| | Cathedrals Farewell Celebration CD Cathedrals Discography of CDs
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A FAREWELL CELEBRATION was nominated for the 2001 Grammy Award for Best Southern, Country or Bluegrass Gospel Album.
This live collection, issued on gospel stalwart Bill Gaither's record label, bids a goodbye of sorts to the Cathedrals, one of gospel's longest-running vocal groups. The tour during which this album was recorded proved to be the Cathedrals' last, as one of the quintet's founding members, Glen Payne, passed away in October 1999.
The session opens with a blazing medley of "This Old House" and "When the Saints Go Marching In," led by the booming bass voice of George Younce. The buoyant Younce is a constant presence throughout the show, giving breath to subwoofer-rattling low notes and bringing a rare sense of slapstick humor to the proceedings at every turn. At one point, he even threatens in jest to slap a soloist he feels has disrespectfully wandered into the lower register--a territory Younce clearly covets as his own--during the tow-tapping "Climbing Higher and Higher." Passionate performances abound here, with sterling guest spots from the Statler Brothers and the Oak Ridge Boys. A FAREWELL CELEBRATION proves to be the perfect final act in the Cathedrals' 35-year run.
Additional personnel includes: Bill Gaither, The Statler Brothers, The Oak Ridge Boys, Sandi Patty, Guy Penrod.
Recorded live at The Ryman Auditorium, Nashville, Tennessee.
Farewell Celebration Music | List Price | $16.97 (You save $2.62) | | Category | Rock/Pop Albums, R&B CDs, Religion, Christian, Gospel, Live Performances, Southern Gospel | | Label | Spring House Music Group (Chordant) | | Orig Year | 1999 | | All Time Sales Rank |  35014  | | CD Universe Part number | 1031639 | | Catalog number | 42223 | | Discs | 1 | | Release Date | Nov 16, 1999 | | Studio/Live | Live | | Mono/Stereo | Stereo | | Producer | Bill Gaither | | Engineer | Chad Evans | | Personnel | Bill Gaither, Guy Penrod, Glen Payne, Ernie Haas |
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Chinampas is a true oddity in avant jazz pianist/poet/dancer Cecil Taylor's voluminous catalog. This is a spoken word record of Taylor reciting his poetry while accompanying himself on timpani, bells, and small percussion. To address what these poems are about is a meaningless endeavor. It would be the same as trying to explain what his piano playing is about. It's all language; it's all music. In fact, these poems, studio recorded beautifully in the fall of 1987, tell the story of Taylor's approach to making music, creating solid matter from thin air, and then -- like the true shaman that he is -- transforming it into sand and blowing it away to make room for something else. Taylor's language is not all private (though some of the sounds executed as words are clearly part of a highly individualized iconography); many of the words and syntactical structures he uses are recognizable as Western in shape and origin. But the manner in which he speaks his lines -- his stutters and slides through syntax - opens onto what poet Charles Olson called the "field of language," an entirely new history coming out of the lines that extends out as far as the poet's breath. And Taylor is making a new history in his poetics: one that comes from pre-Babylonian Egypt and extends into the centuries beyond this one, one that insists in communicating in a language that is only dotted with references to Western culture and its ideologies as a jumping-off point in both directions simultaneously. And to hear the moans, groans, giggles, squeaks, ...
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During his career, Eddie Palmieri hasn't seemed completely comfortable unless he's allowing others to challenge him. It was true at the beginning of his career when he revolutionized Latin music with his charanga, the La Perfecta ensemble; it was true during the mid-'60s when he recorded two respected dates with Cal Tjader; it was true during the '60s and '70s when he energized the Latin superstar ...
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