirig&eacute;e par le Rev. Lawrence Roberts. <br />5. Cette troisi&egrave;me version, jamais r&eacute;&eacute;dit&eacute;e, ouvrira notre prochain volume.&nbsp; </span><span class=Texte><br /><u>Ouvrages consult&eacute;s :</u><br />Laurraine Gorreau : Mahalia (Lion Pub., UK 1976 - 2e &eacute;dition)<br />&nbsp;Jules Schwerin : God To Tell It : Mahalia Jackson (Oxford University Press, 1992) <br />Anthony Heilbut : The Gospel Sound (Limelight Ed., 1992) <br />Cedric J. Hayes &amp; Robert Laughton : Gospel Discography 1943-1970 (Eyeball Productions Inc., 2007)&nbsp; <br />Nos remerciements sinc&egrave;res &agrave; Friedrich M&uuml;lh&ouml;cker et &agrave; Étienne Peltier, toujours pr&ecirc;ts &agrave; ouvrir leurs discoth&egrave;ques pour nous en confier quelques pi&egrave;ces rares.&nbsp; <br /><u>Photos &amp; collections :</u> Gilles P&eacute;tard, Sony Music Photos Archives, X (D.R.).&nbsp; <br /></span><em><span class=Soustitre>English notes</span></em><span class=Texte><br />This new chapter in the story of Mahalia Jackson&rsquo;s recording career begins with a small step backwards, to the day after the second day spent in completing the recording of Duke Ellington&rsquo;s suite &ldquo;Black, Brown and Beige&rdquo; (1). The singer returned to the same Los Angeles studio to cut two titles, accompanied only by an organist and a choir: Sweet Jesus, sadly never issued, and (Lord) Don&rsquo;t Move The Mountain. Both were composed by Doris Mae Akers to whom Mahalia had given a helping hand (1). Perhaps her friend was present in the studio that day, perhaps the two songs were written that very day? We know of no other earlier versions and Doris Akers herself didn&rsquo;t reprise them until the mid-60s.&nbsp; After giving two concerts in Kansas City in aid of a black hospital, and a trip south to visit her family in New Orleans, Mahalia returned home to Chicago. On 10 March she recorded (at least) one track, the Negro spiritual He&rsquo;s Got The Whole World In His Hands which she would sing a few months later at Newport (1) and that Tony Heilbut considered one of her most inspired and &ldquo;abandoned&rdquo; interpretations. This 45 rpm is backed by Didn&rsquo;t It Rain from her first Columbia session in November 1954 which had only been issued on her first 33 rpm &ldquo;The World&rsquo;s Greatest Gospel Singer&rdquo; (2). Perhaps it was around this date that the mysterious The Lord Has Been A Shelter was cut which appears on the same album as Don&rsquo;t Move The Mountain and other titles recorded between 1954 and 1957.&nbsp; Then came the memorable Newport Jazz Festival concert and the session from 10 August when several titles were repeated in the studio and issued on the original 33 rpm which we reissued in our preceding volume (1). However, two days after Newport, Mahalia recorded two more titles that were issued as a single. It is worth noting that, although her albums were aimed at a predominantly white and international audience, she remained hugely popular within her own black community. Hence, the regular issues of 45s&nbsp; destined specifically for the latter e.g. two new tracks Have You Any Rivers (= God Specializes) and For My Good Fortune (created by Pat Boone) where a strong beat and rhythm and blues overtones is emphasised by the excellent studio jazzmen who accompanied her. <br />One of the highlights of her varied career was her appearance in Douglas Sirk&rsquo;s film &ldquo;Imitation of Life&rdquo;. Millions of spectators, both American and worldwide, were moved and often overwhelmed by her interpretation of Trouble Of The World (3) which she sings at the end of the film during the funeral of the black servant Annie (Juanita Moore), in the Hollywood Baptist Church. The film appeared the following year. In December 1958 she recorded two more titles one of them the traditional Elijah Rock which she went on to include in her concert programmes. None of these excellent interpretations, intended for black consumption, were ever reprised on albums nor have they been reissued since their first appearance. This is what makes them so rare. In spite of this it is the 33 rpm albums that gained most attention for they were destined for a world market and Mahalia Jackson became one of Columbia&rsquo;s leading performers in whatever genre. She got on very well with her new artistic director, Irving Townsend, who had had the brilliant idea of arranging for her to record with Duke Ellington. He became a friend, almost a confidant, and took immense pains with the preparation of an album. He confided to Laurraine Goreau &ldquo;It was never easy to record her. She works hard and generally is very co-operative. We divide the albums into three or four sessions which never last longer than two or three hours.&rdquo;&nbsp; New songs were rehearsed with Mildred Falls, her loyal companion since 1947. &ldquo;Mildred Falls is perhaps the only pianist who completely understands and anticipates Mahalia&rsquo;s shifting moods and rhythms&rdquo;, according to Tony Heilbut. Now is the occasion to bring out from the shadows this remarkable woman to whom Jacques Schwerin devoted a chapter in his book on Mahalia. The following is a summary of what he wrote: &ldquo;Mahalia had employed many gifted pianists and organists to accompany her on record but of all the talented musicians she worked with, none was the equal of Mildred Falls. It was only Mildred who never lost her way in the call-and-response gospel style that Mahalia had made her signature. Without Mildred&rsquo;s blues chords, her triplets and four-four irresistible, inimitable bounce, her commanding music with its resonance of choir and congregation, Mahalia&rsquo;s art would have been the poorer. Mildred adored her and cherished their alliance. However, according to Brother John Sellers, Mahalia paid her very badly.&nbsp; <br />Recognition for Mildred Falls&rsquo; talent in her own right is long overdue. She died in Chicago, poor and rejected by the one person who should not have abandoned her. Her unique contribution to Mahalia&rsquo;s success should have been decently&nbsp; compensated but the opposite became her reality.&nbsp; When Mildred dared to ask for a rise Mahalia sacked her on the spot. The entire Jackson clan turned their backs on her. Brother John found this shameful and, as he grew older, his adoration of Mahalia shrank. When she moved into television, she had the cheque sent directly to her. What Mildred then received was whatever Mahalia wanted to give her. While the latter was earning $3000 to $7000 a night (even $10000 at this time in Atlantic City), Mildred was being paid $200 a week, plus $100 expenses. It was when she asked for another $100 that Mahalia fired her. In the mid-60s, when Mildred Falls was down on her luck, sick and on home relief in Chicago, no-one ever came to her aid. She died in 1973, shortly after Mahalia, apparently without even having received the small legacy due to her from Mahalia&rsquo;s estate&rdquo;.&nbsp;&nbsp; <br />It was, in fact, singer Brother John Sellers and his group who were on stage with Mahalia at a concert on 13 February 1959 at the Orchestra Hall&mdash;Chicago&rsquo;s Carnegie. The poet Langston Hughes came especially from New York to introduce the group with a speech that he had prepared on Negro spirituals and gospel songs. A few days later, Mildred Halls was back on piano for the recording of two songs, including Just To Behold His Face by Lucie Campbell; a choir and a jazzy rhythm section strengthened the backing. Then seven other titles, intended for the future album &ldquo;Getting Up Morning&rdquo;, were cut on the 11 March with Mildred and a similar, but even more flexible rhythm section. However, the choir this time occasionally overdoes it, as on Thomas Dorsey&rsquo;s When I&rsquo;ve Done My Best. On the other hand, I Found The Answer, stripped of the organ and choirs, is an excellent and fresh interpretation. The organist for these sessions, Professor Alfred Miler, was the leader of the Angelic Choir of Washington Temple Church (4) who had included in its repertoire To Me Its Wonderful and Tell The World About This that Mahalia had just recorded. The latter title would be backed by a new version of Trouble Of The World that she recorded the following month (5), prior to the screening of &ldquo;Imitation of Life&rdquo; on 30 April. A film that, in fact, was to be one of the cinema highlights of 1959 &ndash; even in the Deep South where white-black relationships were still a touchy subject. Mahalia&rsquo;s powerful and emotional interpretation was widely acclaimed as Tony Heilbut records &ldquo;Mahalia&rsquo;s performance of Trouble of the World was the emotional climax of that film; her flamboyant &ldquo;I see to my mother&rdquo; provoked floods of weeping in suburban theatres.&rdquo; Here for the first time on disc is a copy of that unforgettable moment.&nbsp; <br />Adapted from the French text&nbsp; of <em>Jean BUZELIN</em> by <em>Joyce WATERHOUSE&nbsp;&nbsp;&nbsp; </em><br /><em>Jean Buzelin is the author of Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998) ; he collaborated on the Gospel Discography by Cedric J. Hayes &amp; Robert Laughton (sections on Mahalia Jackson, Sister Rosetta Tharpe, Golden Gate Quartet etc.). </em><br /></span><span class=Source>Notes <br />1. With regard to &ldquo;Black, Brown and Beige&rdquo;, the Newport Jazz Festival, and Doris Akers, see Complete Mahalia Jackson Vol. 8 (FA 1318). <br />2. See Complete Mahalia Jackson Vol.5 (FA1315). <br />3. She had recorded this theme for the first time in the studios in March 1956 (see Complete Mahalia Jackson Vol.7 (FA1317). <br />4. Not to be confused with the famous Angelic Choir led by the Rev. Lawrence Roberts. <br />5. This third version, never reissued, will open our next volume.&nbsp; </span><span class=Texte><br /><u>Works consulted : </u><br />Laurraine Gorreau: 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. 1992). <br />Cedric J. Hayes &amp; Robert Laughton: Gospel Discography 1943 - 1970 (Eyeball Productions, Inc. 2007).&nbsp; <br />With sincere thanks to Friedrich M&uuml;hl&ouml;cker and Etienne Peltier, always ready to provide us with&nbsp; certain rare recordings from their collections;&nbsp; <br /><u><br />Photos &amp; collections </u>: Gilles P&eacute;tard, Sony Music Photos Archives, X (D.R.).&nbsp;&nbsp;&nbsp; <br /></span><span class=Soustitre>discographie</span><span class=Texte><br /></span><span class=Soustitre2>CD 1</span><span class=Texte><br /><strong>1. DON&rsquo;T MOVE THE MOUNTAIN</strong> (D.M. Akers - M. Jackson) CO40656&nbsp;&nbsp; <br /><strong>2. THE LORD HAS BEEN A SHELTER</strong> (J.W. Alexander - S. Cooke) CO ?&nbsp;&nbsp; <br /><strong>3. HE&rsquo;S GOT THE WHOLE WORLD IN HIS HANDS</strong> (Trad. - adapt. G. Love) CO5782&nbsp;&nbsp; <br /><strong>4. HAVE YOU ANY RIVERS</strong> (O.C. Eliason) CO61255&nbsp;&nbsp; <br /><strong>5. FOR MY GOOD FORTUNE</strong> (O. Blackwell - B. Stevenson) CO61256&nbsp;&nbsp; <br /><strong>6. TROUBLE OF THE WORLD</strong> (Trad.)&nbsp;&nbsp; <br /><strong>7. ELIJAH ROCK</strong> (Trad. - arr. J. Hairston) CO61996&nbsp;&nbsp; <br /><strong>8 HOLD ME (PLEASE DON&rsquo;T LET ME GO)</strong> (T.A. Dorsey) CO61997&nbsp;&nbsp; <br /><strong>9. JUST TO BEHOLD HIS FACE</strong> (L.E. Campbell) CO62353 <strong><br />10. TO ME IT&rsquo;S WONDERFUL</strong> (R. Goodpasteur) CO62354 <br /><strong>11. TELL THE WORLD ABOUT THIS</strong> (Trad. - arr. M. Jackson) CO62379 <br /><strong>12. GREAT GETTIN&rsquo; UP MORNING</strong> (Trad. - arr. M. Jackson) CO62380 <br /><strong>13. WHEN I&rsquo;VE DONE MY BEST </strong>(T.A. Dorsey) CO62381 <br /><strong>14. HIS</strong> (L. Williams - Arquilla) CO62382 <br /><strong>15. I FOUND THE ANSWER </strong>(J. Lange) CO62383 <br /><strong>16. HOW GREAT THOU ART </strong>(S.K. Hine) CO62384 <br /><em>17. GOD PUT A RAINBOW IN THE SKY</em> (A. Jenkins) CO62385&nbsp; <br /><strong>Mahalia Jackson (vocal) with : </strong><br /><strong>(1)</strong> Unknown (organ)(vocal choir). Los Angeles, 13/02/1958. <br /><strong>(2)</strong> Unknown (piano)(organ)(guitar)(bass)(drums)(vocal choir). Unknown date, poss. same as for 3. <br /><strong>(3)</strong> Unknown (organ)(guitar)(bass)(drums)(hand clapping). Chicago, 10/03/1958. <br /><strong>(4-5)</strong> Robert G. Banks (piano), Lilton Mitchell, Bert Keyes (organ), Wallace &ldquo;Wally&ldquo; Richardson (guitar), Doles Dickens (bass), David &ldquo;Panama&ldquo; Francis (drums), unknown (vocal choir)(hand clapping on 5). New York City, 10/07/1958. <br /><strong>(6)</strong> Unknown (piano intro)(organ). Film &ldquo; Imitation of Life &rdquo;. Hollywood, Summer 1958. <br /><strong>(7-8)</strong> Unknown (piano)(bass)(drums)(vocal choir). NYC, 26/12/1958. <br /><strong>(9-10)</strong> Mildred Falls (piano), Alfred Miller, Harold Smith? (organ), John Simmons (bass), Ed Thigpen (drums) unknown (vocal choir). NYC, 25/02/1959. <br /><strong>(10-17)</strong> Mildred Falls (piano), Alfred Miller (organ, except on 15), Jimmy Raney (guitar), Addison Farmer (bass), Osie Johnson (drums, prob. chimes on 16), unknown (vocal choir, except on 14, 15). NYC, 11/03/1959.&nbsp;&nbsp; <br /></span><span class=Source>CD COMPLETE MAHALIA JACKSON INTÉGRALE MAHALIA JACKSON VOL. 9 1958-1959 &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span><br /></p>"
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      "description" => "<p><p align=justify>L&rsquo;ann&eacute;e 1958 est marqu&eacute;e par deux sommets dans la carri&egrave;re de Mahalia Jackson : sa rencontre unique avec Duke Ellington et son concert historique au Festival de Jazz de Newport.<br /><strong>Patrick Fr&eacute;meaux &amp; Jean Buzelin<br /></strong></p><br /><strong>1957</strong> : Trouble &bull; Lead on Lord Jesus &bull; He&rsquo;s a light unto my pathway &bull; Impatient heart &bull; Life Eternal / Saint-Louis Blues : Hush The Wind &bull; He&rsquo;s that sows in tears &bull; Steal away to Jesus. Black, brown and beige: Come Sunday &bull; The 23rd Psalm&nbsp; <br /><strong>Newport Jazz Festival 1958</strong> : An Evening Prayer &bull; A City Called Heaven &bull; I&rsquo;m on my way - studio &bull; It don&rsquo;t cost very much &bull; Didn&rsquo;t it rain - studio (intro live) &bull; He&rsquo;s got the whole world in his hands &bull; My God is real -studio &bull; I&rsquo;m going to live the life I sing about in my song - studio &bull; The Lord&rsquo;s prayer &bull; Walk over God&rsquo;s Heaven - studio &bull; Joshua fit the battle of Jericho - studio &bull; His eye is on the sparrow - studio.<br /><p align=justify>1958 saw two highlights in Mahalia Jackson&rsquo;s career: her unique encounter with Duke Ellington and her legendary concert at the Newport Jazz <em>Festival</em>.<br /><strong>Droits : DP / Fr&eacute;meaux &amp; Associ&eacute;s</strong></p></p><br><br>"
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      "dwf_livret" => "<h3>INTÉGRALE MAHALIA JACKSON VOL. 8</h3><span class=Texte><p align=justify><span class=Texte><span class=Soustitre>COMPLETE MAHALIA JACKSON</span> <br /><span class=Soustitre2>INTÉGRALE MAHALIA JACKSON VOL. 8 1957-1958</span> <br />Notre pr&eacute;c&eacute;dent volume consacr&eacute; &agrave; l&rsquo;&oelig;uvre enregistr&eacute; de Mahalia Jackson s&rsquo;achevait sur un tr&egrave;s beau God Is So Good enregistr&eacute; le 28 septembre 1956. (1) Ce gospel song avait &eacute;t&eacute; enregistr&eacute; une premi&egrave;re fois confidentiellement par son auteur, l&rsquo;excellente chanteuse Doris Mae Akers, en 1953. Amie proche de Mahalia mais peu connue de ce c&ocirc;t&eacute;-ci de l&rsquo;Atlantique, Doris Akers entame, &agrave; partir de janvier 1957, lorsqu&rsquo;elle reprend God Is So Good, une fructueuse carri&egrave;re phonographique pour RCA-Victor, notamment &agrave; la t&ecirc;te d&rsquo;un groupe mixte, les Simmons Akers Singers. En mars 1957, elle enregistre Life Eternal, Lead On Lord Jesus, Trouble et He&rsquo;s A Light Unto My Pathway que va reprendre, quelques mois plus tard, Mahalia elle-m&ecirc;me. En ce d&eacute;but d&rsquo;ann&eacute;e 1957, Mahalia Jackson ach&egrave;te une maison &agrave; Chicago, pour la somme de 40 000 dollars au 8353 Indiana Avenue, en bordure du South Side noir et du quartier de la middle class blanche. Quelques semaines plus tard, une personne, peut-&ecirc;tre un voisin, tire des coups de carabine dans les fen&ecirc;tres de son salon. Ce qui d&eacute;montre que le statut de &ldquo;grande vedette&ldquo; ne constitue pas un frein aux agressions racistes. Apr&egrave;s enqu&ecirc;te, la police n&rsquo;a pas identifi&eacute; le coupable &mdash; comme c&rsquo;est &eacute;trange ! &mdash;, mais l&rsquo;&eacute;v&eacute;nement est relay&eacute; par la presse, la radio et la t&eacute;l&eacute;vision, ce qui mobilise de nombreuses personnalit&eacute;s noires comme blanches, dont Dinah Shore qui demande &agrave; la cha&icirc;ne CBS, &agrave; Hollywood, d&rsquo;inviter Mahalia &agrave; l&rsquo;un de ses &ldquo;Dinah Shore Shows&rdquo;. Ce qui n&rsquo;a pas &eacute;t&eacute; facile, le producteur Bob Banner n&rsquo;ayant jamais eu la permission d&rsquo;engager un artiste noir quel qu&rsquo;il soit. L&rsquo;autorisation est donn&eacute;e et Mahalia se rend au studio sans inqui&eacute;tude, elle n&rsquo;avait jamais travaill&eacute; avec une star f&eacute;minine avant, mais elle voyait Dinah Shore &agrave; la t&eacute;l&eacute;vision. Rien n&rsquo;avait &eacute;t&eacute; vraiment pr&eacute;par&eacute; mais tout se passa tr&egrave;s bien entre elles. C&ocirc;t&eacute; musique, ce fut plus difficile : Mahalia refusa les orchestrations et ne voulut pas chanter avec les cuivres qui, dit-elle, n&rsquo;&eacute;taient pas dans the spiritual quality. Les musiciens eux-m&ecirc;mes n&rsquo;&eacute;taient pas habitu&eacute;s &agrave; accompagner du gospel, mais Mildred Falls prit les choses en main, dirigea les op&eacute;rations et entra&icirc;na la rythmique dans He&rsquo;s Got The Whole World In His Hands. Les deux artistes, qui sympathis&egrave;rent tout de suite, eurent une discussion sur le blues pendant laquelle Mahalia fit ses commentaires habituels sur le sujet et, ensemble, entonn&egrave;rent Down By The Riverside. <br />Dans la foul&eacute;e du show, Mahalia Jackson re&ccedil;ut un t&eacute;l&eacute;gramme de Las Vegas : &ldquo;Chantez votre propre r&eacute;pertoire et nous vous offrons 25 000 dollars par semaine&rdquo;. 25 000 dollars, un record pour l&rsquo;&eacute;poque, qui plus est pour une femme noire et pour chanter du gospel dans un club ! On lui propose m&ecirc;me de ne pas servir d&rsquo;alcool durant sa prestation. Malgr&eacute; ses r&eacute;ticences habituelles, Mahalia est tent&eacute;e, mais apr&egrave;s une nuit blanche et une lutte int&eacute;rieure avec elle-m&ecirc;me, elle refuse&hellip; La chanteuse participe le 17 mai &agrave; un &ldquo;Prayer Pilgrimage for Freedom&rdquo; organis&eacute; au M&eacute;morial Lincoln &agrave; Washington (D.C.). Cette manifestation vit d&eacute;filer quatorze intervenants dont le dernier annonc&eacute; n&rsquo;&eacute;tait autre que le Dr. Martin Luther King qui, devant 35 000 personnes, fit son premier grand discours national et lan&ccedil;a la revendication demeur&eacute;e c&eacute;l&egrave;bre : &ldquo;Donnez-nous le droit de vote maintenant&rdquo;. &Agrave; sa suite, Mahalia Jackson entonna I&rsquo;ve Been &lsquo;Bucked, and I Been Scorned. Cet &eacute;v&eacute;nement, apr&egrave;s sa prestation &agrave; Montgomery au mois de d&eacute;cembre pr&eacute;c&eacute;dent (1), est la deuxi&egrave;me collaboration, et pas la derni&egrave;re, qui montre l&rsquo;implication de la chanteuse dans le mouvement des droits civiques. Quelques semaines plus tard, donc, Mahalia enregistre &agrave; Chicago les morceaux de Doris Akers ; belles interpr&eacute;tations, robustes et engag&eacute;es. Le lent et majestueux Trouble et la valse gospel He&rsquo;s A Light Unto My Pathway seront coupl&eacute;s sur un single, pour ne pas se couper du public noir, les autres para&icirc;tront sur album 33 tours (2). Pendant le Newport Jazz Festival, en juillet, le c&eacute;l&egrave;bre producteur John Hammond, celui qui avait permis l&rsquo;arriv&eacute;e de Mahalia chez Columbia quelques ann&eacute;es plus t&ocirc;t, demande au disc-jockey Joe Bostic d&rsquo;essayer de convaincre la chanteuse de participer au prochain festival, et lui permettre ainsi d&rsquo;introduire le gospel devant un public d&rsquo;amateurs de jazz. La r&eacute;action premi&egrave;re de Mahalia est toujours r&eacute;serv&eacute;e devant ce genre de proposition, car elle redoute toujours, sinon qu&rsquo;on lui demande de chanter du jazz ou du blues, du moins que ses chants sacr&eacute;s soient d&eacute;plac&eacute;s dans de tels cadres. De quoi la troubler un peu plus : le r&eacute;f&eacute;rendum du magazine Down Beat la nomme parmi les quatre plus grandes chanteuses de jazz (sic) avec Ella Fitzgerald, Billie Holiday et Sarah Vaughan ! <br />Durant l&rsquo;&eacute;t&eacute;, Mahalia participe notamment &agrave; un grand concert organis&eacute; par le r&eacute;v&eacute;rend A. A. Peters &agrave; la Victory Baptist Church de Los Angeles, en compagnie du Professor J. Earle Hines et ses 500 voix (!) et, pr&eacute;cis&eacute;ment, de son amie Doris Akers. C&rsquo;est Louise Weaver, qui l&rsquo;accompagne souvent sur disques et en tourn&eacute;es depuis 1950, qui tient l&rsquo;orgue. Elle donne &eacute;galement un concert &agrave; Richmond devant Paul Robeson. Pendant ce temps, Martin Luther King s&rsquo;entretient avec le vice-pr&eacute;sident Richard Nixon au sujet de l&rsquo;inscription de tous les Noirs sur les listes &eacute;lectorales. Apr&egrave;s avoir particip&eacute;, en automne, &agrave; l&rsquo;annuelle National Baptist Convention qui a lieu &agrave; Louisville, Mahalia doit se rendre &agrave; Hollywood pour appara&icirc;tre dans le film d&rsquo;Allen Reisner &ldquo;Saint-Louis Blues&rdquo; qui retrace la vie de W. C. Handy qu&rsquo;interpr&egrave;te Nat King Cole entour&eacute; d&rsquo;autres vedettes afro-am&eacute;ricaines : Eartha Kitt, Ella Fitzgerald, Cab Calloway, Pearl Bailey et le tout jeune Billy Preston. Mahalia Jackson joue le r&ocirc;le de Bessie May et chante &agrave; trois reprises. Le film sortira aux Etats-Unis le 7 avril 1958. Nat King Cole, que la chanteuse appr&eacute;cie beaucoup, l&rsquo;invite dans un de ses shows t&eacute;l&eacute;vis&eacute;s en d&eacute;cembre (3). Un peu avant, semble-t-il, elle avait &eacute;t&eacute; l&rsquo;h&ocirc;te du DuPont Show of the Week sur la cha&icirc;ne CBS. Durant cette p&eacute;riode californienne, Mahalia donne des concerts &agrave; San Diego, Palm Spring, San Francisco et Los Angeles (devant Charlie Chaplin). &Agrave; la Columbia, son producteur Mitch Miller, occup&eacute; ailleurs, d&eacute;l&egrave;gue &agrave; Irving Townsend un certain nombre d&rsquo;op&eacute;rations, ce qui ne constitue pas une mauvaise chose &eacute;tant donn&eacute; l&rsquo;insistance de Miller &agrave; faire enregistrer &agrave; Mahalia des airs populaires et de vari&eacute;t&eacute; &ldquo;commerciaux&rdquo; assaisonn&eacute;s de cloches et de &ldquo;violonades&rdquo;. La premi&egrave;re initiative de Townsend s&rsquo;av&egrave;re un vrai coup de g&eacute;nie lorsqu&rsquo;il demande &agrave; la chanteuse de participer &agrave; l&rsquo;enregistrement, avec Duke Ellington, de la &ldquo;Black, Brown and Beige&rdquo; ; le disque 33 tours devant comprendre une s&eacute;lection de morceaux choisis et retravaill&eacute;s de la fameuse suite cr&eacute;&eacute;e au Carnegie Hall le 23 janvier 1943. Cette grande fresque &eacute;crite par le Duke se veut une &eacute;vocation de l&rsquo;histoire du peuple afro-am&eacute;ricain ; elle portait d&rsquo;ailleurs comme sous-titre : &ldquo;A Tone Parallel to the History of the American Negro&rdquo;. Comme d&rsquo;habitude, sa premi&egrave;re r&eacute;action est r&eacute;serv&eacute;e. On lui propose de chanter Come Sunday, c&rsquo;est du &ldquo;jazz&rdquo;, et puis elle est sans doute impressionn&eacute;e de collaborer avec Ellington qu&rsquo;elle conna&icirc;t pourtant bien et qui a jou&eacute; du piano avec elle (1). Alors elle se d&eacute;fend : &ldquo;Je ne peux pas enregistrer avec un orchestre ! Je ne sais pas lire la musique&hellip;&rdquo; (4) On le sait mais on lui demande d&rsquo;apprendre, et celui qu&rsquo;elle consid&egrave;re comme son fils, le chanteur Brother John Sellers, de retour de Paris, l&rsquo;encourage&hellip; <br />Entre temps, Mahalia donne un concert au Philharmonic Hall de New York, et pour l&rsquo;occasion ajoute un second organiste, le jeune Edward C. Robinson. Puis elle se rend &agrave; Los Angeles et commence &agrave; r&eacute;p&eacute;ter avec le pianiste Elliott Beal avant d&rsquo;entrer, pleine d&rsquo;anxi&eacute;t&eacute;, dans les studios Columbia sur Sunset Boulevard, le 11 f&eacute;vrier 1958. En dehors de Come Sunday, dont Mahalia propose une interpr&eacute;tation grandiose (5), Duke Ellington demande &agrave; la chanteuse de chanter le 23e psaume qu&rsquo;elle ne conna&icirc;t pas. Et le Duke de r&eacute;pondre : &ldquo;Ouvrez votre Bible, et chantez, Madame !&rdquo; (4) Elle commence et l&rsquo;orchestre se met progressivement en place en improvisant derri&egrave;re elle. Le r&eacute;sultat : un chef-d&rsquo;&oelig;uvre. Notons que, pour arriver &agrave; la perfection, une dizaine de prises de chaque pi&egrave;ce furent n&eacute;cessaires, ainsi que nous avons pu le d&eacute;couvrir dans les in&eacute;dits parus en 1999 (6). N&rsquo;oublions pas que nous avons l&agrave; la seule incursion de Mahalia Jackson dans le &ldquo;jazz&rdquo; de toute sa carri&egrave;re ! &ldquo;Un seigneur du jazz et une reine du gospel, deux t&ecirc;tes couronn&eacute;es pour un moment de gr&acirc;ce, l&rsquo;&oelig;uvre est magistrale et compte parmi les joyaux les plus &eacute;clatants de la musique afro-am&eacute;ricaine&rdquo;. (7) Le lendemain, accompagn&eacute;e par un organiste, Mahalia enregistre deux titres puis reprend le train. Avant de rentrer chez elle, elle donne deux concerts &agrave; Kansas City (Missouri) au b&eacute;n&eacute;fice d&rsquo;un h&ocirc;pital noir, descend jusqu&rsquo;&agrave; la Nouvelle-Orl&eacute;ans &mdash; elle en profite toujours pour saluer les membres de sa famille rest&eacute;s &ldquo;au pays&rdquo; &mdash;, et remonte par le Tennessee. &Agrave; Chicago, elle enregistre un ou deux morceaux (8) et repart en Californie, au d&eacute;but de l&rsquo;&eacute;t&eacute;, pour participer au &ldquo;2nd Annual Victory Baptist Church Benefit Festival&hellip; Starring Mahalia Jackson&rdquo; devant 40 000 personnes r&eacute;unies au Coliseum de San Francisco. Elle rencontre &agrave; cette occasion Jules Schwerin, un ami de Brother John Sellers, qui vient lui parler de son projet d&rsquo;&eacute;crire un livre sur elle. <br />Les trois coups du Newport Jazz Festival 1958 sont frapp&eacute;s. Le 3 juillet, Duke Ellington donne son concert et invite Mahalia &agrave; venir chanter Come Sunday avec son orchestre, avant de laisser le piano &agrave; Mildred Falls pour Keep Your Hand On My Plow (Columbia CD 53584). Le r&eacute;cital de Mahalia Jackson est programm&eacute; le samedi soir 6 &agrave; l&rsquo;Everybody&rsquo;s Park, une soir&eacute;e triste, bruineuse, brumeuse et froide, un temps typique &agrave; Newport. Il est minuit une (donc le 7) lorsque le pr&eacute;sentateur Willis Connover annonce : &ldquo;Mesdames et Messieurs, c&rsquo;est maintenant dimanche et le temps est venu d&rsquo;&eacute;couter la plus grande chanteuse de gospel du monde&rdquo;. Mahalia attaque An Evening Prayer et va chanter durant trois quart d&rsquo;heures devant 10 000 personnes et donner une prestation magnifique et m&eacute;morable. Joe Bostic d&eacute;clara : &ldquo;Ce fut le plus grand t&eacute;moignage du pouvoir hypnotique d&rsquo;un artiste. Je n&rsquo;avais jamais rien vu de pareil durant toute ma vie. Ces gens restaient assis&hellip; ils oubliaient tout&hellip; ils &eacute;taient totalement transport&eacute;s&rdquo;.(4) Et alors qu&rsquo;elle entame Didn&rsquo;t It Rain, la pluie cesse et la chanteuse y va de son commentaire ! Mitch Miller enregistre tout le concert, lequel ne sera publi&eacute; dans son int&eacute;gralit&eacute; qu&rsquo;en 1994 (9). En effet, la qualit&eacute; de l&rsquo;enregistrement fut sans doute jug&eacute;e trop faible &agrave; l&rsquo;&eacute;poque, car plus de la moiti&eacute; des titres furent refaits en studio un mois plus tard et mix&eacute;s avec les applaudissements pour figurer sur le 33 tours &ldquo;Newport 1958&rdquo; (Columbia CL 1244). N&rsquo;ayant pas les droits pour &eacute;diter le CD de 1994, nous avons repris les douze titres du microsillon en les repla&ccedil;ant dans l&rsquo;ordre du concert (10). Celui-ci &eacute;tait constitu&eacute; d&rsquo;un choix de morceaux enregistr&eacute;s par la chanteuse entre 1950 et 1956 pour Apollo puis Columbia, ainsi que le tout r&eacute;cent He&rsquo;s Got The Whole World In His Hands, un spiritual rendu c&eacute;l&egrave;bre par Marian Anderson, et que Mahalia venait de r&eacute;aliser en studio quelques mois auparavant (11). Ajoutons enfin que trois extraits de la prestation de Mahalia Jackson figurent dans le film &ldquo;Jazz on a Summer&rsquo;s Day&rdquo;, un long m&eacute;trage en couleurs de Bert Stern sur le festival (12). Mahalia participe ensuite &agrave; une &eacute;mission de t&eacute;l&eacute;vision en compagnie de Sammy Davis Jr. Durant l&rsquo;&eacute;t&eacute;, la chanteuse a la douleur de perdre son compagnon, le r&eacute;v&eacute;rend Russell Roberts, puis elle gagne Hollywood pour participer au film &ldquo;Imitation of Life&rdquo; (&ldquo;Le Mirage de la vie&rdquo;), m&eacute;lodrame que r&eacute;alise Douglas Sirk avec Lana Turner et Juanita Moore en vedettes. Mahalia chante &agrave; la fin, lors des obs&egrave;ques de la servante noire tourn&eacute;es dans l&rsquo;Hollywood Baptist Church, un grandiose et bouleversant Trouble Of The World. Le film sortira sur les &eacute;crans en 1959. Apr&egrave;s le tournage, elle est re&ccedil;ue par Bing Crosby et Dinah Shore dans les studios ABC et chante son medley Summertime/Sometimes I Feel Like A Motherless Child dans un rocking-chair costum&eacute;e en &ldquo;Mammy&rdquo; ; encore une repr&eacute;sentation du clich&eacute; du &ldquo;bon Noir&rdquo; domestique que l&rsquo;on colle &agrave; la peau (si nous pouvons nous permettre l&rsquo;expression) des artistes afro-am&eacute;ricains. Et pourtant, comme nous l&rsquo;avons r&eacute;p&eacute;t&eacute; plusieurs fois, Mahalia Jackson ne portait pas le costume du personnage &ldquo;oncle tomiste&rdquo; que certains ignorants voulaient lui faire endosser&hellip;&nbsp; <br /><em>Jean BUZELIN</em> <br />&copy; Fr&eacute;meaux &amp; Associ&eacute;s&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />Jean Buzelin est l&rsquo;auteur de Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998). <br /><u>Notes : &ensp;</u><br /><em>1. Voir Complete Mahalia Jackson Vol. 7 (FA 1306) &ensp;<br />2. Deux autres titres : He Must Have Known (5711) et Jesus Is The Light (5712) sont rest&eacute;s in&eacute;dits. &ensp;<br />3. Sans doute juste avant ou apr&egrave;s le tournage du film, l&rsquo;&eacute;mission ayant eu lieu probablement &agrave; New York. &ensp;<br />4. In Mahalia de Laurraine Goreau. &ensp;<br />5. C&rsquo;est toujours Ray Nance qui joue la partie de violon. &ensp;<br />6. In Columbia CD 65566. &ensp;<br />7. No&euml;l Balen, Histoire du Negro Spiritual et du Gospel (Fayard, 2001). &ensp;<br />8. Une petite entorse &agrave; la stricte chronologie : pour ne pas couper en deux le concert de Newport, les morceaux enregistr&eacute;s en f&eacute;vrier et mars 1958 figureront dans notre prochain volume. &ensp;<br />9. In Live at Newport 1958 (Columbia Legacy CK 53629) : 14 titres. <br />10. Manquent When the Saints Go Marching In, Keep Your Hand on My Plow et Jesus Met The Woman at The Well (respectivement plac&eacute;s en 7e, 9e, 13e positions) ; tandis que My God Is Real, la fameuse gospel ballad de Kenneth Morris compos&eacute;e en 1944, est enregistr&eacute;e pour la premi&egrave;re fois par Mahalia et n&rsquo;avait pas &eacute;t&eacute; chant&eacute;e &agrave; Newport (rappelons que la chanteuse enregistra nombre d&rsquo;&oelig;uvres de Morris, dont Dig A Little Deeper, l&rsquo;un de ses grands succ&egrave;s). <br />11. Il figurera sur notre volume 9. <br />12. On y voit &eacute;galement Louis Armstrong, Dinah Washington, Big Maybelle, Chuck Berry, Sonny Stitt, Chico Hamilton, Jimmy Giuffre, Gerry Mulligan, George Shearing, Anita O&rsquo;Day, etc.</em>&nbsp; <br /><u>Ouvrages consult&eacute;s :</u> <br />Laurraine Gorreau : Mahalia (Lion Pub., UK 1976 - 2e &eacute;dition) <br />Jules Schwerin : God To Tell It :Mahalia Jackson (Oxford University Press, 1992) <br />Cedric J. Hayes &amp; Robert Laughton : Gospel Discography 1943-1970 (Eyeball Productions Inc., 2007)&nbsp; <br />Nos remerciements sinc&egrave;res &agrave; Claude Carri&egrave;re, Friedrich M&uuml;lh&ouml;cker, Michel Pfau et Étienne Peltier pour le pr&ecirc;t de certains disques originaux, parfois rares.&nbsp; <br />Photos &amp; collections : Sony Music Photos Archives, X (D.R.)&nbsp; <br />Nous d&eacute;dions ce volume &agrave; la m&eacute;moire de Jean-Paul Guiter.&nbsp; <br /><span class=Soustitre><em>english notes</em></span><br />The preceding volume in our series of the complete recorded work of Mahalia Jackson ended with a beautiful recording of God Is So Good recorded on 28 September 1956 (1). This gospel song had first been recorded by its composer, the excellent singer Doris Mae Akers, in 1953. A close friend of Mahalia but little known this side of the Atlantic, from January 1957 onwards, when she reprised God Is So Good, Doris Akers launched a successful recording career with RCA-Victor, notably as leader of the mixed group the Simmons Akers Singers. In March 1957 she recorded Life Eternal, Lead On Lord Jesus, Trouble and He&rsquo;s A Light Unto My Pathway, that Mahalia herself would reprise a few months later. In early 1957 Mahalia bought a house in Chicago, for 40,000 dollars, at 8353 Indiana Avenue on the edge of the black South Side but in a middle class white district. According to Jules Schwerin &ldquo;A few weeks after she moved in, an unidentified person, allegedly an irate neighbour, fired air-rifle pellets into her living room windows&rdquo;. Being a star was obviously no protection against racist attacks. There was a police enquiry that strangely was incapable of identifying the attacker but the incident was widely reported in the press, on radio and TV, mobilising numerous personalities, both white and black, including Dinah Shore who asked the CBS channel in Hollywood to invite Mahalia on to one of her &ldquo;Dinah Shore Shows&rdquo;. This was not easy as the producer Bob Banner had so far never been allowed to hire a black performer. However, permission was given for Mahalia to go to the studio. She had never worked with a female star before but had seen Dinah Shore on TV. Nothing had been prepared but the two women got on well. The problem came with the choice of music: Mahalia refused the arrangements and did not want to sing with a brass accompaniment which she said did not have the necessary spiritual quality and the musicians themselves were not used to backing gospel. Mildred Falls took charge of the whole operation, leading the rhythm section on He&rsquo;s Got The Whole World In His Hands. The two star performers, who hit it off immediately, had a long talk about the blues with Mahalia making her usual points and, together, they gave an astonishing rendition of Down By The Riverside. While the show was still going on Mahalia received a telegram from La Vegas: &ldquo;Sing your own repertoire and we&rsquo;ll pay you 25,000 dollars a week&rdquo;. 25,000 dollars was a record sum at that time, even more so for a woman vocalist to sing gospel in a night club! They even offered not to serve alcohol during her show. In spite of her usual reluctance, Mahalia was tempted but, after a sleepless night and an inner struggle, she refused. <br />On 17 May she took part in a &ldquo;Prayer Pilgrimage for Freedom&rdquo; organised at the Lincoln Memorial in Washington D.C. when fourteen people addressed the 35,000 strong crowd, the last being none other than Dr. Martin Luther King who gave his first great national speech with its famous demand &ldquo;Give us&nbsp; the ballot now.&rdquo; Afterwards Mahalia struck up I&rsquo;ve Been Bucked And I&rsquo;ve Been Scorned. This event, following her appearance in Montgomery the preceding December (1), was not the last time she would show her support for the Civil Rights Movement. A few weeks later, in Chicago, Mahalia recorded some beautiful interpretations of titles by Doris Akers. The slow and majestic Trouble and the gospel song He&rsquo;s A Light Unto My Pathway were combined on a single, intended to appeal to a black audience, while the others appeared on a 33rpm (2). During the Newport Jazz Festival in July, the famous producer John Hammond who had introduced Mahalia to Columbia a few years earlier, asked disc jockey Joe Bostic to try to convince the singer to take part in the next festival and so introduce gospel to a jazz audience. Mahalia&rsquo;s reaction was still hesitant for she was always afraid that if she agreed to sing in a jazz and blues atmosphere, her religious music would be relegated to second place. She was even more disturbed by the fact that a vote in the jazz magazine Down Beat had named her as one of the four greatest jazz singers together with Ella Fitzgerald, Billie Holiday and Sarah Vaughan! <br />During the summer Mahalia participated in a huge concert organised by the Reverend A.A. Peters and the Victory Baptist Church of Los Angeles, alongside Professor J. Earle Hines and his 500 voices and her friend Doris Akers. Louise Weaver, who had often accompanied her on tour and on record since 1950, was on organ. She also gave a concert in Richmond in front of Paul Robeson. This was also the time when Martin Luther King was holding discussions with Vice-President Richard Nixon on the right of black people to vote. After having attended the Autumn National Baptist Convention in Louisville, Mahalia left for Hollywood to appear in the Allen Reisner film &ldquo;St. Louis Blues&rdquo;, retracing the life of W.C. Handy (played by Nat King Cole) and featuring other Afro-American stars such as Eartha Kitt, Ella Fitzgerald, Cab Calloway, Pearl Bailey and young Billy Preston. Mahalia Jackson played the role of Bessie May and sang three songs. The film came our in the States on 7 April 1958. Nat King Cole, whom Mahalia really admired, invited her to appear on one of his TV shows in December (3). Apparently, a short time before, she had hosted the Dupont Show of the Week on CBS. During her stay in California she gave concerts in San Diego, Palm Spring, San Francisco and Los Angeles (in front of Charlie Chaplin). At Columbia her producer, Mitch Mitchell, who had other commitments, delegated some of his work to Irving Townsend which turned out to be not such a bad thing for the latter insisted that Mahalia record some more popular tunes, backed by bells and strings. His first initiative was a stroke of genius when he asked Mahalia to record with Duke Ellington on Black, Brown and Beige, a 33rpm of a selection of reworked pieces from the legendary suite first performed at the Carnegie Hall on 23 January 1943. This vast evocation, composed by Duke Ellington, subtitled &ldquo;A Tone Parallel to the History of the American Negro&rdquo;, was intended as the story of Afro-Americans. Not unsurprisingly, Mahalia&rsquo;s immediate reaction was very reserved. She was asked to sing Come Sunday but this was jazz and maybe she was also a little overawed by working with Ellington, although she knew him well as he had already played piano for her &ldquo;I can&rsquo;t record with no orchestra! I can&rsquo;t read a note&hellip;&rdquo; (4) This was already common knowledge but they asked her to learn and singer Brother John Sellers, whom she regarded as a son, encouraged her to learn. <br />Meanwhile, Mahalia gave a concert at the Philhar&shy;monic Hall in New York and here she added a second organist, the young Edward C. Robinson. Then she went to Los Angeles to begin rehearsing with pianist Elliott Beal before, still full of apprehension, entering Columbia Studios on Sunset Boulevard on 11 Fe&shy;bru&shy;ary 1958. In addition to a magnificent Come Sunday (5), Duke Ellington asked her to sing the 23rd Psalm which she didn&rsquo;t know. The Duke replied &ldquo;Open your Bible and sing woman!&rdquo; (4) She began and the orchestra gradually took their places behind her and began to improvise. The result was a masterpiece! Normally ten takes were necessary before a piece was considered perfect. (6) This is the only jazz track that Mahalia made throughout her entire career. &ldquo;A master of jazz and a queen of gospel, two crowned head coming together for a moment of beauty, the work is brilliant and one of the most magnificent achievements of Afro-American music&rdquo;. (7) The following day, accompanied by an organist, Mahalia recorded two titles and then took the train. Before returning home she gave two concerts in Kansas City in aid of the Negro hospital, went down to New Orleans &ndash; she always seized an opportunity to visit members of her family who had stayed in the south &ndash; and went back via Tennessee. In Chicago she recorded one or two titles (8) and then returned to California in early summer to take part in the &ldquo;2nd Annual Victory Baptist Church Benefit Festival &hellip; Starring Mahalia Jackson&rdquo;, before a crowd of 40,000 in the Coliseum at San Francisco. It was here that she met Jules Schwerin, a friend of Brother John Sellers, who had come to discuss his plan of writing a book about her. <br />And then it was time for the Newport Jazz Festival. On 3 July Duke Ellington gave his concert and invited Mahalia to sing Come Sunday with his orchestra, before handing over the piano to Mildred Falls for Keep Your Hands On My Plow (Columbia CD 53584). Mahalia&rsquo;s Newport concert was planned for Saturday 6 July at Everybody&rsquo;s Park. The evening was grey, damp, misty and cold. It was a minute past midnight (hence already 7 July) when presenter Willis Connover announced: &ldquo;Ladies and gentlemen, it is now Sunday and time to hear the world&rsquo;s greatest gospel singer!&rdquo; Mahalia began with An Evening Prayer and sang for forty-five minutes to a crowd of ten thousand, giving a magnificent and memorable performance. Joe Bostic declared: &ldquo;It was the most hypnotic power of great artistry I have ever encountered. Nothing like it have I ever seen in my life. Those people sat &hellip; they forgot &hellip; they were simply entranced.&rdquo; (4) And, as she launched into Didn&rsquo;t It Rain, the rain stopped and she continued with comment! Mitch Miller recorded the entire concert but this was only published in its entirety in 1994 (9). The quality of the recording was probably considered too weak at the time for more than half the titles were re-cut in the studio a month later and mixed with the applause to form the 33rpm &ldquo;Newport 1958&rdquo; (Columbia CL 1244). Not being able to obtain the rights to the 1994 CD we have reprised the twelve titles of the LP and placed them in the order they featured at the concert. (10) This comprised a choice of titles recorded by the singer between 1950 and 1956 for Apollo, then Columbia, as well as the recent He&rsquo;s Got The Whole World In His Hands, a spiritual made famous by Marian Anderson and which Mahalia had recorded a few months previously. (11) Note also that three extracts from Mahalia Jackson&rsquo;s performance feature in the film &ldquo;Jazz on a Summer&rsquo;s Day&rdquo;, a full length colour film by Bert Stein on the festival. (12) Mahalia then appeared in a television show with Sammy Davies Jr. During the summer, after the sad loss of her long time companion the Reverend Russell Roberts, she went back to Hollywood to appear in the film &ldquo;Imitation of Life&rdquo;, directed by Douglas Sirk and starring Lana Turner and Juanita Moore. Towards the end, during the funeral of the Negro servant filmed in the Hollywood Baptist Church, Mahalia sang a moving version of Trouble Of The World. The film came out in 1959. After the filming she was received by Bing Crosby and Dinah Shore in the ABC studios and sang her medley Summertime/Sometimes I Feel Like A Motherless Child, sitting in a rocking chair and dressed as a &ldquo;black Mammy&rdquo; &ndash; yet another example of the &ldquo;good old black servant&rdquo; clich&eacute; so often applied to Afro-American artistes. However, as we have already pointed out, Mahalia Jackson had absolutely nothing of the Uncle Tom characteristics that some uninformed observers labelled her with &hellip;&nbsp; <br />Adapted by <em>Joyce WATERHOUSE</em> from the French text of<em> Jean BUZELIN</em>&nbsp; <br />&copy; Fr&eacute;meaux &amp; Associ&eacute;s&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />Jean Buzelin is the author of: Negro Spirituals et Gospel Songs, Chants d&rsquo;espoir et de libert&eacute; (Ed. du Layeur/Notre Histoire, Paris 1998) <br /><u>Notes:</u>&nbsp; &ensp;<br /><em>1. See Complete Mahalia Jackson Vol. 7 (FA 1306). &ensp;<br />2. Two titles were never issued : He Must Have Known (5711) and Jesus Is The Light (5712). &ensp;<br />3. Doubtless just before or after the making of the film, the programme probably made in New York. &ensp;<br />4. In Mahalia by Laurraine Goreau. &ensp;<br />5. Still Ray Nance on violin. &ensp;<br />6. On Columbia CD 65566. &ensp;<br />7. No&euml;l Balen, Histoire du Negro Spirituel et du Gospel (Fayard, 2001). &ensp;<br />8. A slight deviation from the strict chronology: to avoid cutting the Newport concert into two parts, the three pieces recorded in February and March 1958 will appear in our next volume. &ensp;<br />9. On Live at Newport 1958 (Columbia Legacy CK 53629: 14 titles). <br />10. When The Saints Go Marching In, Keep Your Hand On My Plow and Jesus Met The Woman At The Well are missing (respectively placed 7th, 9th and 13th); while My God Is Real, the famous gospel ballad composed by Kenneth Morris in 1944, is recorded for the first time by Mahalia and was not sung at Newport. (The singer recorded numerous works by Morris, including one of her big hits Dig A Little Deeper.) <br />11. This will appear in our Vol. 9. <br />12. This film also features Louis Armstrong, Dinah Washington, Big Maybelle, Chuck Berry, Sonny Stitt, Chico Hamilton, Jimmy Giuffre, Gerry Mulligan, George Shearing, Anita O&rsquo;Day etc.</em>&nbsp; <br /><u>Works consulted:</u>&nbsp; <br />Laurraine Goreau: Mahalia (Lion Pub. UK 1976 &ndash; 2nd edition). <br />Jules Schwerin: God To Tell It: Mahalia Jackson (OUP 1992).&nbsp; <br />Cedric J. Hayes &amp; Robert Laughton: Gospel Discography 1943-1970 (Eyeball Productions. Inc., 2007).&nbsp;&nbsp; <br />With grateful thanks to Claude Carri&egrave;re, Friedrich M&uuml;hl&ouml;cker, Michel Pfau and Etienne Peltier for the loan of some rare records from their collections.&nbsp;&nbsp; <br />Photos &amp; collections: Sony Music Photos Archives, X (D.R.)&nbsp; <br />We dedicate this CD to the memory of Jean-Paul Guiter&nbsp; &ensp;<br /><span class=Soustitre>discographie</span><br /><strong>1. TROUBLE</strong> (D.M. Akers) CO5706 &ensp;<br /><strong>2. LEAD ON LORD JESUS</strong> (D.M. Akers) CO5707 &ensp;<br /><strong>3. HE&rsquo;S A LIGHT UNTO MY PATHWAY</strong> (D.M. Akers) CO5708-2 &ensp;<br /><strong>4. IMPATIENT HEART</strong> (D.M. Akers) CO5709 &ensp;<br /><strong>5. LIFE ETERNAL</strong> (D.M. Akers) CO5710 &ensp;<br /><strong>6. HUSH THE WIND</strong> (Trad.) &ensp;<br /><strong>7. HE&rsquo;S THAT SOWS IN TEARS</strong> (Trad.) &ensp;<br /><strong>8. STEAL AWAY TO JESUS</strong> (Trad.) &ensp;<br /><strong>9. PART IV</strong> (aka COME SUNDAY) (D. Ellington) CO40635-10 <br /><strong>10. PART VI</strong> (aka THE 23rd PSALM) (Trad. - D. Ellington) CO40636-8 <br /><strong>11. Intro + AN EVENING PRAYER</strong> (C.M. Battersby - C.H. Gabriel) <br /><strong>12. A CITY CALLED HEAVEN</strong> (H. Frey - arr. B. Smith) <br /><strong>13. I&rsquo;M ON MY WAY</strong> (Trad. - arr. M. Jackson) CO61394 <br /><strong>14. IT DON&rsquo;T COST VERY MUCH</strong> (T.A. Dorsey) <br /><strong>15. DIDN&rsquo;T IT RAIN</strong> (Trad. - arr. R. Martin) CO61396 <br /><strong>16. HE&rsquo;S GOT THE WHOLE WORLD IN HIS HANDS</strong> (Trad. - adapt. G. Love) <br /><strong>17. MY GOD IS REAL </strong>(K. Morris) CO61395 <br /><strong>18. I&rsquo;M GOING TO LIVE THE LIFE I SING ABOUT IN MY SONG</strong> (T.A. Dorsey) CO61397 <br /><strong>19. THE LORD&rsquo;S PRAYER</strong> (A.H. Malotte) <br /><strong>20. WALK OVER GOD&rsquo;S HEAVEN</strong> (T.A. Dorsey) CO61393 <br /><strong>21. JOSHUA FIT THE BATTLE OF JERICHO</strong> (Trad. - arr. M. Jackson) CO61399 <br /><strong>22. HIS EYE IS ON THE SPARROW</strong> (C.D. Martin - C.H. Gabriel) CO61398&nbsp; <br /><u>Mahalia Jackson (vocal) with :</u> <br /><strong>(1-4)</strong> Prob. Mildred Falls (p), unknown (organ)(bass)(drums)(vocal choir). Chicago, IL, 11/06/1957. <br /><strong>(5)</strong> Prob. same. Chicago, 12/06/1957. <br />(6) Pearl Bailey (vocal), Billy Preston (organ), unknown (vocal choir). Film &ldquo;St. Louis Blues&rdquo;. Hollywood, CA, ca. end 1957/early 1958. <br /><strong>(7-8)</strong> Nat King Cole (organ, piano), unknown(vocal choir). Same film. <br /><strong>(9-10)</strong> Duke Ellington Orchestra : Ray Nance (trumpet, violin), Harold &ldquo;Shorty&ldquo; Baker, William &ldquo;Cat&ldquo; Anderson, Clark Terry (trumpet), John Sanders, Britt Woodman, Quentin Jackson (trombone), Russell Procope (alto sax, clarinet), Bill Graham (alto sax), Jimmy Hamilton (tenor sax, clarinet), Paul Gonsalves (tenor sax), Harry Carney (baritone sax), Duke Ellington (piano), Jimmy Woode (bass), Sam Woodyard (drums). Los Angeles, CA, 11/02/1958. <br /><strong>(11, 12, 14, 16, 19)</strong> Mildred Falls Trio : Mildred Falls (piano), Lilton Mitchell (organ, except on 12), Tom Bryant (bass). Newport Jazz Festival, Newport, RI, 07/07/1958. <br /><strong>(13, 15, 17, 18, 20-22)</strong> Mildred Falls (piano), Lilton Mitchell (organ, except on 15, 20), Milton Hinton (bass). New York City, 11/08/1958.&nbsp;&nbsp;&nbsp;<br /><span class=Source>CD Mahalia Jackson Int&eacute;grale Vol 8 1957 - 1958 &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></span></p></span>"
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Intégrale Mahalia Jackson Vol. 19 - 1962

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19,99 €

Version Numérique

9,95 €

Intégrale Mahalia Jackson Vol. 18 - 1962

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19,99 €

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9,95 €

Intégrale Mahalia Jackson Vol. 17 - 1961

MAHALIA SINGS PART 4

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9,95 €

Intégrale Vol.16 - 1961 - Mahalia Sings Part 3

MAHALIA JACKSON

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Intégrale Vol. 15 - 1961 - Mahalia Sings Part 2

MAHALIA JACKSON

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Intégrale Vol.14 - 1961 - Mahalia Sings Part 1

MAHALIA JACKSON

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19,99 €

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Intégrale Mahalia Jackson Vol 13

1961

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19,99 €

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9,95 €

Intégrale Mahalia Jackson Vol.12 1961

INTEGRALE MAHALIA JACKSON VOL 12

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Intégrale Mahalia Jackson Vol.11 - 1960

COMPLETE MAHALIA JACKSON VOL 11 - 1960

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9,95 €

Intégrale Mahalia Jackson Vol 10

INTEGRALE MAHALIA JACKSON 1959 1960

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Intégrale Mahalia Jackson Vol 9

1958 - 1959

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19,99 €

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9,95 €

Intégrale Mahalia Jackson Vol 8

1957 - 1958

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19,99 €

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9,95 €