What music are you listening to

[GDCarrington]

Peace In The Valley: The Complete Gospel Recordings




Elvis - Peace In The Valley (The Complete Gospel Recordings) is a long overdue triple CD release from BMG. In 1994 we were treated to the excellent double album Amazing Grace and more recently to a number of good (if forgettable) mid-price gospel albums. However, the complete record of Elvis Presley's gospel songs is one of the most important BMG releases ever in that it showcases a genre of music that involved Elvis totally and utterly in strength of feeling and a sincerity sometimes missing from some of his other recordings. As a catalog of one type of music, Peace In The Valley represents Elvis at his best, a peak rivaled only by his seminal rockabilly and rock & roll recordings from 1954 to 1956 and the superb, eclectic output from his American Studio Sessions in 1969.


Many fans will be surprised at the breadth of tracks on this release, many familiar, probably many more unfamiliar. Standards such as How Great Thou Art and Joshua Fit The Battle of Jericho are nicely complemented by the revivalist I've Got Confidence (a recording that would have fitted easily into Elvis's last narrative movie, Change Of Habit) and three of Elvis' lost singles: Life; Why Me, Lord? and Help Me. The soulful I Got A Feeling In My Body is an interesting inclusion while the '68 Comeback Special gospel medley is as fresh today as it was 32 years ago.


Fan favourites including His Hand In Mine and He Touched Me are complemented by An Evening Prayer and the searching Reach Out To Jesus. Forgotten movie tracks in the underrated Let Me Pray and the jaunty When The Saints Come Marchin' In sit well alongside arguably Elvis' most famous gospel recording (certainly his biggest selling gospel single) Crying In The Chapel. Songs like He Knows Just What I Need are so honestly sung by Elvis that you are virtually removed to another (spiritual) plane.


Listeners experience the strength of Elvis's bond with gospel music in songs such as I Believe In The Man In The Sky, while the inclusion of the technically inferior (due to the context of their recording), but nevertheless important home recordings, and the impromptu Million Dollar Quartet Session from the Sun Studios in December, 1956 provide a finely balanced and involving 87 track set.


The album comes with an attractive, atmospheric cover reminiscent of those from the Mario Lanza era and a booklet filled with fan pleasing photos and detailed liner notes by Cheryl Thurber.


Peace In The Valley will provide great solace to those whose spirits are low and reinforcement of beliefs for those with a religious leaning. Listening to the 87 tracks on this set it is clearly evident why Elvis received three Grammy awards for his gospel recordings during his lifetime. This set is a fitting testament to an often under-appreciated segment of Elvis's incredible musical legacy.


Source: http://shop.elvis.com.au/prod423.htm


Postscript: Gospel music was the only music in which Elvis won Grammy awards and was the only time he overrode "Col." Tom Parker on what he would perform. Tom Parker backed down. History proved Elvis to be correct in his choice.

[El-a-Menthol]

[GDCarrington]

Nancy Wilson - Anthology





Biography


Nancy Wilson’s musical style is so diverse that it is hard to classify. Over the years her repertoire has included pop style ballads, jazz and blues, show tunes and well known standards. Critics have described her as “a jazz singer,” “a blues singer,” “a pop singer,” and “a cabaret singer.” Still others have referred to her as “a storyteller,” “a professor emeritus of body language,” “a consummate actress,” and “the complete entertainer.” Then who is this song stylist (that’s the descriptive title she prefers) whose voice embodies the nuances of gospel, blues, and jazz? Her colleague and long time friend Joe Williams used to call her “the thrush from Columbus.”


By the age of four, Nancy Wilson knew she wanted to be a singer. Born in Chillicothe, OH, Nancy grew up in Columbus where her father provided early exposure to many vocalists. These included male singers Billy Eckstine and Louis Jordan, and the rhythm and blues of Ruth Brown and LaVerne Baker. Nat King Cole was influential as well. She also heard big band vocalists Jimmy Rushing with Count Basie’s Orchestra, and Lionel Hampton’s Little Jimmy Scott. As a child she took an active part in church music as well as school choirs and dance bands.


Nancy’s professional singing career began at the age of 15. She had her own television show, Skyline Melody, on a local station. Soon after, she began performing in clubs in the Columbus area. After graduating high school, still undecided about a music career, she enrolled in the teacher training program at Central State College. But in 1956, Nancy’s desire outweighed the uncertainty of a vocal career, so she left college to join The Rusty Bryant Band. That same year she met Julian “Cannonball” Adderley when she accompanied Bryant’s band to New York City for a recording session. Adderley, impressed with her talent and determination, took an immediate interest in her career and the two kept in touch.


In 1959, Nancy moved to New York City, allotting herself six months to attain her goals. She wanted Cannonball’s manager, John Levy, to represent her, and she wanted Capitol Records as her label. Within four weeks of her arrival in New York she got her first big break, a call to fill in for Irene Reid at The Blue Morocco. Nancy did so well that the club booked her on a permanent basis; she was singing four nights a week and working as a receptionist during the day. She called John Levy and he went to catch her show.


“John called me the very next day. He set up a session to record a demo,” Nancy recalls. “Ray Bryant and I went in and recorded “Guess Who I Saw Today,” “Sometimes I’m Happy,” and two other songs. We sent them to Capitol and within five days the phone rang. Within six weeks I had all the things I wanted.”


Nancy’s debut single, “Guess Who I Saw Today,” was so successful that between April of 1960 and July of 1962 Capitol Records released five Nancy Wilson albums. Two of those remain in-demand reissues to this day: The Swingin’s Mutual with George Shearing (1961) and Nancy Wilson/Cannonball Adderley (1962), and earned her a permanent star in the jazz constellation. In 1963 “Tell Me The Truth” became her first truly major hit, leading up to her performance at the Coconut Grove in 1964 – the turning pointing of her career garnering critical acclaim from coast to coast. Time Magazine wrote, “She is, all at once, both cool and sweet, both singer and story teller.”


Nancy was seen performing on variety shows (The Andy Williams Show, The Carol Burnett Show, The Flip Wilson Show, and others) and for one season she had her own popular television program, The Nancy Wilson Show (NBC) that won an Emmy in 1975. Nancy also took on acting roles, appearing on popular television shows throughout the years, from I Spy, Room 222, Hawaii Five-O, and Police Story, to The Cosby Show, Soul Food, New York Undercover, Moesha, and The Parkers.


After years with Capitol, during many of which she was second in sales only to the Beatles, surpassing even Frank Sinatra, Peggy Lee, the Beach Boys, and early idol Nat King Cole, the business had changed providing Nancy with an opportunity to seek out projects that allowed her to express the maturity that she acquired throughout her then 55 years of life.
One of the more interesting albums from her later period came about in 1991, when singer Barry Manilow was given a sheath full of lyrics written by the late Johnny Mercer which the great songwriter had never put to music. Manilow added melodies and chose Nancy to sing the resultant songs.


In 1995, when National Public Radio (NPR) was looking for an articulate voice with both name value and jazz credibility to host their Jazz Profiles series, Nancy was the obvious choice. Not only did she know the music, but she knew the artists personally. Her first profile for this program was the 75th birthday tribute to Charlie Parker.


In the late 1990s, Nancy teamed up with MCG Jazz, a social enterprise supporting the youth education programs of the Manchester Craftsmen’s Guild, a nonprofit, minority-directed, arts and learning organization located in Pittsburgh, PA. A Nancy Wilson Christmas, released for the 2001 holiday season was her only completed Christmas album. All proceeds form the sale of A Nancy Wilson Christmas went directly to support the programs of MCG Jazz.


Three years later Nancy gave MCG Jazz and the world of music another gift – R.S.V.P. (Rare Songs, Very Personal) – which was released on August 25, 2004. Receiving gifts in return, R.S.V.P. (Rare Songs, Very Personal) won the 2005 GRAMMY® Award for Best Jazz Vocal Album and the 2005 NAACP Image Award for Best Jazz Artist. (This was her second GRAMMY®, the first being in 1964 for “How Glad I Am,” and her second Image Award, the first being in 1986.) Other honors Nancy has received include a Star on the Hollywood Walk of Fame, streets and days dedicated in her name, honorary doctorate degrees, and in 2005, the UNCF Trumpet Award celebrating African-American achievement, a Lifetime Achievement Award from the NAACP in Chicago, and Oprah Winfrey’s Legends Award. Her third CD on the MCG Jazz label, Turned To Blue (released in August 2006), brought her a third Grammy award.


Ms. Wilson has retired from extensive touring, but she still continues to perform select engagements


Source: Nancy Wilson Web Site
http://missnancywilson.com/index.php...d=12&Itemid=26

[drquantum]

This evening it's the following pair:



and

[GDCarrington]

This evening it's the following pair:



and

Excellent choices!

[GDCarrington]

Glen Campbell - 'Ghost on the Canvas'

Personal note - If this is his "Swan Song" then what a magnificent way to go out! Wonderful album!



Glen Campbell calls 'Ghost on the Canvas' his last CD at age 74.…
'Ghost on the Canvas' review: Glen Campbell pushes past Alzheimer's disease to revive lyrical genius
JIM FARBER
DAILY NEWS STAFF WRITER
Tuesday, August 30, 2011

There's something tragically ironic about the recent revelation that Alzheimer's disease has found its way to Glen Campbell. His greatest talent has always been the certainty of his singing. Through the clarity of his phrasing and the awareness he brings to a lyric, Campbell seems present in his records to an unusual degree.

How can a man of such definition be fading away?

Of course, that's the ruthlessness of the disease. It renders even the most engaged mind remote. Yet from the evidence on Campbell's self-declared swan-song CD, "Ghost on the Canvas," the ravage hasn't had its way with him yet.

Campbell's voice sounds gloriously clean on the CD. At 74, his tone remains boyishly sure, despite the lyrics' frequent expression of appreciation, one that only significant age can bring.

The form and style of the CD owe much to producer Julian Raymond. He's the one who first coaxed the singer out of semi-retirement to create 2008's pristine "Meet Glen Campbell."

There, Raymond took a page from Rick Rubin's strategy with Johnny Cash, hand-picking a range of cool songs to breathe new life into a legend. The material came from contemporary artists like Green Day, Travis and Foo Fighters, as well as older ones like the Velvet Underground, Paul Westerberg and Jackson Browne. Campbell gave each song fresh gravity and erudition.

This time, Raymond co-wrote pieces with Campbell while commissioning more from Teddy Thompson, Jakob Dylan and Westerberg.

If few of the new songs match the perfection of the covers, Campell's performance ups their power significantly. And in the title track, Westerberg gives Campbell nearly as perfect a vehicle as Jimmy Webb did back in the '60s.

Besides its sweeping melody, "Ghost" offers a poignant metaphor for the star's plight. It addresses the soul that resonates after the apparent person recedes.

Many songs borrow motifs from Campbell's hits without leeching off them. "Any Trouble" (another Westerberg baby) has the circular guitars of "Gentle on My Mind." "A Thousand Lifetimes" winks at a hook in "Wichita Lineman," while "A Better Place" re-creates the fine picking of many Campbell classics. Teddy Thompson's "In My Arms" studiously revives the brand of '60s country-pop Campbell extended from Buddy Holly and Roy Orbison.

Raymond breaks up the CD's 10 songs with six instrumental interludes, some of which make equally smart reference to the past. "The Rest Is Silence" has a Beach Boys-like vocal chorale, footnoting Campbell's early instrumental work with that seminal group.

Campbell's lyrical point of view throughout allows no resentment or trepidation. On the contrary, he assumes the role of protector of the loved ones he'll drift away from. In the process, he has done more than leave his family a vow of connection. He has given his fans a final portrait of himself so vivid it feels like his prime.

http://articles.nydailynews.com/2011...julian-raymond

[El-a-Menthol]

[GDCarrington]

The Best Of Don McLean – Don McLean



Don McLean: Biography

Don McLean was born on October 2nd 1945 in New Rochelle, NY to Elizabeth and Donald McLean. By the age of five he had developed an interest in all forms of music and would spend hours listening to the radio and his father’s records. Childhood asthma meant that Don missed long periods of school and while he slipped back in his studies, his love of music was allowed to flourish. He would often perform shows for family and friends.

As a teenager, he purchased his first guitar (a Harmony F Hole with a sunburst finish) from the House of Music in New Rochelle and took opera lessons paid for by his sister. These lessons combined with many hours in the swimming pool, helped Don to develop breath control, which would later allow him to sing long, continuous phrases, in songs such as “Crying”, without taking a breath. The exercise also meant his asthma improved.

In 1961, Don took his only vacation with his father – a trip to Washington D.C. Sadly, a few months later his father died. Don was just 15 years old.

By this time, Don's musical focus was on folk thanks, in part, to The Weavers landmark 1955 recording "Live at Carnegie Hall". Don was determined to become a professional musician and singer and, as a 16 year old, he was already making contacts in the business. After managing to get his home number from the telephone directory, Don phoned Erik Darling. They become friends and Don visited his apartment in New York.

Through Erik Darling, Don recorded his first studio sessions with Lisa Kindred and was invited to join a group with Darling and the other members of the Rooftop Singers. However, even at that time, Don saw himself as a troubadour and turned down the offer.

While at Villanova University in 1963 (he stayed for just four months), Don met and became friends with Jim Croce and President Kennedy was assassinated.

After leaving Villanova, Don worked his 'apprenticeship' for “Harold Leventhal Management”. This started a six year period during which time Don performed at venues like the Bitter End and Gaslight Café in New York, the Newport Folk Festival, the Cellar Door in Washington, D.C., the Main Point in Philadelphia, the Troubadour and Ash Grove in Los Angeles and over forty colleges throughout New York and New England. He appeared alongside artists like Herbie Mann, Brownie McGee and Sonny Terry, Melanie, Steppenwolf, Arlo Guthrie, Pete Seeger, Janis Ian, Josh White, Ten Wheel Drive and others.

Don also found time to attend night school at Iona College and, in 1968, graduated with a Bachelors degree in Business Administration but turned down a prestigious scholarship to Columbia University Graduate School in favour of becoming resident singer at Caffe Lena in NY.

While resident at Caffe Lena, the New York State Council for the Arts invited Don to become their Hudson River Troubadour. He accepted and spent the summer travelling from town to town in the Hudson Valley, giving talks about the environment and singing songs for whoever would turn up to listen.

A year later, Don was a member of the first crew of the Sloop Clearwater. With Pete Seeger, they travelled the Atlantic seaboard giving concerts at each port and featuring in the news wherever they went.

In 1969, Don recorded his first album, “Tapestry”, in Berkeley, CA. The student riots were going on outside the studio door as Don was singing “And I Love You So” inside. The album was first released by Mediarts and attracted good reviews and achieved some commercial success.

The transition to international stardom began in 1971 with the release of "American Pie”. "American Pie” was recorded on 26th May 1971 and a month later received its first radio airplay on New York's WNEW-FM and WPLJ-FM to mark the closing of The Fillmore East, the famous New York concert hall.

Thirty years later, “American Pie” was voted number 5 in a poll of the 365 “Songs of the Century” compiled by the Recording Industry Association of America and the National Endowment for the Arts.

The top five were:
"Over the Rainbow" by Judy Garland
"White Christmas" by Bing Crosby
"This Land Is Your Land" by Woody Guthrie
"Respect" by Aretha Franklin;
and "American Pie" by Don McLean.

“American Pie” was issued as a double A-side single in November 1971 and charted within a month. Interest from the media and public sent the single to #1 in the USA and Don to international superstardom. Every line of the song was analysed time and time again to find the real meaning. Don refused to sanction any of the many interpretations, so adding to its mystery.

The second single, "Vincent”, charted on 18th March 1972 going on to reach US#12, UK#1. The "American Pie” album remained at #1 in the UK for 7 weeks in 1972, and in the UK charts for 53 consecutive weeks.

In the wake of “American Pie”, Don became a major concert attraction and was able to call upon material not only from his two albums but from a repertoire of old concert hall numbers and the complete catalogues of singers such as Buddy Holly, and another McLean influence, Frank Sinatra. The years spent playing gigs in small clubs and coffee houses in the 60s paid off with well-paced performances. Don's first concert at the Albert Hall in 1972 was a triumphant success.

Concert footage and other video clips played to McLean songs formed the award winning 1972 film "Till Tomorrow” produced by Bob Elfstrom (a project they had started working on in 1968).

With all this success, "Tapestry” was reissued by United Artists and charted in the USA on 12th February 1972 reaching #111 and the top-15 in the United Kingdom; it includes two of Don's most famous songs: "And I Love You So” and "Castles in the Air”.

Don's third album, simply entitled "Don McLean”, included the song "The Pride Parade” that provides an insight into Don's immediate reaction to stardom. Don told "Melody Maker” magazine in 1973 that “Tapestry” was an album by someone previously concerned with external situations. “American Pie” combines externals with internals and the resultant success of that album makes the third one ("Don McLean”) entirely introspective”.

The fourth album, "Playin Favourites” became a top-40 hit in the UK in 1973 and included the classic, "Mountains of Mourne” and Buddy Holly's "Everyday”, a live rendition of which returned Don to the UK singles chart. McLean said, “The last album ("Don McLean”) was a study in depression whereas the new one ("Playin Favourites”) is almost the quintessence of optimism, with a feeling of "Wow, I just woke up from a bad dream".

1973 was another great year for Don McLean the songwriter and Don McLean the performer. Perry Como recorded "And I Love You So” from the "Tapestry” album and took it to the UK top-5 and American top-30. Como's version was nominated for a Grammy but was beaten by "Killing Me Softly With His Song” sung by Roberta Flack and written by Norman Gimbel and Charles Fox apparently after Lori Leiberman had attended a McLean concert at the LA Troubadour.

Throughout the 1970s, Don McLean remained an in-demand concert performer. In 1975, 85000 fans attended his London Hyde Park concert. 1977, saw a brief liaison with Arista Records that yielded the "Prime Time” album before, in 1978, Don's career began again in Nashville where he would work with Elvis Presley's backing singers, "The Jordanaires” and many of Elvis's old musicians. The result was "Chain Lightning” and the UK No 1, "Crying”. The early 1980s saw further chart successes with "Since I Don't Have You”, a new recording of "Castles in the Air” and "It's Just the Sun”.

In 1987, the release of the country-based "Love Tracks" album gave rise to the hit singles "Love in My Heart” (top-10 in Australia), "Can't Blame the Wreck on the Train” (US country #49) and "Eventually”.

Four years later, Don hit the UK top-10 with "American Pie” prompting many appearances on radio and TV including a one-hour special with Nicky Campbell on BBC radio 1, and the recording of the Manchester concert for video release in 1993. A favourite memory for many fans is Don performing "American Pie” live on "Top of the Pops” in 1991.

In 1992, many previously unreleased songs became available on "Favorites and Rarities” while "Don McLean Classics” featured new studio recordings of "Vincent” and "American Pie”. In 1994, Don appeared at the Buddy Holly tributes in the USA and London, and "Guns and Roses” took a replica of Don's version of "Since I Don't Have You” (a US top-20 hit for Don in April 1981) to the UK top-10. 1995 and "American Pie' returns to the top-40; this time in "techno-music” format performed by European artist, Just Luis.

In 1996, "Killing Me Softly With His Song"', performed by The Fugees, was one of the biggest selling singles of the year.

Don McLean credits his 1997 performance of “American Pie” at Garth Brooks’ Central Park concert (attended by over 500,000 people) as the beginning of his third career comeback. According to Don, his first "comeback" had been the release of "Vincent" and the second, the North American release and massive success of "Crying".

"Brooks was joined on stage by two surprise guest stars, Billy Joel and Don McLean, who brought down the house with an acoustic rendition of "American Pie." (CNN, 1997)

Two years later Garth Brooks repaid the favour by appearing as a special guest (with Nanci Griffith) on Don's first ever American TV special, broadcast on PBS and now available as the “Starry Starry Night” video, DVD and CD.

A month later, Don McLean wound up the 20th century by performing "American Pie" for President Clinton at the Lincoln Memorial Gala In Washington D.C.

In 2000, Madonna recorded a cover version of "American Pie" that on release in the UK entered the official singles chart at number 1 and made the US top-30 on air play points alone. This prompted EMI to release a new "Best of Don McLean" CD that gave Don his first top-30 album chart entry in almost 20 years.

McLean said: "Madonna is a colossus in the music industry and she is going to be considered an important historical figure as well. She is a fine singer, a fine songwriter and record producer, and she has the power to guarantee success with any song she chooses to record. It is a gift for her to have recorded 'American Pie.' I have heard her version and I think it is sensual and mystical. I also feel that she's chosen autobiographical verses that reflect her career and personal history. I hope it will cause people to ask what's happening to music in America. I have received many gifts from God but this is the first time I have ever received a gift from a goddess."

Even more surprising than Madonna having a hit with a Don McLean song, was George Michael's decision in 2003 to record "The Grave", from the "American Pie" album, as a protest against the Iraq war. He recorded the song for MTV and performed it live on Top of the Pops.

Don said: "I am proud of George Michael for standing up for life and sanity. I am delighted that he chose a song of mine to express these feelings. We must remember that the Wizard is really a cowardly old man hiding behind a curtain with a loud microphone. It takes courage and a song to pull the curtain open and expose him. Good Luck George."

The 21st Century has seen a number of new honours for Don McLean and his music. Iona College conferred an honorary doctorate on Don in 2001 and, in February 2002, "American Pie" was finally inducted into the Grammy Hall of Fame. In 2004 Don McLean was inaugurated into the National Academy of Popular Music Songwriters' Hall of Fame and in 2007 he shared his life story in Alan Howard's biography.

Don McLean continues to tour the world and release new material. In 2009 his latest studio album, "Addicted to Black", was released and in 2010 he returned to Europe for a seven nation tour, including the Royal Albert Hall, London on May 7th.

2011 has seen another tour of UK and Ireland, including a sensational appearance at Europe's largest music festival, Glastonbury.

Don McLean lives in Maine on a 300-acre estate with his wife Patrisha and his two children. Insights into Don's life today can be found in the Christmas 2008 interview.

Alan Howard
Revised: June 2011

http://www.don-mclean.com/aboutdon.asp

[The Knize]

Agree with the lengthy posts "below" re various artists. Glenn Campbell and Jimmy Webb were a heck of a pair, though. Hard to imagine that GC would have had the fame he had without JW.

McLean was very good, but seemed to fizzle out after big success. Not an unusual thing. Popular music eats its young.

Nancy Wilson was/is simply extraordinary!

I have been listening to "Pretty Lights." See my new avatar. My college age song turned me onto "him."

I do not think of myself as a techno guy, but this music is wonderful by any measure. There are similar artists out there. If radio stations had any ability to pick good popular music at all this type of stuff would be in constant rotation. Maybe it will be soon. You heard it here first. <g>

[El-a-Menthol]

[GDCarrington]

The Jones Girls - The Best of the Jones Girls



The Jones Girls comprised of:
Brenda Elaine Jones Williams (b. 7th December 1954)
Shirley Yvonne Jones (b. 22nd September 1953)
and Valorie Denise Jones (b. 17th April 1956, Detroit, Michigan, U.S.A. d. 2nd December 2001, Sinai Grace Hospital, Detroit, Michigan, U.S.A.).
mary frazier jones
The Jones Girls were, originally, from Detroit and were the daughters of the singer Mary Frazier Jones (the spelling on the sleeve above is incorrect according to Brenda).
The came to fame after working with Diana Ross on a U.S. tour.
The Girls had toured with the Four Tops additionally, as well as Little Richard, The Impressions and B.B. King.
In 1970, they recorded the songs 'Learn How To Love' (on Ember Records) and 'My Own Special Way' (on Ember Records, additionally).
A year later, saw the release of 'Oh I Feel Good' and 'Put A Little Love In Your Heart'.
In 1972, they had further singles released including 'Come Back' (on the Music Merchant imprint, a subsidiary of the Holland / Dozier / Holland Invictus label), 'You're The Only Bargain I've Got' and 'Your Love Controls Me' (on the Music Merchant imprint).
1973, saw the single 'Taster Of The Honey' released on the Music Merchant imprint.
Early in 1974, the Girls recorded two songs entitled ''If You Don't Love Me No More' (Paramount 0279) b/w 'If You Don't Start Nothing', which were initially released on that Paramount imprint.
In 1974, their attributed debut single entitled 'Will You Be There' was released for the Paramount imprint (Paramount 0921), a song that was accompanied by the single 'I Need You' for the same label.
It was through their association with the Impressions, that the Girls met Curtis Mayfield who took them to his, Chicago based, Curtom Imprint, where they recorded several sides.
These included 'I Turn To You' (Curtom 0102), in 1975 and the songs 'Misteri' ('Mister-I') and 'Hey Lucinda' b/w 'Dr Big Smile' (CMS 0108).
At this time the Girls recorded several sides that were never released.
These included 'Treat Me Like A Lady', 'Waiting For The Last Goodbye', 'The Proof Is In The Pudding', 'Man On The Take' and 'Plain Jane'.
By 1978 they had sang background vocals for Aretha Franklin on the Curtis Mayfield produced outing 'Almighty Fire'.
They later recorded with Linda Clifford on 'Runaway Love' before the tour that took them to a higher level with Diana Ross.
The Jones Girls accompanied Diana on a marathon tour which took them to Philadelphia and to the attention of Kenny Gamble.
They had also worked with Diana Ross in the studio, however, none of these sides have seen the light of day.
At Philadelphia International, they provided background vocals for other artists at the label.
These include Dexter Wansel, Lou Rawls and Jean Carn.
Kenny Gamble recruited the Girls to his Philadelphia International imprint in 1979 and a series of excellent releases followed.

There they released four albums, 'The Jones Girls' in 1979, (including 'This Feeling's Killing Me', 'You Gonna Make Me Love Somebody Else' and 'Life Goes On'), 'At Peace With Woman' in 1980, (including 'Dance Turned Into A Romance' and 'Let's Celebrate'), 'Get As Much Love As You Can' in 1981, (including 'Nights Over Egypt' and 'Love Don't Ever Say Goodbye'), and 'Keep It Comin' in 1984, (including 'You Can't Have My Love' and 'Ah Ah Ah Ah', a collaboration with Keni Burke).
Away from Philadelphia they provided background vocals for the likes of , Freda Payne, Lamont Dozier, Thelma Houston, Norman Connors ('Take It To The Limit'), Prince Phillip Mitchell ('Make It Good'), L.J. Reynolds, Michael Pedicin Jr, Glenn Jones ('I Am Somebody'), Margie Joseph, Brass Fever ('Time Is Running Out'), Walter Jackson, George Duke, Noel Pointer and Bobby Wilson.
In 1983 they relocated from Philadelphia International to the RCA imprint for one album entitled 'On Target', (including '2 Win U Back', 'On Target' and 'Knockin').
Shirley Jones debut solo album 'Always In The Mood' was released in 1986 and charted with the single 'Do You Get Enough Love?'.
valorie denise jones
Valorie Denise Jones, sadly, died in 2001. She was 45 years old.

[El-a-Menthol]

[shanman]

The National- High Violet

[tchudson]

Listening to Tori Amos - Little Earthquakes. Beautiful album.

[Masterkova]

Edith Piaf ~ 30e Anniversaire - after watching La Vie en Rose last night.

[GDCarrington]

The Day Finger Pickers Took Over the World by Chet Atkins

[El-a-Menthol]

[GDCarrington]

Al Jarreau - We Got By





Al Jarreau Biography by Jason Ankeny - Allmusic.com




The only vocalist in history to net Grammy Awards in three different categories (jazz, pop, and R&B, respectively), Al Jarreau was born in Milwaukee, WI, on March 12, 1940. The son of a vicar, he earned his first performing experience singing in the church choir. After receiving his master's degree in psychology, Jarreau pursued a career as a social worker, but eventually he decided to relocate to Los Angeles and try his hand in show business, playing small clubs throughout the West Coast.


He recorded an LP in the mid-'60s, but largely remained an unknown, not reentering the studio for another decade. Upon signing to Reprise, Jarreau resurfaced in 1975 with We Got By, earning acclaim for his sophisticated brand of vocalese and winning positive comparison to the likes of Billy Eckstine and Johnny Mathis. After 1976's Glow, Jarreau issued the following year's Look to the Rainbow, a two-disc live set that reached the Top 50 on the U.S. album charts. With 1981's Breakin' Away, he entered the Top Ten, scoring a pair of hits with "We're in This Love Together" and the title track. After recording 1986's L Is for Lover with producer Nile Rodgers, Jarreau scored a hit with the theme to the popular television program Moonlighting, but his mainstream pop success was on the wane, and subsequent efforts like 1992's Heaven and Earth and 1994's Tenderness found greater success with adult contemporary audiences.


A string of budget compilations and original albums hit the shelves at the end of the decade, but into the turn of the century his original output slowed down. That was until he signed with the Verve/GRP label in 1998 and reunited with producer Tommy LiPuma. LiPuma had produced Jarreau's ostensible 1975 debut, We Got By, and the pairing seemed to reinvigorate Jarreau, who went on to release three stellar albums under LiPuma's guidance, including 2000's Tomorrow Today, 2002's All I Got, and 2004's Accentuate the Positive. Givin' It Up, recorded with George Benson and released in 2006, was nominated for three Grammy Awards -- each one for a different song. Jarreau returned with his first ever full-length holiday-themed album, Christmas, in 2008.


http://www.allmusic.com/artist/al-ja...3111/biography

[maxman]

Here's what I just finished listening to.

[GDCarrington]

Jazz Legends Live (Part 4)



Jazz Legends Live is a series of live performances from contemporary Jazz artists recorded all over the world in a variety of venues, intimate American Jazz clubs, open air Jazz festivals and concert halls throughout Europe. However, what is consistent throughout the series is the wonderful music, the quality and enthusiasm of the performing Jazz Legends and the appreciation of the worldwide audiences. Phil Woods My Old Flame, Ben Sidran Space Cowboy, Sidran & Woods Last Dance, Charlie Byrd 7 Come 11, Charlie Byrd Just Friends, Stephane Grappelli After Youve Gone, Stephane Grappelli After You In The Wind.