Amazing Grace
Aaron Cohen

Continuum 2011
http://www.continuumbooks.com/

By Bob Marovich for The Black Gospel Blog.

It was January 13, 1972.

Gospel music’s reigning queen Mahalia Jackson was sick and near death. Gospel’s grande dame Roberta Martin had passed away three years to the day. In a year, Clara Ward would be gone. A generation of gospel pioneers was passing from memory as a new troupe of contemporary stylists was reinventing the gospel sound.

Smack dab in the middle was Rev. C.L. Franklin’s multi-talented daughter, Aretha.
Born into, and on intimate terms with, the first generation of gospel artists, Aretha Franklin started in gospel but was building a successful career singing soul music that was as up-to-date as her African-influencd outfits. Still, on January 13, 1972, Aretha began to record Amazing Grace, a two-disc album that paid tribute musically and stylistically to the passing pioneers of gospel while keeping its eyes focused squarely on a new era.
Aaron Cohen, music journalist and DownBeat Magazine associate editor captures this fascinating and important moment in music history in a thoughtful and informative book-length survey of Amazing Grace.
The book is part of Continuum’s “33 1/3” series, which focuses on individual record albums as works of art. To my knowledge, Cohen’s book is the first time a gospel album has been studied and written about with such singular depth. For the first such analysis to be about Aretha’s Amazing Grace is appropriate. Arguments aside as to whether Aretha had left or had never left the church at the time of its production, Amazing Grace became the best-selling gospel album of all time.
The album was recorded in front of a congregation at New Temple Missionary Baptist Church in Los Angeles with able assistance from Rev. James Cleveland, the Southern California Community Choir and a group of talented, experienced musicians. Thanks to this collective, the album is no victim of musical gangrene: it sounds as fresh and moving today as it did in 1972.

With the strategic pacing of a sermon or gospel song, Cohen’s study moves from details about Aretha’s musical influences, the album’s genesis and the socio-political mood of the day to a colorful report of the actual recording session, made all the more vivid because the author’s access to the long-lost film documentary of the session gave him as close to a firsthand witness’s account as possible. His song-by-song analysis is the narrative’s apex, providing further insight into Aretha’s overall vision for the album. The book rolls to a finish with reports of the critical acclaim the album received after its release.

Since Cohen interviewed a number of the musicians who worked on the album, Amazing Grace contains that often overlooked but nevertheless critical point of view: from the bandstand. As the book testifies, musicians are perfectly positioned to be indefatigable observers of the goings-on.

With a journalist’s gift of observation and language, Aaron Cohen provides us with a glimpse into how a work of musical art is created – those million minute details, the unpredictable group dynamics, the missteps and makeovers, the flashes of genius and the priceless moments of musical transfiguration when talent and preparation align to create enduring art.

Amazing Grace is as engaging and entertaining as it is thought-provoking, a pleasure to read.

3 Comments

  1. Anonymous November 4, 2011 at 2:37 am - Reply

    I have got to read this!!

  2. George November 6, 2011 at 5:46 pm - Reply

    Great review Bob. I can’t wait to read your own book when you finish it.

  3. Anonymous November 14, 2011 at 7:51 pm - Reply

    I picked up a copy at Reckless Records this weekend. It’s a good read. Thanks to Aaron.

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Written by : Bob Marovich

Bob Marovich is a gospel music historian, author, and radio host. Founder of Journal of Gospel Music blog (formally The Black Gospel Blog) and producer of the Gospel Memories Radio Show.