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His own classic “The Ghetto” follows in short order, but stretches out past ten minutes with revelatory solos from Hathaway on electric piano. The results of shows recorded at the Troubadour in Hollywood and the Bitter End in New York, the record begins with Hathaway’s version of the instant soul classic “What’s Going On,” Marvin Gaye’s original not even a year old when Hathaway recorded this version.
ROBERTA FLACK DONNY HATHAWAY 1972 RAR FULL
It is still so sad that Hathaway, a performer so full of life and hope, would die so tragically just seven years after this record’s release….by…Daryl Easlea ….BBC review….~ĭonny Hathaway’s 1972 Live album is one of the most glorious of his career, an uncomplicated, energetic set with a heavy focus on audience response as well as the potent jazz chops of his group. Like Aretha Franklin’s Amazing Grace and Bill Withers’ Live at Carnegie Hall, it really does capture the spontaneity and joy of the moment. Live has been cited as something of a blueprint for many subsequent acts, and it is with little wonder. Live also demonstrates is quite how wonderful Hathaway’s voice is in concert, showing how his sometimes ornate studio work could translate perfectly to the stage. It sounds free, untamed full of wild abandon. Hathaway’s signature song, The Ghetto, receives similar treatment: his electric piano soloing is followed by DeRouen’s intense conga breakdown, which has the effect of transcending the club and relocating the song back to Africa. Weeks’ bass acrobatics are quite breathtaking, and you can hear the excitement of the audience and fellow performers as his playing gets more audacious. The three-minute studio cut is extended to a nearly 14-minute jam, increasing in intensity as the minutes pass.
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This is especially true of Voices Inside (Everything Is Everything). The band goes deeper into the heart of the song, resulting in a trance-like groove. It is the jams, however, when the album really ignites. Recorded live solely for this album was Hathaway’s version of John Lennon’s Jealous Guy, performed with barrelhouse piano and a swaggering groove. Carole King’s song becomes like a hymn, with the audience singing the chorus. Between them, they electrify material from Hathaway’s first two albums as well as You’ve Got a Friend from the album with Flack. Behind them is a watertight rhythm section with Willie Weeks on bass, Fred White on drums and Eric DeRouen on congas. Supporting Hathaway’s vocals and electric piano are guitarists Phil Upchurch, Cornell Dupree and Mike Howard. There is nothing perfunctory about this live set. It frequented the US charts in tandem with the album he’d cut with Roberta Flack and established him as one of the greatest writers and performers of his generation. Recorded in two intimate clubs better known for their showcasing of folk and rock, The Troubadour in LA and The Bitter End in Greenwich Village, this live album enhanced Donny Hathaway’s reputation.