Hi I'm Jovanna, performer, singer and musician from amsterdam. The reason you see me here
Hi I'm Jovanna, performer, singer and musician from amsterdam. The reason you see me here is, I made a beautiful album over the last year which cost me quite a bit of money and is now laying in a drawer.In the video you see me in I do a semi-live version of Bad Boy,Mad Boy, one of the tracks. I sent the album to record companies all over the world and some were very enthousiastic, calling it fresh, exciting , a unique style etc, keeping me hanging on the for months. In the end my precious product is still collecting dust. Thats why I put on youtube to draw some attention to it. The album is called "From shallow to deep " has twelve tracks and three bonus tracks, slightly different in atmosphere, but I wanted them to be heard as well So enjoy the video and hopefully more SOON. E N J O Y !!!!!!!!!!!!!!!!!
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Added: 8 months ago
Views: 14,362
Mahalia Jackson live in Chicago a favorite of Dr. Martin Luther King Jr. Mahalia sang this
Mahalia Jackson live in Chicago a favorite of Dr. Martin Luther King Jr. Mahalia sang this at the march on washington just before King gave the I have a dream speech
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Added: 1 year ago
Views: 137,022
Another video of mahalia singing down by the riverside, different style and rhythm each ti
Another video of mahalia singing down by the riverside, different style and rhythm each time, but just as moving
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Added: 1 year ago
Views: 6,019
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with the Stars of Faith
from the early 60s TV show "Hotenanny", hosted by Jack Linklett
with the Stars of Faith
from the early 60s TV show "Hotenanny", hosted by Jack Linkletter.
The episode containing this performance first aired 9/28/1963, from the University of Pittsburgh.
By Robert Santelli:
"Her range of musical colors was remarkable, and she would never sing a number the same way twice. Marion used to say, 'If you want someone to repeat herself, I'm the world's worst.' Well, that had a lot to do with why she was the world's best."
All of this is true. But if you've never heard Marion Williams sing, most likely the sheer drama of her vocal style will touch you first. The fact that Williams could hit the highest notes and then suddenly drop two octaves or intonate with strains of deep blues or turn her voice into a wildly improvisational instrument the way Louis Armstrong did with his trumpet all added up to an intensely dramatic redemption of spirit and soul.
She was born in Miami, Florida, on August 29, 1927, into a deeply religious and poverty stricken family. Before she was five, she had begun to sing in the church choir. At school, she learned old spirituals. By her early teens, Williams had been introduced to such popular gospel singers of the day......as well as the inescapable sounds of blues and jazz; and both the sacred and the secular entered into her still‑forming singing style.
As important as her obvious vocal gift, Williams also had, according to Heilbut, "the fiery temperament cultivated in sanctified churches, where women displayed a passionate authority and expressive freedom denied them elsewhere." Williams was unafraid and unashamed to let her passion for singing get physical. Though young, Williams seemed unusually seasoned as a gospel singer and as an entertainer.
By the time she turned twenty in 1947, Williams was considered to be the best gospel singer in Miami. There were those who tried to convince her that a career singing jazz or blues would prove more lucrative, but Williams was determined to stay the gospel course. That same year, she visited an older sister in Philadelphia, who took her to hear the Ward Singers, the city's top gospel group. During the performance, Williams was invited to sing with the Wards. Again Heilbut: "Marion performed two solos, tore up the church and prompted Madame Ward to offer her a job. But with a kind of peasant slyness, Marion kept her waiting—'I was trying to act grand'—for six months before accepting."
Heilbut says it wasn't necessarily ego that kept Williams from saying yes to Gertrude Ward and joining the group. It was lack of a suitable wardrobe. Williams was so poor that she didn't own even one dress nice enough to sing in a northern urban church. She eventually borrowed one, joined the Ward Singers and helped make them one of gospel's biggest groups in the 1950s.
From the start, Williams gave the Wards two things: a voice that could turn the most typical gospel number into a climax of uncommon faith, and an exploding physical expression with each and every song that left the audience emotionally exhausted.
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Added: 1 year ago
Views: 20,736
with the Stars of Faith, "I'm Going To Live The Life I Sing About In My Song"
from the
with the Stars of Faith, "I'm Going To Live The Life I Sing About In My Song"
from the early 60s TV show "Hotenanny", hosted by Jack Linkletter.
The episode containing this performance first aired 9/28/1963, from the University of Pittsburgh. She did two songs on this show.
By Robert Santelli:
Gospel has been the main source of vocal inspiration for American popular music in the twentieth century. Nearly every great black vocalist, male or female, first learned to sing in church. Many left the sacred world for the economic opportunity and stardom that beckoned from beyond the pews and altars, but they took the gospel vocal tradition with them. Sam Cooke, Clyde McPhatter, Ray Charles, Marvin Gaye, Aretha Franklin, Whitney Houston—the list is long. Yet many others stayed in the church, preferring to sing praise to Jesus than to cross over and become a pop singer. Mahalia Jackson was one such gospel singer. Marion Williams was another.
The sacred themes and religiosity of gospel music were, and remain, removed from the more wide‑open issues of carnal love, material gain and other earthly delights that fill popular music. But the manner of singing, the way that gospel singers celebrate the path to Heaven, has so infiltrated pop music that sometimes it's impossible to distinguish one singing style from the other. That is why Williams, for one, has been called "the equal of any blues singer alive" by Jon Pareles of the New York Times and "among the greatest of jazz singers" by esteemed jazz critic Whitney Balliett in the New Yorker.
Gospel music critic Lopate believes Williams' close connection to blues and jazz came from her need to go beyond the norm. "Marion always flirted with danger when she was really improvising," says Lopate. "She might not have had the pop sensibility of, say, Aretha Franklin, but Marion could take a song and remake it so that the lines that exist between gospel and the blues, or gospel and jazz, were totally erased. In that respect, she was an absolute vocal genius."
Producer Heilbut agrees. "I'd watch Marion again and again play with the rhythm of a song and change it in a way that made absolute musical sense. There was a blues essence in her style, particularly her phrasing, which, in my opinion, was unequalled."
Williams also had such a wide vocal range, adds Heilbut, that she could hit soprano notes and growl like a blues woman, practically at the same time. "Her range of musical colors was remarkable, and she would never sing a number the same way twice. Marion used to say, 'If you want someone to repeat herself, I'm the world's worst.' Well, that had a lot to do with why she was the world's best."
All of this is true. But if you've never heard Marion Williams sing, most likely the sheer drama of her vocal style will touch you first. The fact that Williams could hit the highest notes and then suddenly drop two octaves or intonate with strains of deep blues or turn her voice into a wildly improvisational instrument the way Louis Armstrong did with his trumpet all added up to an intensely dramatic redemption of spirit and soul.
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Added: 11 months ago
Views: 16,704
1962 European Tour - apologies for sound quality
Added: 1 year ago
Views: 15,390
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