| | Andrae Crouch & The Disciples Live At Carnegie Hall CD Andrae Crouch & The Disciples Discography of CDs
(3 Customer Reviews)
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Released in 2004 on the Storyville label, THE BOOGIE WOOGIE TRIO VOL. 1 & 2 presents sessions recorded between 1939 and 1954, many of which feature pianists Albert Ammons, Pete Johnson, and Meade Lux Lewis playing together. Although the prospect of the three revered performers all pounding on the eighty-eights at the same time holds the potential for an overwhelming (if not downright cacophonous) sound, the trio works wonderfully together, offering up fun, rollicking, blues-inflected numbers such as "Boogie Woogie Prayer," "Lady Be Good," and "The Sheik of Araby." In addition to those tunes, the two-disc collection includes classics such as Johnson's ragtime-infused "Four O' Clock Blues" and numerous versions of W.C. Handy's jaunty "St. Louis Blues." These 45 tracks provide a fascinating look at the intersection of jazz, R&B, and early rock & roll, making for a potent dose of vintage boogie woogie that is almost impossible to top. Live At Carnegie Hall Music Andrae Crouch & The Disciples Live At Carnegie Hall Songs | 1. | Opening |
| 2. | I Don't Know Why |
| 3. | You Don't Know What You're Missing |
| 4. | He Looked Beyond My Faults |
| 5. | I Didn't Think It Could Be |
| 6. | Hallelujah |
| 7. | Jesus Is the Answer |
| 8. | Andrae Preachin' |
| 9. | Can't Nobody Do Me Like Jesus |
| 10. | Invitation |
| 11. | It Won't Be Long |
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| | Donny Hathaway Extension Of A Man CD (1973)
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$8.39 Donny Hathaway's third solo studio album, EXTENSION OF A MAN, followed the soul singer's lauded 1972 collaboration with vocalist Roberta Flack. Rather than scaling back his ambitions and playing it safe after that highly successful duet record, Hathaway opted to widen the scope of his eclectic sound even more, opening EXTENSION with the ambitious, lushly orchestral "I Love the Lord, He Heard My Cry (Parts I & II)."
Of course, it doesn't take long for the husky-voiced Hathaway, also a talented songwriter and multi-instrumentalist, to mix things up, as he eases into tracks ranging from folk-tinged soul ("Someday We'll All Be Free") to romantic R&B ("Love, Love, Love") to driving funk ("Come Little Children," "The Slums"). Sadly, this would be Hathaway's last full-length outing before his depression-related suicide in '79. While EXTENSION OF A MAN hints at what could have been an even more illustrious musical career, it also stands as an enduring testament to Hathaway's remarkable legacy.
Recorded at A&R Recording Studios, Bell Sound Studios, Regent Sound Studios and Atlantic Recording Studios, New York, New York; Universal Studios, Chicago, Illinois between October 11, 1971 and November 26, 1973. Originally released on Atco (7029). Includes liner notes by A. Scott Galloway, Nikki Giovanni and Donny Hathaway.
Engineers: Jimmy Douglass, Phil Ramone, Gene Paul, Murray Allen, Lew Hahn, Dixon Van Winkle, Malcolm Addey, Joe Ferla.
Personnel: Donny Hathaway (vocals, piano, electric piano, organ); John Littlejohn (vocals, guitar); Keith Loving (guitar, acoustic guitar); Cornell Dupree (guitar, electric guitar); Hugh McCracken (guitar, banjo); David Spinozza, Joe Bishop, Phil Upchurch (guitar); Gloria Agostini (harp); Theodore Israel, Julien Barber, Noel DaCosta, Sanford Allen, Charles McCracken, Harry Lookofsky (violin); George Ricci, Kermit Moore (cello); Hubert Laws (flute); Seldon Powell (clarinet, reeds, tenor saxophone); Phil Bodner (clarinet, alto saxophone); Jimmy Abato (clarinet); Romeo Penque, Billy Slapin (reeds); David "Fathead" Newman (tenor saxophone); Ernie Royal, Joe Newman , Marvin Stamm (trumpet); Julius Watkins (French horn); Tony Miranda, Garnett Brown, Dominick Gravine, Wayne Andre, James Buffington, Paul Faulise ...
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Live At Carnegie Hall album
$12.95 This disc has 14 of their Arctic sides (four previously unreleased), nine of which are from 1966-1969 singles. Lamentably, the liner notes do not include any dates or original release information. Although Honey & the Bees were more competent than distinctive as vocalists, the material and arrangements amount to some pretty decent Philadelphia soul from a time when the genre was starting to coalesce around the Gamble-Huff-Bell sound. What's here is not as slick or commercially successful as the Gamble-Huff-Bell blockbusters of the early and ...
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