Donny Hathaway Donny Hathaway/Live Compilation

This is a groundbreaking compilation release of Danny Hathaway’s live performances up to 1973, which have few audio and video sources! Danny Hathaway has a great reputation for his live performances in clubs, starting with the best live album “Live” recorded in 1971 and released in 1972. Prince must have also used this as an example to embody the close unity with the audience in the after-show. However, on the other hand, Danny and his band participated in the jazz festival, where they played in front of a large audience. The Newport Jazz Festival held in New York in 1973 was the pinnacle of Danny’s live performances. This time, we will cover, examine and record the audio sources from that time. The Newport Jazz Festival in 1973 is said to have been held three times in total: at Carnegie Hall in New York on June 30th (two performances at 6pm and 10pm), and at Uniondale and the grand finale at the Nassau Coliseum on July 8th. This time, the complete live version of the afternoon show/6 P.M. at Carnegie Hall was unearthed with the best soundboard recording, and the complete version at Nassau Stadium was unearthed with a high-quality soundboard recording, and is included as the highlight of this title (both sound sources have been remastered to remove noise between songs). First, the Carnegie Hall performance includes “Nu-Po,” a new song written specifically for Danny’s appearance at the Newport Jazz Festival, on “In Performance,” released after his death, “Flying Easy,” “Valdez In The Country,” and “Someday We’ll All Be Free” on “These Songs For You, Live!”, and “Love, Love, Love” and a different version of “Nu-Po” from “In Performance” on the box set “Someday We’ll All Be Free.” With the excavation of the sound source of this first show, we verified which live shows these correspond to, divided them, and recorded them. First, the three songs from “These Songs For You, Live!” were performed in the same way as the first afternoon show. The mixing is also not very different. However, after “Flying Easy” and “Valdez In The Country” were performed without the “Introduction”, the MC about the latest album “Extension Of A Man” was cut, and after “Someday We’ll All Be Free” the band member introduction was cut. And “Nu-Po” from “In Performance” is from the afternoon show, but it is covered with cheers and is a live remix. And “Nu-Po” from the box set “Someday We’ll All Be Free” has a different MC at the beginning and a different performance that is quite different from “In Performance”, which is much more uplifting and well-made. And “Love, Love, Love” from “Someday We’ll All Be Free” has a different MC and is performed differently from the afternoon show, so these two songs are the evening show. However, it remains unclear what the set list for the evening show was. However, the first song was probably the light jazz funk “Flying Easy”. The grooviness of this instrumental performance is so attractive that it attracts the audience. And the instrumental “Valdezn In The Coutry”, which further increases the funkiness, also features Gil Silva’s light cutting. Cornell Dupree plays on “Extension Of A Man”, and although it’s fun to compare them, it’s great to be able to enjoy the strangeness of the band members’ performance that can only be heard here. So far, we’ve been playing from “Extension Of A Man”, Danny’s last album and his greatest masterpiece, but here comes a live performance of the best song on that album. “Someday We’ll All Be Free” was written by Danny’s friend Edward Howard to encourage him when he was diagnosed with paranoid schizophrenia. Edward said the following: “All I could think about at the time was Danny, because he was a very troubled person. I hoped that one day he would be free from all that he was going through. There was nothing I could do but write something that would encourage him,” she said. “Keep your head up and keep singing your best songs, so just believe that one day everyone will be free.” The song was written by Danny himself. Howard’s lyrics were a personal message about Danny’s mental health struggles, but they were interpreted as an anthem to encourage the plight of African-Americans suffering from racial conflict, and the song played a major role in that. Danny himself was particularly fond of the song, and Lalah Hathaway said: “Danny loved this song. I sat in the studio and cried when I heard the final mix. It’s very special when an artist can create something that blows someone away.” The song did not chart, but the single’s B-side, “Love, Love Love,” reached #44 on the Billboard Hot 100 and #16 on the R&B chart. One of the attractions of this title is that all three versions of the wonderful jazz instrumental “Nu-Po,” which only exists in the live version, are included, allowing you to compare them in various ways. And the blissful feeling of the popular pop song “Love, Love, Love,” from “Extension Of A Man,” also has two versions, so you can enjoy both. On the album, Willie Weeks plays it, but Basie Sanders’ bass is very elegant. And “The Ghetto,” Danny’s signature song, which really shines in live performances. Danny doesn’t take the lead, but blends into the band and moves forward comfortably while maintaining a sense of unity, which is different from the JBs, and this performance has a super high-level jam feeling that Prince seems to be conscious of. Isn’t it more professional than “Live”? You can almost hear that impression. And as a bonus, there is an audience recording of Marvin Gaye’s cover “What’s Goin’ On” from the Astro Dome Jazz Festival in 1972. This is a rare and top-quality recording for the time. The members are unknown, but I think that it is the same as the 1971 “Live” performance, with Mike Howard on guitar. However, the guitar has slightly different phrasing, and there is a lead guitar, which may be Cornell Dupree rather than Phil Upchurch. I would like to listen to this area in detail and study it in detail. The main focus of Disc 2 is the soundboard recording of the Newport Jazz Festival on July 8, 1973. The set list is different from the one on June 30. On the final night of the second Newport Jazz Festival in New York, George Wayne announced that the festival would be held at a large venue, the Nassau Coliseum on Long Island. Headliners included Duke Ellington, Ray Charles, and Aretha Franklin, among others, and Donny Hathaway. A highly talented singer, songwriter, and musician, Donny was equally skilled as an arranger, composer, conductor, producer, and innovator. Though best known as a smooth soul singer who collaborated with Roberta Flack on a string of hits in the 70s, Danny’s own recordings were far more ambitious, and his albums display his genius in rhythmic complexity, harmonic sophistication, and a uniquely divine vocal style with richly textured intonations and timbral changes reminiscent of Stevie Wonder and Ray Charles. With an almost operatic tone control and an unparalleled grace and soulful voice, Danny reached musical, lyrical and vocal heights that few could match at the time. Danny’s set on the final night of the 1973 Newport Jazz Festival certainly captures this multitalented artist at his peak. Playing a wealth of material from what many consider to be the greatest live club performance of the early 70s, Live (1972), Danny succeeds in connecting with his large audience, creating an emotional experience that is as close as you can get to the fervor of a church revival. As with the previous year’s “Live,” the set was a mix of originals and select covers, including two from Danny’s ambitious then-new album, “Extensions Of A Man,” all showcasing the powerful soul, funk, and jazz talents of his hot new band. The set began as with “Live” (but with a new band), with Danny’s reinterpretation of Marvin Gaye’s “What’s Goin’ On.” Marvin’s own version redefines the boundaries of soul music, but with Danny’s background in classical, jazz, and gospel music applied, even those boundaries are lost, creating a wonderfully moving performance. And then there’s Carole King’s ballad “You’ve Got a Friend,” which was covered as a duet with Roberta Flack and released as a single. It’s now been sung by countless artists, but Danny’s performance here is sure to be one of the best. The next song, “Little Ghetto,” is sung with a passion and urgency that only someone who understands the love of their generation can muster. This haunting, yet positive plea from a young black man in America is captivating as the most honest outpouring of sadness and hope ever expressed in song. The first three songs were from Live and likely will not have been played on June 30th. Two tracks from Danny’s then-new album, “Extensions Of A Man,” are played to lift the mood. “Valdez In The Country” is a breezy jazz instrumental that features Danny’s electric piano playing, before segueing into the melodic “Love, Love, Love.” The former may be familiar to you, having been covered by dozens of artists, including guitarists Jerry Garcia and George Benson. The song was first recorded by King Curtis on the B-side of his 1969 single “Body Cake” (with a young Danny playing keyboards on the song). The latter song is similarly evocative, clearly influenced by Marvin’s album What’s Going On, and is a fine example of Danny’s talent with its oboe-like vibrato and gospel-influenced vocal phrasing. The live performance also features an extended jam of Danny’s R&B hit “The Ghetto.”It ends with a pulsating polyrhythmic workout composed in collaboration with Leroy Hutson of the Impressions, in which Danny’s band plays a soul/funk groove while Danny himself improvises on both instruments and vocals. This final performance, backed by his trademark spirituality and Sanders’ ultra-propulsive bass line, completely captivates the large audience and prepares the next Aretha Franklin live performance. This title also includes the performance of “Valdez In The Country” on July 8, 1973 from “Recorded Live At Newport In New York,” which has only been released on analog. The mix is different, and Danny’s electric piano is more prominent, making it a sound quality that can be said to be official. This time, we have included a live recording ripped from the performance footage of Danny Hathaway, which only exists for 26 minutes, and is included on the Blu-ray. And the recording of the Bitter End concert in New York from “Live” without the live cheering is included in “Never My Love: The Anthology”, but the limited release vinyl includes a 21 minute 24 second version of the instrumental “The Voice Inside (Everything Is Everything)” by Phil Upchurch (guitar) and Richard Evans (bass) (13 minutes 40 seconds on “Live” and 16 minutes 3 seconds on “Never My Love: The Anthology”). It also includes guitar solos by Mike Howard and Cornell Dupree, and a bass solo by Willie Weeks (there is a sudden 4 minute cheering, which may be from the Troubadour concert in “Live”. Therefore, the bass solo in “Bitter End” was not performed, or it was not performed well). And it comes with a Blu-ray with all the existing live footage of Donny Hathaway upgraded to 1080P. All together it’s only 26 minutes, but they’re all great. First, there’s “Double Exposure” with Roberta Flack, which features Danny playing from there. Then there’s the gospel “Put Your Hand In The Hand, the sign of peace” from his only TV appearance on the 1972 Flip Wilson Show, and “Someday We’ll All Be Free” is incomplete without the footage of the middle part, but Danny isn’t wearing his trademark hat. Then there’s the spectacular 1972 performance of “The Ghetto” by Vibrations. There’s a logo in the middle, but it’s a very enjoyable video. The members that can be confirmed here are Mike Howard on guitar, Willie Weeks on bass, Fred White on drums, and Earl Dillowin on congas, which are almost the same as the “Live” members, and it can be said that these members were the main members in 1972. You can also see Danny playing the cowbell as well as the organ. CD 1 1.Introduction 0:22 2.Flying Easy 3:01 3.Valdez In The Country 4:22 4.Someday We’ll All Be Free 6:40 5.Nu-Po / Band Indroducing 7:56 6.Love Love Love 4:23 7.The Ghetto 8:02 8.Flying Easy (These Songs For You, Live! Version) 3:11 9.Valdez In The Country (These Songs For You, Live! Version) 4:08 10.Someday We’ll All Be Free (These Songs For You, Live! Version) 5:30 11.Nu-Po (In Performance Version) 7:09 Newport Jazz Festival the afternoon show / 6 P.M., Carnegie Hall, New York, NY, June 30th 1973 12.Nu-Po (Someday We’ll All Be Free Version) 7:19 13.Love, Love, Love (Someday We’ll All Be Free Version) 4:13 Newport Jazz Festival the evening show / 10 P.M., Carnegie Hall, New York, NY, June 30th 1973 Donny Hathaway – vocals, piano, electric piano Gil Silva – guitar Bassie Saunders – bass John Sussewell – drums Chuggy Carter – congas 14.What’s Goin On Astrodome Jazz Festival, the Astrodome, Houston, TX, July 8th 1972 CD 2 1.What’s Going On 6:16 2.You’ve Got A Friend 4:00 3.Little Ghetto Boy 5:55 4.Valdez In The Country 4:02 5.Love, Love, Love 4:22 6.The Ghetto 11:00 7.Valdez In The Country (Recorded Live At Newport In New York Version) 4:03 Newport Jazz Festival, Nassau Coliseum, Uniondale, New York, July 8th 1973 Donny Hathaway – vocals, piano, electric piano Gil Silva – guitar Bassie Saunders – bass John Sussewell – drums Chuggy Carter – congas 8.Put Your Hand In The Hand (Flip Wilson Show 1972) 3:31 9.For All We Know (Flip Wilson Show 1972) 1:28 10.The Ghetto (Vibrations, PBS TV Special 1972) 9:59 11.The Voice Inside (Everything Is Everything) (Complete Live Version from Live At The Bitter End 1971) 21:24 BR Baby I Love You (with Roberta Flack) [Double Exposure, 1972] The Ghetto (Double Exposure 1972) Put Your Hand In The Hand (Flip Wilson Show 1972) For All We Know (Flip Wilson Show 1972) The Ghetto (Vibrations, PBS TV special 1972) Pro-shot 26min.