Product Description:
Personnel: Donny Hathaway (vocals, piano, electric piano, bass, organ, Fender piano bass); Philip Upchurch (guitar, bass); King Curtis (guitar); Clifford Davis, Donald Myrick (alto saxophone); Johnny Board, Lenard S. Druss (tenor saxophone); Willie Henderson (baritone saxophone); Oscar Brashear, John E. Howell, Robert A. Lewis, Gary Slavo (trumpet); Cyril Touff (bass trumpet); John Lounsberry, Ethel Merkerl, Paul A. Teryett (French horn); John Avant, Morris Ellis (trombone); Aaron Dodd (tuba); Louis Satterfield, Marshall Hawkins (bass); Morris Jennings (drums); Ric Powell (percussion, drums); Henry Gibson (conga); Vashonettes (background vocals).
Principally recorded at Mayfair Studio and Audio Finishers, New York, New York between May 9, 1969 and April 16, 1970. Includes liner notes by A. Scott Galloway and original release liner notes by Ric Powell.
All songs co-written by Donny Hathaway except "Voices Inside (Everything Is Everything)" (Richard Evans/Philip Upchurch/Ric Powell), "I Believe To My Soul" (Ray Charles), "Misty" (Erroll Garner/Johnny Burke) and "To Be Young, Gifted And Black" (Nina Simone/Irvine J. Weldon, Jr.).
Donny Hathaway's 1970 debut is a certified soul classic, and even a cursory first listen reveals the wealth of riches that lie therein. Though Hathaway had been a behind-the-scenes force in the music industry for some time (as a pianist and arranger), the release of EVERYTHING IS EVERYTHING announced the full range of his talent. Hathaway's skills as an arranger, an instrumentalist, and--most impressively--a vocalist, shine brightly on each and every track.
The album has a unique feel in relation to other soul classics of the era; this is neither the raw soul of Stax/Volt, nor the commercially oriented pop-soul of Motown. Instead, Hathaway takes the music back to church, infusing tunes like Ray Charles's "I Believe to My Soul" with a sanctified conviction that nearly bowls the listener over. At the same time, the album's arrangements are full and ambitious, balancing a smooth, sophisticated uptown vibe with punchy horn charts and funky rhythms. The album's themes are topical (note the well-known jam "The Ghetto"), yet EVERYTHING IS EVERYTHING does not feel dated, and sounds as fresh and vibrant today as it did upon its original release.
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