A bold but necessary step
Mahalia Jackson, the undisputed queen of gospel, faced a profound challenge throughout her career that shaped the fate of many artistic pioneers: skepticism and sometimes outright rejection by those most deeply connected to her musical tradition. Especially among passionate gospel listeners, fans, and even musicians, her progressive musical development was met with suspicion. The audience at the time, often familiar only with gospel or blues, found Mahalia's move into new musical territory disconcerting. The mere step into unknown territory was enough to provoke considerable resistance.
The critics' greatest fear was that Mahalia would turn to a completely different genre and thus betray her deep-rooted gospel roots. However, this assumption proved to be unfounded. What Mahalia Jackson actually did was not a departure, but an artistic expansion and enrichment. She integrated subtle elements and nuances that not only complemented her repertoire, but developed it in a way that set her apart from the vast majority of gospel musicians. This was not only a courageous move, but also a visionary one that cemented her exceptional status.
A central aspect that made Mahalia Jackson's music so unique was her extraordinary ability to improvise. She had the gift of not only interpreting lyrics and their emotional content vocally, but also of clarifying and deepening them through her performance. For Mahalia, expression always came before musical conventions. She allowed her voice to convey the message of gospel in an honest and deeply personal way, often departing from strict musical or vocal rules. And that is precisely what made her singing so unique!
Diese emotionale Tiefe und Freiheit in der Interpretation waren revolutionär
Bemerkenswert ist, dass Mahalia Jackson keine musikalische Ausbildung nach herkömmlichen Maßstäben besaß. Sie machte alles instinktiv, was ihrer Musik eine individuelle, natürliche Note verlieh – ein Merkmal, das lebendiges Musizieren auszeichnet. Diese Authentizität und Unmittelbarkeit waren es, die ihre Darbietungen so bewegend und unvergleichlich machten. Besonders hervorzuheben ist, wie Mahalia Jackson ihre Individualität, ihren unverwechselbaren Stil, ihren einzigartigen Klang und ihre Art zu singen selbst in den oft strengeren Strukturen von Orchesterarrangements bewahrte. Sie ließ sich von niemandem in ihre künstlerische Herangehensweise hineinreden und behielt ihre authentische Interpretation bei, was ihre Darbietungen auch in größerem Kontext unverkennbar machte.
Parallels to musical visionaries
Mahalia's courageous approach can indeed be compared to the work of other musical visionaries who also broke with convention and created new forms of expression. Parallels can be drawn here with figures such as Johann Sebastian Bach in the Baroque era or Arnold Schoenberg in the modern era. Bach, for example, although deeply rooted in the church music tradition, developed polyphony and counterpoint in a way that far exceeded the expectations of his time and had a lasting influence on the musical language. His compositions were often more complex and demanding than what audiences of the time were accustomed to.
Arnold Schoenberg dared to make an even more radical break. He developed the twelve-tone technique and atonality, which represented a complete departure from the harmonic principles that had prevailed until then. He, too, placed his artistic freedom above the general taste and musical conventions of his time, which initially earned him vehement rejection, but later recognition as one of the most important composers of the 20th century.
Like Bach and Schoenberg, Mahalia Jackson placed her artistic freedom and personal expression above the rigid expectations and musical conventions of her genre, even if she first had to be convinced by Irving Townsend. She demonstrated an extraordinary ability to adapt to this new musical direction without abandoning her deep-rooted identity or her distinctive musical individuality. On the contrary, through this fusion she created her own genre within gospel music, one that continues to resonate today. She embodied the rare ability to harmoniously combine innovation and tradition, impressively proving that true art knows no rigid boundaries.
Mahalia's remarkable ability to constantly evolve while staying true to her artistic core is a shining example of how to honor the past while boldly forging new paths. Her musical journey is a legacy that teaches us that growth and authenticity can be inextricably linked.
Concerns, challenges, and adjustments
The transition to playing with a large orchestra was not easy for Mahalia. She was used to working with smaller groups that responded spontaneously to her musical decisions. An orchestra, on the other hand, required more structure and discipline, which limited her freedom to improvise in the moment. Since she could not read music and therefore could not follow a score, rehearsals were very difficult.
Mahalia's longtime piano accompanist, Mildred Falls, played a crucial role in bridging the gap between Mahalia's traditional gospel style and the orchestral arrangements. Mildred Falls intuitively understood Mahalia's musical approach and was able to anticipate and support her phrasing and rhythmic approach on the piano. In other words, she knew exactly how she liked to make music. She was also able to play sight-read and rehearse the orchestral arrangements with Mahalia in advance. This enabled Mahalia to settle into her new environment with the orchestra more quickly. The arrangers also took care to tailor the arrangements precisely to Mahalia's voice and interpretations.
Mixed reactions to the orchestra recordings
Mahalia's orchestral recordings were initially met with mixed feelings by critics and fans. Some welcomed the expansion of her sound and the opportunity to reach a wider audience. Others criticized the perceived loss of authenticity and the commercialization of her music. Mahalia herself expressed ambivalence about her orchestral recordings, as she missed the intimacy and spontaneity of her earlier recordings with smaller ensembles. On the other hand, she saw the opportunities this presented and the recognition of her abilities.
When Mahalia listened to her recording with Percy Faith for the first time (which she didn't necessarily do after a recording), she said that it was probably the best thing she had ever done. I think she realized what she was capable of. She was now also a great concert singer, with an orchestra. Something she had only known and admired from her records. And now she was part of it. It demanded a lot from her, but she created something that is unique to this day! Mahalia's singing is her own style, her own genre, her own standard. The fears and criticisms were unfounded, because Mahalia did not abandon her personal style, but simply expanded it with something else, something great. Irving Townsend's plan to reach a wider audience with these recordings also worked.
It is often observed that classical singers who seek commercial success turn to popular music. This often results in a reduction in both vocal and musical quality. With Mahalia, it was exactly the opposite! She had to draw on all her potential, and even go beyond it, to make these recordings. They allowed her to mature enormously as a musician.
Marty Paich,
Born Martin Louis Paich on January 23, 1925, in Oakland, California, and died on August 12, 1995, in Santa Ynez, California, Marty Paich was an American jazz pianist, composer, arranger, and producer of modern jazz and West Coast jazz. During his fifty-year career, Marty Paich worked with artists such as Frank Sinatra, Barbra Streisand, Sarah Vaughan, Stan Kenton, Ella Fitzgerald, Mahalia Jackson, Mel Tormé, Ray Charles, Aretha Franklin, Linda Ronstadt, Stan Getz, Sammy Davis Jr, Michael Jackson, Art Pepper, and many others.
The intense collaboration between Marty Paich and Mahalia Jackson was remarkable in that Paich, who was primarily active in jazz and pop, turned his attention to gospel music and showcased Mahalia's powerful voice and emotional singing in a new musical light. Paich's arrangements were orchestral and had a partly late Romantic tone, which underscored the spiritual depth of the music. Their collaboration produced remarkable albums such as Garden of Prayer (1966) and Christmas with Mahalia (1968). These albums are testimonials to this unique collaboration and show how two different musical worlds can come together to create something new and moving.
Marty Paich was a versatile American musician. He began his musical journey playing the accordion before turning to the piano. His education took him to various colleges and universities, including Chapman College, San Francisco State University, the University of Southern California, and the Los Angeles Conservatory of Music. To deepen his musical knowledge, he took private lessons with renowned musicians such as Mario Castelnuovo-Tedesco and Arnold Schoenberg! (An interesting parallel to William "Bill" Russell, who also studied with Arnold Schoenberg).
His career began as an arranger and pianist for the Gary Nottingham Orchestra. During World War II, he served in the US Air Force, where he led various bands for troop entertainment. After the war, he returned to the Los Angeles music scene and worked on soundtracks for animated films. He also accompanied the famous singer Peggy Lee and played with the Shorty Rogers Giants.
In the 1950s, Paich was a key figure in the West Coast jazz scene and worked in Hollywood's famous studios. He arranged and produced numerous albums for well-known jazz musicians such as Ray Brown, Ella Fitzgerald, Terry Gibbs, Stan Kenton, Shelly Manne, Anita O'Day, Dave Pell, Art Pepper, Buddy Rich, Jeri Southern, Shorty Rogers, and Mel Tormé.
In the 1960s, Paich expanded his musical spectrum and turned to light music. He worked with a wide variety of artists, including Andy Williams, Al Hirt, Dinah Shore, Ray Charles, and Sammy Davis Jr. He led a studio orchestra that appeared on popular TV shows such as The Glen Campbell Goodtime Hour, The Smothers Brothers Comedy Hour, and The Sonny and Cher Show. He was also a loving teacher and mentor to his son David Paich, who later played in the successful rock band Toto.
In the 1980s and 1990s, Paich was a sought-after arranger and worked with international stars such as Barbra Streisand and Michael Jackson. He was also active in the film industry and was involved in well-known projects such as Grand Canyon, The Killer Brigade, Pretty Woman, and Prince of Tides.
A highlight of his career came in 1991 when he conducted the Los Angeles Philharmonic Orchestra at the legendary Sarah Vaughan's final public performance at the Hollywood Bowl. He then retired to his ranch in Santa Ynez, where he only occasionally worked on music projects, such as with the Queen of Soul, Aretha Franklin.
Percy Faith
Mahalia Jackson's collaboration with Percy Faith on the 1960 album "The Power and the Glory" is a fascinating example of how Mahalia's powerful gospel singing could be fused with orchestral arrangements. This collaboration was part of a broader trend in Mahalia's career after she moved to Columbia Records in 1954, where the label sought to make her sound more accessible to a wider audience. As mentioned earlier, Mahalia was initially very hesitant to record with an orchestra. She was accustomed to the flexibility and spontaneity of smaller ensembles, which supported her improvisational style. The structured environment of an orchestral recording presented a major challenge to her usual musical approach.
Percy Faith's professionalism
His studio work ethic, characterized by discipline and high standards of quality, impressed Mahalia. She described him as a "very strict man" and emphasized the absence of "nonsense" during recordings. This professional approach enabled efficient and focused collaboration.
"The Power and the Glory" - A Success
Despite initial reservations, Mahalia was very pleased with the result of the collaboration. She praised "The Power and the Glory" as one of her best albums. Faith's arrangements added a new dimension to her singing by underscoring the emotional intensity of her voice with orchestral opulence.
Persistent ambivalence
Although Mahalia recognized the quality of "The Power and the Glory," she continued to have mixed feelings about orchestral recordings. She missed the intimacy and spontaneity that characterized her earlier gospel recordings with smaller ensembles.
Duke Ellington (Edward Kennedy Ellington)
(April 29, 1899 in Washington, D.C. – May 24, 1974 in New York City)
A musical and personal connection
Duke Ellington was a central figure in the development of jazz. He contributed significantly to the popularization of swing and established the big band as one of the most important formations in jazz. His compositions are characterized by their melodic diversity, harmonic sophistication, and rhythmic complexity. Many of his pieces, such as "Take the 'A' Train," "Mood Indigo," and "Sophisticated Lady," became unforgettable jazz standards.
Duke Ellington was an admirer of Mahalia's talent and recognized her importance as a key figure in gospel singing. Their connection began in the early 1950s, even before they met in person, when Ellington sent Mahalia a fruit basket after her hysterectomy. Ellington had to persuade Mahalia to work with him for two years. It was only when he presented Mahalia with his idea of setting the 23rd Psalm to music that she agreed.
The most famous collaboration between Mahalia and Duke Ellington took place in 1958, when they worked together on the "Come Sunday" movement of his work "Black, Brown and Beige," both in the studio and at the Newport Jazz Festival. This project led to mutual appreciation and friendship.
The Artists Society of America
An example of Ellington's commitment to Mahalia Jackson is evident in his decision to appoint her vice president of the Artists Society of America (ASA) in 1953. The ASA was a non-profit organization founded by Ellington to support young black artists in the entertainment industry. Mahalia's position in the ASA underscores not only Ellington's respect for her talent, but also their shared interest in promoting the careers of black artists. He referred to her as the "Queen of Gospel" and recognized the power and influence of her singing. Ellington's humor is particularly evident in his memoir Music is My Mistress, in which he praised Mahalia's cooking skills as well as her vocal talents. This anecdote illustrates the personal warmth and respect that characterized their relationship.
Mahalia's influence on Ellington's music
Although she only agreed to sing the spiritual part of Black, Brown and Beige after two years, he was convinced from the outset that she was the ideal singer for this piece. Ellington's decision to include a tone poem entitled "Portrait of Mahalia Jackson" in his New Orleans Suite in 1970 underscores the lasting impression Mahalia made on him.
Mahalia's performances at the Newport Jazz Festival
Her performances at the Newport Jazz Festival were another aspect of her connection to Ellington. She appeared there in 1957 and 1958, once alongside the Duke Ellington Orchestra. These performances helped raise Mahalia's profile in the jazz scene and demonstrated the versatility of her singing, which was equally impressive in a gospel context as it was in a jazz setting.
Conclusion
The relationship between Mahalia Jackson and Duke Ellington was characterized by mutual respect, admiration, and musical synergy. Their collaboration on "Black, Brown and Beige" is just one example of their artistic connection. Ellington recognized Mahalia's importance as the "Queen of Gospel" and actively promoted her career. Mahalia's influence on Ellington is evident not only in their joint projects, but also in the tone poem he dedicated to her. The two musical giants bridged the gap between gospel and jazz!
Mitch Miller 1911-2010
Miller was a key figure in Mahalia Jackson's career, particularly in connection with her move to Columbia Records.
Originally a classical oboist, he became a pop producer. Before joining Columbia, he was head of the Artists and Repertoire (A&R) department at Mercury. Mitch Miller rejected the traditional 32-bar song form and used "hybrid instruments." Hybrid instruments are musical instruments that consist of elements from various other instruments. They can be a combination of acoustic and electronic components, or they can consist of parts from two or more different types of traditional instruments. Hybrid instruments often arise from a desire to create new timbres and expressive possibilities. However, they can also be developed for practical reasons, such as to combine the advantages of different instruments in a single instrument.
Examples of “hybrid instruments”
The electric violin, a violin with an electric pickup that allows it to be played through an amplifier. The theremin, an electronic instrument that is played without being touched. The duduk, an Armenian oboe that is often played with an electronic effects device to alter its sound. Hybrid instruments are an important part of contemporary music and are often used in experimental and improvisational contexts. However, they can also play a role in traditional music, for example when musicians are looking for new ways to play their instruments. Atlantic Records boss Jerry Wexler called Miller "the first great record producer in history."
It is reported that Mitch Miller arranged the songs for Mahalia's recordings with a 30- to 35-piece orchestra, complete with strings, brass, and woodwinds. However, the actual studio orchestra was smaller. The smaller ensemble was probably chosen for cost reasons, rather than because Miller wanted it that way.
Hidle Brown Barnum (b.15. Juli 1936 in Houston, Texas)
Music producer, instrumentalist, singer, and arranger.
As a child, Barnum worked as an actor in film and television. In 1955, he founded the doo-wop group The Dootones at the request of label owner Dootsie Williams from Dootone Records. Their only release was "Teller of Fortune," and the band broke up. In 1956, he replaced Bobby Nunn in the Robins, whom he also produced in part. He sang on twelve Robins records for the Whippet Records, Knight Records, Arvee Records, and Gone Records labels until 1961. In addition to his first solo single, "Blue Moon," on Imperial Record, and studio work as a musician, for example as a drummer on Dorsey Burnette's rockabilly classic "Bertha Lou," he produced various artists, including the number five hits "Tan Shoes" and "Pink Shoelaces" in 1959.
He achieved his first chart entry in his own right in 1960 with the instrumental "Lost Love" on Eldo Records. This success led to a contract with RCA Records, where he released his first album, "The Big Voice of Barnum." Although he continued to release a number of his own records, his work as an arranger and producer came to the fore. A move to Capitol Records in 1965 was the logical next step given his growing reputation. Together with his colleague David Axelrod, he developed an orchestral jazz-funk sound that would have a major influence in the decades to follow. He produced recordings by musicians such as Frank Sinatra, Count Basie, Etta James, Little Richard, Aretha Franklin, Lou Rawls, and The Supremes.
In the mid-1970s, Barnum moved to television, where he composed and produced music for series and advertising jingles. He founded the H. B. Barnum's Life Choir, a gospel ensemble with which he regularly performed at services at St. Paul's Baptist Church in Los Angeles.
He arranged the music for Mahalia's album.
"What The World Needs Now“
CBS 1969
Richard Hazard 1921 -2000
Richard Hazard, born on March 2, 1921, in Trenton, New Jersey, was an extremely prolific and versatile American composer, orchestrator, conductor, and songwriter. His career, which spanned decades, had a significant impact on the musical landscape of American television and film. He died of cancer on December 20, 2000, in Los Angeles, California. Hazard was married to Jeanne Taylor from 1950 until his death and had two children. His private life seemed to provide a stable foundation for his extensive professional activities.
Extensive work as a composer
Richard Hazard's talent as a composer was wide-ranging and included both television series and films. His best-known works include the music for the successful series "Mannix" (1967–1972) and "Mission: Impossible" (1969–1972). He also contributed to the musical design of numerous other productions.
Sought-after arranger and orchestrator
In addition to his work as a composer, Hazard was a highly regarded arranger who collaborated with many well-known artists.
Recognition and awards
Richard Hazard's outstanding contributions to music have been honored with numerous awards. In particular, his work on the soap operas "The Guiding Light" and "Another World" earned him several Daytime Emmy Awards.
He arranged the music and conducted the orchestra on Mahalia Jackson's album.„My Faith“ CBS 1967.
“I Believe!“ 1960
Irving Townsend
Orchestra And Chorus / Johnny Williams
Featuring Mildred Falls
“The Power And The Glory“ 1960
Irving Townsend
Orchester And Choir Percy Faith
“Every Time I Feel The Spirit! 1961
Orchestra And Chorus / Johnny Williams
Faeturing Mildred Falls
”Great Songs Of Love And Faith“ 1962
Orchestra And Chorus / Johnny Williams
“Songs For Christmas“. 1962
Unterschiedliche Platten Cover
“Silent Night“
Composer, Lyricist: P. Brooks
Composer, Lyricist: Lewis H. Redner
Associated Performer: Johnny Williams
Producer: Irving Townsend
“Let´s Pray Together“ 1963
Producer: Irving Townsend
Conductor, Arranger: Marty Paich
“Make A Joyful Noise Unto The Lord“ 1963
Irving Townsend (Produzent)
“Garden Of Prayer“ 1966
Eigentlich kein Orchester Album
Irving Townsend
Composer: Paul Francis Webster
Composer: Marty Paich
“My Faith“ 1967
Irving Townsend (Produzent)
Richard Hazard (Arrangement und Dirigent)
Orchestra Contucted by Eward Robinson
Chorus under the direction of Thurston Frazier
“A Mighty Fortress“ 1968
Conductor, Arranger: Marty Paich
Producer: Irving Townsend
“Christmas With Mahalia“ 1968
Composer, Lyricist: Edmund H. Sears
Conductor, Arranger, Performance Arranger: Marty Paich
Composer, Lyricist: Richard Storrs Willis
Producer: Irving Townsend
Engineer: William E. Brittan
Cover Foto: Frank Bez
“What The World Needs Now“ 1969
Irving Townsend
Arranged And Conducted by H.B Barnum
©Thilo Plaesser