An update on "O Johneron Davis, Where Art Thou?"

You may recall my blog post on December 20, 2009 requesting information on Johneron Davis, a former member of The Caravans who unfortunately does not have much info available about her or her life. Since December 20, I have spoken with two members of The Caravans and I was able to learn a small bit of useful information. I learned that she passed away sometime in the 1970s from cancer at a relatively young age. I wasn't able to learn any more information besides that.

Well, part of my question has been answered. I'm still seeking more information such as exact birth and death dates, where she lived, if she had a family and what other groups (if any) she sang with. If you can help out with additional information, please let me know in the comments section of this posting.

Op-Ed: It's Always a Good Day to Sing a "Good Old" Gospel Song!

By: Joseph Middleton

As some of you may know, on Black Entertainment Television (BET), there's a program airing its third season titled "Sunday Best". The gospel duo Mary Mary and solo artist Donnie McClurkin are the judges on this gospel counterpart to Fox's "American Idol". It seems like BET is proving "The Boondocks" correct in their observation that BET is taking old reality shows from five years ago and making them over. However, that particular topic is for discussion on another day, on another blog.

I'm going to cut over straight to the issue that's relevant to THIS blog. On the episode filmed in Detroit, which originally aired on Sunday, April 11, 2010, one person auditioned for the judges by singing the old song, "I Know I've Been Changed". Tina Campbell of Mary Mary delivered a one-liner in response, stating, “DEFINITELY take that to the Black History Program.”

While I realize the show is all about competition and choosing the person that best exhibits broad marketability and high profitability for the record company, both the steadfast advocate of the traditional gospel sound which exists and in me, AND the Gospel Music Historian in me had to shake my head in response to Tina Campbell's words. That is NOT the type of message that should be put forth. Whether people like it or not, songs such as those have a rightly deserved place within gospel music. Despite their age, old songs still touch the hearts and souls of a great number of parishioners and listeners everywhere, young and old alike. Just as everyone isn't drawn to the old school sound, not everyone is drawn to the contemporary sounds of today, either. One also has to realize that gospel is not some monolithic, or homogeneous genre of music. It is QUITE diverse! Gospel contains many sub-genres which appeal to different people. For example, mass choirs, quartets, neo-soul influenced groups and small mixed vocal ensembles are all lumped into the gospel category for simplicity's sake, but they are all sub-genres within gospel music.

There are those who are still getting Saved off of those old songs, and that's probably one of the most important things to recognize. Upon that realization, I don't believe it's prudent to actually restrict OR to even suggest restricting such songs to only be trotted out for the annual "Black History Program." There are people who enjoy and cherish those songs and wish to sing and hear them year-round. Dorothy Norwood's "Ride On King Jesus", Eugene Smith's "I Know The Lord Will Make a Way", Andrae Crouch's "The Blood Will Never Lose Its Power" and James Cleveland's "Walk on By Faith" are all songs which are all at least 45 years old in age, but they are still being sung and recorded by current gospel artists. Just look at Vickie Winans and how she scored a hit in late 2009 and early 2010 with her rendition of Rev. W. Herbert Brewster's legendary song, "How I Got Over", some 59 years after it was first published.

What I'm saying is, don't just recognize these songs during Black History Month, that is if they even get recognized at all (and they don't at some churches). These good old, good news songs should be celebrated every day. After all, it's always a good time to give Praise!

Arrangements for Geraldine Gay Hambric of The Gay Sisters, Plus a Chicago Tribune Writeup

Here is some information regarding the funeral arrangements for Geraldine Gay Hambric.



Homegoing Information:
Friday, April 16th at 7:00 pm - Musical Tribute
Saturday, April 17th at 10:00 am - Funeral Service

Prayer Center Church of God in Christ
526 East 67th Street
Chicago, Illiois 60637

Also, --->*HERE*<--- is an article from the Chicago Tribune about the life of Mrs. Hambric, which mentions a small but interesting Texas connection (you know I'm always trying to find Texas connections with Golden Era Gospel!)

Update on the Chicago Gospel Music Museum

By: Joseph Middleton

Well readers, I'm back home in H-town. I had a wonderful time in Chicago, seeing places where golden era gospel greats lived and flourished. I'll post about that trip at a later date. In the meanwhile, here's an update out of Bronzeville regarding Rev. Stanley Keeble's efforts to have a museum dedicated to the history of black gospel music up and operating by October 26, 2010.
Gospel museum: Collectors want to pay homage to gospel heritage

Note: Bob Marovich is not donating his collection to the museum. Don't know how that got in there, must have been wishful thinking by the writer at the Tribune. ;-)

Aretha Franklin picks Karen Clark-Sheard to play the role of Kitty Parham of the Clara Ward Singers in "Aretha: From These Roots"

Jawn Murray over at BV Buzz at AOL BlackVoices reports that Aretha Franklin has picked Karen Clark-Shead of The Clark Sisters fame to play golden era artist, Catherine "Kitty" Parham in "Aretha: From These Roots". Parham (pictured above) was a member of The Clara Ward singers from the early 1950s until she left the group along with Esther Ford, Frances Steadman, Henrietta Waddy and Marion Williams to form the Stars of Faith during the Summer of 1958. Kitty Parham died in Philadelphia, PA on June 27, 2003 at the age of 77.

To view the article on Black Voices, Click HERE

To see Kitty Parham in action with Marion Williams and the Stars of Faith, click HERE

R.I.P. Geraldine Gay Hambric

Dear readers, I am writing this post from Chicago, the birthplace of the traditional gospel sound, and the national headquarters for Golden Era Gospel, where artists such as Thomas A. Dorsey, James Cleveland, Robert Anderson, Albertina Walker and Roberta Martin developed and refined their style. I arrived on April 7th and I saw a few landmarks today and I'll cover that in a later post as I visit some more landmarks tomorrow. While it was great as a historian to see those few landmarks such as Mt. Pisgah, where Roberta Martin once served as Minister of Music, I just found out that one of the last human landmarks of vintage Chicago gospel passed away. Geraldine Gay Hambric, the last surviving member of The Gay Sisters died Tuesday, April 6, 2010. Bob Marovich has written an excellent writeup on Mrs. Hambric, and you can read it HERE.

A Golden Era Easter Playlist

By: Joseph Middleton

Easter is almost upon us. Come Resurrection Sunday, choir stands across the world will be filled with choirs and praise teams singing familiar songs such as “He Decided to Die (He Would Not Come Down From the Cross)” and and “For God So Loved the World”. For those who want to hear something from the Golden Era for Easter, here are a few songs that should satisfy the ears and the spirit.

1. "Christ The Redeemer" (1966) Rev. James Cleveland and the Walter Arties Chorale

Right at the end of the Golden Era, Rev. James Cleveland recorded this song with the Walter Arties Chorale. The arrangement is jazzy with cues taken from “Cristo Redentor”, and is less bluesy than other popular gospel recordings from the same time. The modern arrangement takes no luster away from this gem. The choir provides haunting, modulating ooohs throughout the song as James mournfully tells the story. This song has almost meditative qualities to it, and is an interesting departure from the usual Resurrection Sunday repertoire.

(Available from Savoy/Malaco on the “James Cleveland Sings with the World’s Greatest Choirs, 20th Anniversary” CD)


2. "The Crucifixion" (1954) The Caravans

During their second recording session with the States label, The Caravans sang of the Crucifixion. On lead, we have the group leader, Albertina Walker as solemnly, yet with the fervor of a minister with her trademark runs, tells the familiar story. On the piano, we have a young James Cleveland, in the background we have Cassietta George, Iris Humble, Gloria Griffin, and Johneron Davis with their sweet, heavenly background vocals.

(Not available on CD. Check eBay for availability of this recording.)


3. "The Crucifixion" (1957) The Roberta Martin Singers

With an intro featuring a throbbing organ being played by Little Lucy Smith Collier, the late, great Eugene Smith sings/narrates the Crucifixion in this recording taken from the Martin Singers’ first recording session with Savoy. In the background, Roberta Martin, Gloria Griffin, Delois Barrett Campbell, Little Lucy Smith Collier, Norsalus McKissick and Romance Watson support Smith’s lead with a cushioning cloud of hums, ooohs, and the occasional few words. Roberta glides over the piano keys and glides through the background with her unmistakable contralto accenting the ends of the vocalizations. Listen as the drummer provides sound effects for the nails being driven and for the sting of death in this quality recording done as only “Bert’s” group would have it done.

(No longer available on CD from Savoy/Malaco. Check eBay for the occasional copy. Album titled on CD as “Twelve Inspirational Songs” and on LP as “Spirituals”.)

4. "The Blood Will Never Lose Its Power" (1962) The Caravans

On this go-round, the girls (Albertina Walker, Shirley Caesar, Delores Washington, Cassietta George and Johneron Davis) sing this now familiar Andrae Crouch tune. Albertina provides the lead vocals as James Herndon’s skilled hands tear up the ivories and an uncredited organist provides twirling and booming accompaniment. Toward the end of the song, Cassietta chimes in to complement Albertina, putting the icing on the cake.

(Available from Savoy/Malaco on the “Best of the Caravans” CD.)

5. "No Greater Love" (1960) Rev. James Cleveland and the Voices of Tabernacle

Not to be confused with Keith Pringle’s 1988 hit of the same name, James Cleveland and Louise McCord lead the Voices of Tabernacle in this song taken from the early days of James Cleveland’s solo career. The song is rather simple and easy to remember. For those who are looking for a simple song for their choir or praise team to sing on Resurrection Sunday, this is a good candidate.

(Available on various vintage gospel compilation CDs. Check iTunes and other online music outlets.)


6. "He's Alive Today" (1965) The Caravans

We’re taking yet another jaunt with The Caravans, this time it’s a little different. Albertina has stepped aside and let one of the other group members lead and take the limelight. Even though the lineup is almost the same as the 1962 lineup for “The Blood Will Never Lose Its Power”, Johneron Davis has been replaced by the late Josephine Howard (mother of r&b songstress Miki Howard). Josephine takes a commanding, authoritative lead and lets the listener know that He is indeed alive! Josephine’s squalls will surely take you in. You may end up putting this one on repeat.

(Not available on CD. Check eBay for the VeeJay LP containing this song titled “Let’s Break Bread Together”.)


7. "Calvary" (1967) Mahalia Jackson

No Golden Era playlist is complete without an entry from Mahalia Jackson. Recorded live in concert at the New York City Philharmonic Hall on March 26, 1967, Mahalia’s pianist Eddie Robinson and organist Charles Clency’s sparse musical accompaniment set a sobering scene that silences the performance hall as Mahalia sings. Compared to James Cleveland’s “Christ the Redeemer” from the previous year, this song sounds more traditional, and sounds typical of most of Mahalia’s later work.

(Available on Disc 1 of the Mahalia Jackson CD compilation tited “Gospels, Spirituals, and Hymns”.)