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Phyliss Hyman – In
between the heartaches – The Soul of a Diva – CDEXCL 6
Another
quality sophisticated soul album and labour of love from Ralph Tee at
Expansion. A set containing soulful and jazzy pieces from the mid 70's to date,
from collaborations, to known tracks, to unearthed gems, and nicely packaged by
the boy Williams again.
There
is plenty of previously unreleased (in the Uk) material and the team have done
well to unearth and clean up these tracks to the point that they can be worthy
additions. In most cases here they certainly are. If you ever change your mind
produced by Norman Collins and Chuck Jackson is such a track. In between the
heartaches the chosen title track is another outtake from the Arista, Norman
Collins album. Burt Bacharach and Hal David song of course usually associated
with Dionne Warwick. Sleep on it is a superior version of the Chaka song also
omitted. Don't tell me tell her is a superb and extended version of the song
complete with adlibs. Hottest Love Around is the best of the unreleased track.
Uplifting and enjoyable to hear and, according to the notes, perform as well.
That it was never properly released is difficult to fathom. Do you love him is
an alternative version – 'fast' – well it's not really but is a classy ballad
originally destined to be a soap theme tune – it is good but it does have that
kind of feel to it. An extended mix of Soon come again has never been released
as such, dating back to 1978. Phyliss demonstrates her ability to make her
vocal to fit the song, starting off in a mellow, almost Dionne style, she goes
with the track and unlike some she doesn't 'go off on one' (where artists take
over a track, shout and wail because they know they have a strong voice and
want to make their own stamp, over and above requirements!), but builds but
always with control and feel.
Back
into the 70's and a George Kerr production Can't live without you from the
Roadshow stable. Excellent 70's crossover, great backing and powerful
production. Phyliss's vocals are strong but restrained and not overpowering.
Nice.
Magic
Mona moves us into Philly territory. Mellow and haunting with those Philly
strings but you can kinda tell that it's from a film soundtrack. Another
soundtrack Spike Lee's 'School Daze' gives us Be one, excellent cool supper
jazz. Everything I have is good with Pharoah Sanders (and from his album) a
duet with Norman Collins. Also, another collaboration, with John Lucien Springs
arrival
Love
surrounds us everywhere with McCoy Turner, Stanley Clarke, Carlos santana, Gary
Bartz I'm afraid I do not like at all, it's not the fault of Phyliss's strong
vocals and the cut has a nice groove especially sax work but I just find the
piano too irritating. It seems heresy to say so and I'm not really qualified to
say so either but it irks me from the point it takes over the sax solo. Also
with McCoy Turner are In search of my heart and I'll be around both lengthy and
jazzy. Although a strong facet and having a certain style they don't really hit
with me.
On
the other hand with Grover Washington and on his album Sacred kind of love I
can get, mellow smooth yet catchy. More of a feeling that it is Phyliss's
track, this is sweet.
A
supremely interesting package. The quality of the vocals is never in doubt and
my how she can perform and fit a song. Not every track, because they are so
varied, hits home with me, but the whole thing from the work that has gone into
it, the pictures, the sleevenote, the love makes this an essential for your
collection
Track Listing:-
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1) Love Surrounds Us Everywhere (with McCoy
Tyner) |
Details below from the Expansion site:-
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PHYLLIS HYMAN| |
Introduction by Michael A. Grimaldi When approached by Expansion Records of England earlier this year, asking my assistance in the compilation of a Phyllis Hyman collection, many revelations immediately came to mind. I had always anticipated embarking on such an endevour, but had wondered, should this ever become a reality.... what tracks would it consist of, and what would my liner notes relay to her many fans around the globe. Well, the time has come, but in all fairness and truth, there are far too many memories, both on and off the road, which need to be addressed. Thoughts which cannot necessarily be commented on, nor contained within the confines of the CD booklet exclusively. Peering through the window of lost time, and what now seems like an entire lifetime ago, has returned and beckoned me to write. I'm quick to realize that with a blink of an eye, so much time has since lapsed from our (Phyllis Hyman and myself) initial encounter. The same can also be said of the time factor stemming forward, since Phyllis' passing. It's often been asked how I got my initial start in the music business professionally, as a Manager and Producer. I always revert back to that particular story which always comes to mind. One which I'm sure, I've told many times over throughout the years, as most of my closest friends will atest to. Funny enough, every time I repeat it, a smile always comes to my face, I then find myself laughing aloud. It was one of those scenearios that you really had to be there for, in order to appreciate the humour and dynamics of the situation. I can still picture the look on Phyllis Hyman's face as the whole episode unfolded... just as if it just happened yesterday. It was as much unexpected, as it was impromptu. Phyllis Hyman had just drawn to a close, her second-set, from her "LIVING ALL ALONE" concert, one extremely dismal December evening, back in 1986. December 12th, 1986 to be exact. We had already been friends for approximately three years, originally having met during her GODDESS OF LOVE tour, while she was touring with Frankie Beverley & Maze, during the Summer of 1983 (at Shea's Theatre), located in Buffalo , New York . Phyllis at the time, had been performing at the legendary Tralfamadore Cafe, also ironically located within the heart of of Buffalo 's reknowned Theatre District. She had been anticipating my arrival from Toronto to Buffalo for a few days and was excited to hear my comments about the newly added production to the band and the inclusion of new material, in her recently revised show. Phyllis' live shows, from the very begining of her career, were choreographed by a well reknowned New Yorker. In passing, amidst one of our ongoing conversations, Phyllis conceeded that hiring a choreographer was one of the best things she could have ever done for herself with respect to professionally dramatizing and enhancing the appearance of her live performances. Creating and delivering a tight, but highly polished show was a driving force behind Phyllis' consideration in the utiliziation of a choreographer. She would forever build on what had initially been established and would continue to infuse higher levels of energy and body movement into that ultimate diva stage personna which Phyllis would forever be reknowned. These factors would continue to grow to the point of fruition, as any who had attended her live performances would come to know. Something most of her fans would one day have a chance to witness for themselves. Commanding audience attention, caressing her microphone and standing as statueque and pouty-lipped as only Phyllis Hyman could... and of course singing. Singing the best love songs ever written and as only she could convey. Phyllis could "Hyman-ize" any song she felt was worthy of interpreting. After all, Phyllis Hyman was The Goddess of Love, and The Goddess of Broken Hearts. When asked once, why it was that she tended to record and sing so many ballads, all which focused on "lost loves" or "relationships gone wrong", she eagerly replied "that's what I know best". She truly was speaking from her heart's personal recollections. Although we were considerably new friends, like clockwork, Phyllis had ensured that my usual complimentary tickets to see her shows, along with accompanying backstage passes, would be awating my arrival at the Will-Call Booth. Regardless of what city or state she was performing in, this wonderful gesture seemed to become the norm, as a gift from her to me. From her very first insistance to do this for me, I had this intuitive feeling that we were going to be very close friends. Time would prove to be correct. It was quite obvious that Phyllis would constantly go out of her way for me when she knew that I wanted to see one of her shows, or when I simply wished to spend some personal, quality time, together with her. She had often affectionately referred to me as an innovator, and one whom always kept positive energy surrounding myself. Positive energy was always appreciated by Phyllis, as she had confessed to me that this energy would in return, come back full circle, which inturn was the hidden force to keep her moving forward with a correct, but driven attitude. Phyllis was a firm believer that by surrounding herself with positive energy, would always draw the same back to herself. I had always felt that this was the reason we were in sync and well suited for one another's company. Having completed her two shows, she had left the stage area and had headed toward her dressing room, leaving a room full of audience members clapping and in the middle of a standing ovation. I myself being one of the first, had arrived at her dressing room door shortly thereafter her arrival. No sooner had I arrived, when I noticed that there must have been at least thirty fans and well-wishers standing behind me outside the door, all clammoring for autographs, with the hopes of engaging with Phyllis in conversation. Most of which managed to somehow get in front of me. Realizing that I am now buried in the centre of the crowd, I kept thinking to myself, that the reality of getting closer to the door is going to be a mission all of its own. With that thought having just having left my mind, the door swiftly opens approximately one quarter of the way. Phyllis steps into view and says aloud, "Where's Michael?". The crowd's tone had deminished to virtually a mere whisper momentarily, allowing Phyllis to speak. No sooner did I respond "here I am!", when this loud voice shouted out over the many heads in the crowd "you left your things in here". Having spotted me, one in a of sea of faces... and nowhere near the entrance to the room, I suddenly replyed "no I didn't!" No sooner had I answered, when all at once, she stretched out her arm and managed to grab my shoulder, then yanked me by the collar. She then yelled "get in here!", while simultaneously pulling me into the dressing room and slamming the door shut. As I stood there in front of her with my back to the doorway, she was already in the process of giving me my first assignment. Her comments to me were "your friends are welcome backstage, but I have nothing to say to those people out there. Here's a pad and a pen. Get out there and get me a list of names of people who want autographs. Bring the list back to me and in the meantime, I'll begin to sign my name on these photos. I'll just insert the people's names on the top of the 8X10"s afterwards, once you get them for me!" The dressing room door opened once again, as I was phylically catapulted out of the room by Phyllis and into the crowd of fans for the task at hand. Once again, the door quickly slammed shut. Unassumingly, I found myself answering many questions on Phyllis' behalf, also. Now in the far distance and with clear hindsight, it only seemed natural to become Manager in the music business. Although I had never been apart of Phyllis Hyman's team officially, one would never have known it, as I was always considered one of the family. Although it was unspoken, but clear, Phyllis had ensured that our friendship was an understood facit within the immediate circle of her bandmembers and security personnel. The rest of our thirteen year relationship would prove to be a positive, yet intense one. One which to date, remains incomparible to any other, yet trancends the boundaries of time. Memories that will forever speak for themselves, on both a personal and professional level. As flattering as it may have been, it wasn't always easy having Phyllis Hyman as a personal tutor. Having worked an extremely long day, late into the evening on that particular June 30th, 1995 , I arrived at my residence at approximately 1:00am (the morning of July 1st). No sooner had I entered my home, when the flashing lights on my answering machine caught my eye. My immediate observation was that there were an unusual amount of accumulated messages waiting to be heard. It was obvious to me, just by the intensity of the flashes, while concluding that anyone who desired to speak with me during the course of the day simply could have chosen reach me via my cell phone. Upon clearing my machine, the first message was from my long time friend and business associate, Toronto born, Jazz singer Vincent Wolfe. His message to me simply requested that, regardless of what I may have already heard, that I were to contact him first, prior to calling anyone else. Having no clue as to what he was referring to, I moved onward to the second caller whom was none other than Jean Carne, The Songstress Extrodinare, herself. Jean was also quite vague in the details she had chosen to leave within her message, and certainly was not her usual cheery self. She specified that "no matter what time I got in that evening, I was to give her a call", and, "that it was a very important matter". She definately wanted to speak to me prior to my turning in that evening. With my curiosity now peaked, the next caller was Alyson Williams. She and I had befriended one another in the Summer of '94, during a surprise Birthday Party that I had thrown for Phyllis and myself, in Detroit , Michigan. It was also a well-known fact that Phyllis Hyman was Alyson's mentor, and that they too, were good friends. When speaking with Alyson during the course of that morning, she frantically explained that "she had some news... rather unpleasant news", and continued to explain to me just how it came to her attention that Phyllis had passed away. Alyson then relayed to me that she had been requested to fill in for Phyllis Hyman at the Appolo Theater, in New York City , at the very last minute. To complicate things even further, the Promoter of that evenings function at the Apollo, was oblivious to the fact that only Alyson's band remained in New York City at that time, but that she herself was in Texas , having already moved on ahead for the next gig on her roster. The incidents transpiring from this point onward could only be summized as a modern day drama. Truly a night I will never forget. A written biography of Phyllis Hyman's life has been repeatedly proposed of me to author, and to date remains a consideration. Since Phyllis' passing, many of her belongings have since been sorted out and given to selected friends and family members to enjoy as personal mementos of the singer. Much to my dismay, I found it odd to observe that most individuals who were offered belongings of Phyllis', expressed initial interest in her clothing apparrel, such as her stellar hats, numerous pairs of shoes and of course, her many pieces of oversized jewellery which she wore with such pride and elegance. My personal interpretation of Phyllis Hyman's life and legacy, consists soley of her music. Her capability of evoking such strong emotions as passion, tears and certainly, the joy of having found love. Heartfelt messages that would transcend all current music trends and time itself, touching the hearts of all who would lend an ear. In my eyes, it was not necessarily what she once possessed materialistically here on Earth during her short stay, that was of value... it was her music. While I am very proud to admit to owning some of her possessions, as she so lovingly and graciously game me throughout the years, it's her music which remains the forefront of the hearts and souls of her fan base. It is for that very reason, many of her demo recordings (both old and new) have been surfacing and occassionally passed on to me. All were given in the hopes that I would someday make these rarities available commercially, for all to enjoy. Selecting tracks for this venture proved to be the most difficult thing to determine, given the limited amount of time to work with on a CD. While there are still quite a few vault tracks not included within this compilation, Expansion Records of England have chosen a few of these gems which had been left in the best condition, and of which the dymanics were originally mastered to the highest level of professionalism. There are however, still many cuts left incomplete, unpolished which are in dire need of continued production and/ or mastering of sorts. They remain in the form of quarter inch Reel-to Reel Studio Tapes, Chromium Cassette Recordings and Studio Acetate Records. The overall quality of each selection on this compilation, was the most important factor when having to make final decisions. All tracks have been digitally enhanced and remasterd to the highest standard possible, considering the state of the original source recordings. Again, with respect to any remaining unreleased and omitted tracks, they require attention on other levels and can only be salvaged limitedly. The level at which Phyllis Hyman's vocals were mastered and cued, during one of her two demo recordings of “Love Is That One Time Feeling” (which was not included within this set), can only be described as sporadic and inconsistant, at best. The fast/ disco version of the song opens with a studio technician performing his countdown to the initial begining of the song's intro. Disappointiingly, Phyllis' opening vocals are only recorded at half the volume level of the instrumental arrangement itself. However, by the onset of the second verse, both factors begin to balance-out to a more respectable consistancy. This is just one of the many tribulations which had to be dealt with in our determination of just what tracks would be utilized on this quintesential collection. I hope and pray that God will allow our Angel, Phyllis Hyman, to remain singing in the hearts and souls of all people, for eternity. For people on Earth and for those whom dwell within all of the Heavens. Phyllis Hyman sincerely believed that music was the common denominator and the universal language of all mankind. A message she continues to convey whenever someone listens to any one of her multiple masterpieces.
Michael A. Grimaldi |
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