"Just a Closer Walk with Thee" is a traditional gospel song and jazz standard that has been performed and recorded by many artists. Performed as either an instrumental or vocal, "A Closer Walk" is perhaps the most frequently played number in the hymn and dirge section of traditional New Orleans jazz funerals. The title and lyrics of the song allude to the Biblical passage from 2 Corinthians 5:7 which states, "We walk by faith, not by sight"[1] and James 4:8, "Come near to God and He will come near to you."[2]
The precise author of "A Closer Walk" is unknown. Circumstantial evidence strongly suggested it dated back to southern African-American churches of the nineteenth century, possibly even prior to the Civil War, as some personal African American histories recall "slaves singing as they worked in the fields a song about walking by the Lord's side."[3] Horace Boyer cites a story that repudiates this claim, stating:
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Songs with similar chorus lyrics were published in the 1800s, including "Closer Walk with Thee" with lyrics by Martha J. Lankton (a pseudonym for Fanny Crosby) and music by William Kirkpatrick, which was published in 1885.[5] Some references in Atchison, Kansas, credit an African-American foundry worker and vocalist, Rev. Elijah Cluke (1907-1974), for the current rendition of the song.[6] "Just a Closer Walk with Thee" became better known nationally in the 1930s when African-American churches held huge musical conventions.[3] In 1940 Kenneth Morris arranged and published for the first time the well-known version after gospel musicians Robert Anderson and R.L. Knowles listened to William B. Hurse direct a performance of it in Kansas City and then brought it to Morris' attention.[7] Morris added some new lyrics and a choral arrangement.[7] In the 1940s, a boom of recordings recorded the number in many genres, ranging from Southern gospel to jazz and brass bands.
The first known recording was by the Selah Jubilee Singers on October 8, 1941, (Decca Records 7872) New York City; with Thurman Ruth and John Ford lead vocal; Fred Baker, lead baritone; Monroe Clark, baritone; J. B. Nelson, bass vocal; and Fred Baker on guitar.[8] Rosetta Tharpe also recorded the song on December 2, 1941 (Decca 8594), with Lucky Millinder and His Orchestra.[9]
The revived interest in traditional New Orleans jazz resulted in multiple recordings of the number, including a 1945 session by Bunk Johnson's Brass Band featuring numbers Johnson had played in New Orleans before he left in 1915.
In 1958, an unreleased home recording was recorded by Elvis Presley,[10] made in Waco, Texas, on May 27.[11] Presley's studio version can be heard on Just a Closer Walk with Thee (2000) (Czech CD on Memory label).[12] Tennessee Ernie Ford made the charts with it in the late 1950s. By the end of the 1970s, more than a hundred artists had recorded the song.
As I walk through this world of social-spiritual distraction and confusion, help me stay focused on what You have called me to fulfill. Many things are fighting for my attention, only You can stay my heart on You to preach to the wandering souls and stand out for the truth irrespective of the persecutions. Help me dear Lord to be patient to raise Godly generation out of this pervert and corrupt positivism.
Washington Gladden was born on a farm in Potts Grove, Pennsylvania, on February 11, 1836. After graduating from Williams College in 1859, he was ordained to the Congregational Churches ministry. While he ministered
Father, 2019 was kind of a rough year. I haven't always looked to You even though I knew I should. Forgive me, dear Father, and as I stand here on the door step of 2020 help me to remember that I can do nothing without You. I am nothing without You. Things are still kind of rough around here and I'm just not sure how much security I have right now. But I do know that whether the days ahead bring good or bad, You are the blessed controller of all things. And because of that I know that You will take care of me & mine regardless of anything that Satan or the world throws at us. Thank You, Father, for bringing this beloved old hymn to my mind and help me to make it my prayer in the coming year. In Jesus' holy name I pray. Amen.
I want to walk with You, Lord God, every step, every day. Keep my mind and spirit tuned to your Holy Spirit, day and night, so Your will becomes my will, Your thoughts become my thoughts, Your way becomes my way. I love and NEED You, Father, ALWAYS.
Oh Lord! In accent clear and still, I declare my fraility and fragility! How weak I am, and how this mortal flesh have continually kept me unfit for You and Your service. Please Lord, help me to walk with Theeeeee!
In this wonderful arrangement about walking with Christ, Stan Pethel has skillfully combined the two gospel favorites "Just a Closer Walk with Thee" and "Trust and Obey." Beautiful writing in the choral parts is underscored by a tasteful, slightly bluesy accompaniment, which can be augmented with the use of the optional instrumental ensemble.
Just past noon on a Saturday in early March, the first warm weekend of the year, the only sound on South Kent Street was a screen door slapping behind two teenage girls as they crossed a short lawn. In black hoodies and tight, neon-highlighted ponytails, the pair turned and walked behind the yellow house they had come out of, possibly headed for the shallow creek just past the rear property line, or maybe to the train tracks beyond that.
Not long ago, the Patsy Cline Historic House and Museum was in total disrepair, stuck in legal limbo after decades as a rental. But in 2011, this tin-roofed two-story with white paint and black shutters was transformed into the only tourist attraction in sight. Its six front windows now gleam like a grand piano, and clean bricks line its stretch of the sidewalk, engraved with the names of the people who donated them. Visitors from as far away as Australia and Japan have paid their $8 to get inside and see a painstaking restoration of the building as it was between 1948 and 1957, the longest Patsy lived in any building throughout her short life.
The first speaker was current Winchester Mayor Elizabeth Minor, a longtime local public servant who had handily won her second term only a few months earlier. In 2010, she designated Sept. 4 as Patsy Cline Day, one of the only official recognitions the singer has ever received from Winchester. Mayor Minor walked slowly to the podium, clutched its sides and looked up, and began crying immediately.
As the group began to break up, some attendees lined up to take pictures of the grave; others approached Julie, who signed programs and stood for pictures while the wind scrambled her black hair. But most people congregated in small groups for prolonged hugs. The wind kept toppling the graveside flowers, and David and the other docents sprinted over to stand them back up.
The cars funneled back out along 522, back into a county and city that for all their immutable superficialities were unrecognizable from 1963. Back then, no faceless corporate parks dominated the rolling hills to the north, and no infinite stretch of big-box shopping blemished the farmland to the south. But then, 50 years ago, no local reporters were headed back to edit approving stories about the honorable crowd that had gathered to remember a woman of the people.
1\nO let me walk with Thee, my God,\nAs Enoch walked in days of old;\nPlace Thou my trembling hand in Thine,\nAnd sweet communion with me hold;\nE'en though the path I may not see,\nYet, Jesus, let me walk with Thee.
2\nI cannot, dare not, walk alone;\nThe tempest rages in the sky,\nA thousand snares beset my feet,\nA thousand foes are lurking nigh.\nStill Thou the raging of the sea,\nO Master! let me walk with Thee.
3\nIf I may rest my hand in Thine,\nI'll count the joys of earth but loss,\nAnd firmly, bravely journey on;\nI'll bear the banner of the cross\nTill Zion's glorious gates I see;\nYet, Savior, let me walk with Thee.
Father Kieran's body is prepared for an open casket funeral. Camille, Francesca, Genevieve, and Marcel walk past and acknowledge him before sitting down. Klaus walks down the aisle in the church, stopping to kiss Camille on the cheek before opening the casket to reveal a baby, whom he goes to pick up before being staked through the back with the white oak stake. As he turns around, he sees Mikael. Klaus jolts wakes from his nightmare.
Genevieve talks with the harvest witches about how New Orleans is full of ghosts and how their dead linger in a different way. Changing the subject, she explains that she needs to leave and make an appearance at Father Kieran's wake. Davina and Abigail leave while Monique stays behind and questions Genevieve. She explains that they care, because when a pillar of their community passes, they call a cease-fire and pay their respects. Monique believes it's more likely she's getting too cozy with Klaus. Genevieve corrects her, saying she only cares about Kieran because it gives her a chance to get close to him and to fulfill her obligation to their Ancestors. She commands Monique to go home.
Lively music is played at Father Kieran's wake. Klaus somberly nurse a drink when Camille comes to join him. He treats her coldly, so she comments that she's in a crap mood because her uncle just died and people are partying like it's Mardi Gras and asks him what his excuse is. He explains he has been having dreams of his dead father, telling her he already knows it is due to fears of fatherhood and scaring his own child as his father did to him. Cami is surprised he acknowledges he will be a father, despite Hayley living in the Bayou for months. He comments that he is already familiar with fatherhood while looking at Marcel, though she retorts that it worked out so well the first time and leaves.
A flashback to 1810 in New Orleans, Klaus tell the governor he's taking Marcel. The governor refuses, explaining he's not for sale. Klaus, however, threatens the governor for him to grant Marcel his freedom by lifting him by the throat. The Governor relents and tells Klaus to take him, that he wasn't worth anything to him anyways. Outside, Klaus asks Marcel if the governor is his father. When he confirms, Klaus explains that his father hated him too and says that family can be more than blood. 152ee80cbc
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