HISTORY HOW PILGRIMS, AND AFRO-AMERICAN SLAVES BROUGHT MUSIC TO AMERICA, Part 1: Chants, Harp Singin

HISTORY HOW PILGRIMS, AND AFRO-AMERICAN SLAVES BROUGHT MUSIC TO AMERICA, Part 1: Chants, Harp Singing, Hymns, Psalms, Spirituals.
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It is problematical that little more than a beginning has been made in relation to research on African American sacred music in Louisiana, as compared to the secular music. The bulk of the research that has been conducted basically centers on the Florida Parishes 3 and New Orleans.

Therefore, most of the following discussion will focus on these areas. In the middle s, James E. Gayle and Sons Music Store. For over two decades Gayle had the monopoly on selling published religious music, tracts, books, and Bibles from the National Baptist Publishing Board in Nashville Boyer Since Dorsey made trips to New Orleans seeking agents to sell his published songs, it was inevitable that the two would meet.

Boyer reports that Gayle met Dorsey in the middle s:. He [Gayle] served as host to Dorsey and Sallie Martin b. In the thirties he [Gayle] began composing gospel music and in when Sallie Martin and Kenneth Morris b. He supplied the emerging accompanied gospel singers and choirs with the newest gospel songs. It was in the context of the Depression era that gospel music came to fruition with its major catalyst being Thomas Dorsey. However, the central distributor for the state of Louisiana was James Gayle and his establishment.

Herron, the proprietor was also a musician and composed several gospel songs himself. Although Herron's had a large collection of music by various gospel musicians including himself, Dorsey's compositions had a prominent position in his establishment. During this era in Louisiana as in other southern states unemployment was high and African Americans endured poverty and deprivation on a scale unprecedented since the abolition of slavery.

Not only were they suffering from a lack of jobs, food, and clothing, but also from a lack of hope, dignity, and general well being. Gospel music directly addressed these needs. As Dorsey states, the songs communicated "good news in bad times" Broughton Even before Dorsey and Gayle, the first significant point in the development of gospel in Louisiana was the organization of a cappella jubilee quartets. During this time the groups performed spirituals and art songs in the style of the Fisk Jubilee Singers, but in later years they began to add Protestant hymns and gospel songs.

One quartet at Dillard, the Frederick Hall Quartet, changed its name to Delta Rhythm Boys and continued to perform after they left the university. They traveled widely and began to add secular songs to their repertoire Ebony Nov. Southern University , first established in New Orleans in main campus moved to Baton Rouge in , organized a university quartet which was first recorded in In the late s and early 40s, Reverend James B.


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And then from that he started singing at Mount Pilgrim [Baptist Church]. I use to like his singing, and from that I joined the choir under his administration. The university jubilee quartets and ensembles influenced the development of some of the independent community-based quartets. The community-based groups were not formally connected with the educational institutions, although some were started by, and drew part of their membership from university singers.

Others were organized in churches, by family members and at the occupational workplace. In the rural areas surrounding New Orleans, one of the major farm crops was sugar cane; therefore, there were several sugar refineries in the region. James Payne began harmonizing with friends from his neighborhood who were also fellow workers at the sugar refinery Abbott a: Williams, an itinerant chorister who, like Payne, moved to New Orleans from rural Mississippi in the s seeking employment, also found himself at the American Sugar Refinery.

He later founded a music school in New Orleans. It was here in that he witnessed the birth of what would become the Four Great Wonders Quartet:. That's how they started, harmonizing on the job. They'd start work 7: And they would work till Then they'd have an hour for lunch; they'd run eat a little bit, then get behind a pile of sugar and start harmonizing. The style of these early community-based jubilee quartets encompassed a well-blended close four-part harmony sound, a limited amount of solo singing, basic harmonic arrangements, and no instrumentation. They sang spirituals, jubilees, and hymns in the traditional call-response structure.

This tradition was primarily male dominated; however there were some females who dared to adopt the repertoire, four-part close harmony voicings, and general stage manner and style of the male quartets. Even voice classification was borrowed from the male tradition, and hence a number of outstanding female baritones and basses emerged during the thirties and forties.

One of the first and most outstanding female quartets was the Southern Harps, organized in by Alberta French Johnson, Johnson, who came from a musical family—her brother was jazzman Albert "Papa" French—was able to attract a number of gifted singers to her group. One of those gifted singers was Bessie Griffin, who went on to gain fame in Chicago as one of the members of the Caravans and later as a gospel soloist. Another female quartet from that era recorded "Heaven Bound Train" in In the late s and s when women were just beginning to perform in this tradition, buying power increased, and technological advances, such as the radio and phonograph profited considerably.

It was during this period that a major stylistic transition began to take place in the quartet tradition, as many jubilee quartets became gospel quartets. This stylistic transformation consisted of innovative strategies, including the lifting of prior harmonic and vocal restraints, the increased prominence of the bass voice and soloist, the addition of a fifth singer, the introduction of a varied repertoire and the use of instrumental accompaniment.

Two of the most notable quartets to come on the New Orleans sacred music scene in the late thirties were the Soul Comforters and the Zion Harmonizers. The Soul Comforters formally the New Orleans Humming Bees began as a "doo wop" group harmonizing the latest popular songs on the street corners. After singing sacred music for a while, one of the original members, Henry Byrd changed his style and left the group. He later became the legendary rhythm and blues pianist, "Professor Longhair" Boyer The Zion Harmonizers formed in New Orleans in , enjoyed their 50 th year anniversary in The group was lead by Sherman Washington for over 60 years and he was also a Sunday radio disc jockey and the director of the New Orleans Jazz and Heritage Festival Gospel Tent, one of the largest at the festival.

The Zion Harmonizers is still a very vibrant and popular group in the city and at the festival. The popularity of the group may be related to their adaptability over the years the Zion Harmonizers have chosen to modify their performance style according to the dictates of a given audience. Such modifications include incorporating an instrument, a lead guitar, into their performance. They have also added the hard shouting gospel style of singing, while still continuing to perform select numbers in the a cappella jubilee style.

The Zion Harmonizers changed where change was indicated, even as the Zion Travelers from Baton Rouge refused to modify their style regardless of audience composition or contextual setting Jackson Both groups have been involved in radio broadcasting. Now, they perform periodically for WYLD where Sherman Washington, their leader once worked as a disc jockey for the gospel programming on Sunday mornings Jackson The singing contest or "song battles" as many participants called them, are a very important component of the quartet tradition.

These contests functioned primarily to promote and maintain high standards of quartet musical performance. The event provided a forum for sharing collective expressive behavior and aesthetics in the community. Thus, it created a sense of identity in individuals and a sense of unity in groups of people who could relate to the same cultural values reflected in the performance Jackson The performance practices, musical arrangements, and popularity of the traditional gospel quartets had a major influence on the emerging rhythm and blues and popular-styled vocal groups that began to appear after World War II.

New Orleans was known as a jazz and rhythm and blues city, but this secular music was greatly influenced by gospel. Most members of the first rhythm and blues vocal groups were gospel performers before shifting to its secular counterpart. Record producers in New Orleans began to incorporate this gospel sound into the secular commercial music. In , Imperial Records began recording Fats Domino and became one of the three top recording companies while New Orleans became one of the major rhythm and blues recording centers Maultsby A number of African American quartets in the Delta started with the shape-note system.


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This is a system of notated music commonly using four or seven shapes in lieu of the round notes found in standard European notation. This singing school system facilitates learning the music by note.

Songs of Spirit and Continuity of Consciousness: African American Gospel Music in Louisiana

The Pleasant Star Singers, formed in , one of the oldest a cappella quartets in the Winnsboro, Louisiana area, still sing with the singing conventions. Other quartets organized after World War II reflected the new mixture of sacred and secular styles. The secular performers adopted not only its vocal and instrumental styles but also arrangements, call-response structure, group makeup, and stylized movements. Because rhythm and blues was more lucrative and popular, some quartets "crossed over" or performed on "both sides of the fence.

Although a distinction exists between both realms, there is a degree of flexibility. Some secular music is performed by sacred quartets and on the other hand, some sacred music is performed in secular contexts. First Revolution, a young gospel quartet in New Orleans performs in both sacred and secular contexts. Their performance venues range from churches to parks, cafes, restaurants, nightclubs, and literally to the streets.

When asked his opinion concerning performing sacred music in secular settings, Larry Bell, lead vocalist and manager of First Revolution replied:. Well I don't have any regrets on it because from reading the scriptures [the Bible]. The thing that sticks in my mind on this is when they had a controversy when Jesus visited Matthew at his home. The words came out that folks that are not sick don't need the doctor.

So I can't work on a patient if he is already well Jackson This is not a new concept, some gospel pioneers made this radical step at a very early stage in the history of the tradition. For instance, the Dixie Hummingbirds have their view of "playing" nightclubs. They believe different formats and contexts can be used to entertain as long as you "never get off the spiritual track. Some gospel singers believe that you should sing whenever and wherever you have an audience that is receptive to you.

In this club, gospel performers are featured in the early evening and after a certain time bluesmen are showcased. The more religious gospel performers claim that even in secular settings you can still bring the message of God to the people and it will be heard regardless of the context. They also feel that communicating their spiritual message may even "cause someone to come to Christ.

In the late s and early s the male-dominated gospel quartet tradition began to decline and the female groups began to emerge. Previous female quartets had performed in the four-part male quartet style, while these newer groups sang three-part harmony arrangements accompanied by piano or organ. Female groups were organized and began traveling to help fill the increasing demands for this accompanied sacred music.

In New Orleans the Johnson Sisters was one of the first accompanied female groups. This group, consisting of three sisters Lois, Thelma, and Bernette was organized in the middle s Boyer Male and mixed accompanied groups were also formed during this time. He later opened the Williams School of Music in where he taught classical and gospel piano. Gayle organized the Gayle Jubilee Singers in the middle s and at this time they were singing only spirituals and art songs. It was not until the middle s when he met Thomas Dorsey and Sallie Martin that he began to add gospel music to his group's repertoire, however, he never stopped his performance of spirituals Boyer Despite the popularity of quartets, groups, and soloists, gospel choirs became prevalent in the late s and early 50s.

However, in New Orleans during the s, Jackson Acox included gospel songs in the repertoire of St. Marks Fourth Baptist church choir, of which he was director. In addition, Professor J. Williams, director of the Old Zion Baptist Church choir, included gospel songs in their repertoire in the early s Williams It was not until , when Williams organized the Southland Gospel Chanters that he caused a major change in the course of historical development of gospel music in New Orleans.

The group consisted of young adults who traveled widely performing the music with much success. After the Chanter's success with the gospel sound, most African American Protestant churches in the city followed suit by organizing a gospel choir Williams In the s gospel choirs began to take on a new sound. They began to use more intricate harmonies than their predecessors and often sang in contrapuntal style with independent interplay between voices.

From Jubilee to Gospel

In addition to the piano, electronic organ, and percussion instruments, a variety of other instruments were added. Horns, electric bass, and the drum set became popular, as gospel choirs moved closer to the secular music, called "soul," which had taken its initial style from gospel. The decade of the s also ushered in the entrance of gospel music to the Civil Rights Movement. Some gospel composers began to replace Biblical themes by the utilization of timely topical text concerning social and political issues.

By the s the gospel choral sound had evolved into two categories—traditional and contemporary. This became evident, in most churches with sizeable congregations, as the need arose for more than one choir. They all sing traditional and contemporary songs. Occasionally they combine for a special celebration like the Christmas concert where they also perform with the Southern University orchestra.

For example, although Greater King David has one main minister of music, it has four directors, one for each choir and six to eight instrumentalist depending on what Sunday and who is performing. These choirs can also perform hymns, spirituals, and anthems along with traditional and contemporary gospel songs.

In smaller churches similar to St. These smaller churches tend to adhere to older and more traditional religious and musical practices including traditional gospel, spirituals and hymns. In Louisiana, the late s and s also witnessed the formation of gospel choirs in Roman Catholic churches.

New Orleans has the largest predominantly African American parish in the United States and now holds the distinction of establishing the first gospel choir in a parish of this composition. Francis de Sales' gospel choir was organized in and is still one of the most notable choirs in the city. Other Catholic churches have also organized gospel choirs, including St. Joseph the Worker in Marrero and St. Monica in New Orleans.

In the s there was a proliferation of community choirs. However, the one hundred voice Gospel Soul Children, who was directed by the late Albert Hadley in New Orleans, was the paramount exponent of contemporary gospel, often anticipating the newest direction of the genre in their performances. Eunice Johnson and Elmore Waters introduced a project to save the youth in Shreveport.

It was actually called "Save the Youth Mass Choir" and they recorded in the s and 80s. Wade started the Youth Rally in Shreveport, which was the highlight of the city with youth of all denominations. This was during the 70, 80s and early 90s. We sang gospels, anthems, hymns and spirituals. I usually worked with students at one time" Wade: It took the south a little longer to follow suit, so it was during the late s and s that universities in Louisiana predominantly black or white began to established programs in African American studies, cultural centers and gospel choirs.

To him the members had to do more than sing, it was also a ministry, so they had Bible Study and did volunteer work in the community. Louisiana State University established its African and African American Studies Program in , but had the cultural center prior to that and established a gospel choir in the late 90s. Grambling State University founded its gospel choir in the s and Northeast University in Natchitoches as well as Louisiana Tech University in Ruston also established gospel choirs.

Gospel soloists permeated all the periods starting from the s. Initially men soloists were not as strong, but more came into prominence as the style developed. Women always dominated this gospel genre. Of course the most well-known, even internationally, was Mahalia Jackson, who was born and raised in New Orleans. She left and migrated to Chicago where she soon became a soloist in her church and subsequently a soloist for Thomas Dorsey.

She helped him to demonstrate his gospel music compositions and simultaneously made a prominent name for herself as a consummate gospel soloist. Jackson died in and was honored in Hollywood by having a star mounted for her on the Hollywood Walk of Fame. New Orleans has also honored their native daughter by dedicating and naming the city's new Performing Arts Theater in her honor.

In addition, in , the city and Xavier University celebrated her anniversary by having several programs including gospel concerts, film screenings, panel discussions, and guest speakers one being Jackson's niece from Chicago. There were other female gospel songsters in the New Orleans community that were stellar performers like Bessie Griffin, who by the way came to Los Angeles along with the Zion Harmonizers to perform when Jackson was honored with the star.

Bessie Griffin gained fame first by singing with the famous Gospel Caravans in Chicago and later launched a solo career. Lois DeJean, who recently performed and contributed to the celebration for Mahalia Jackson in DeJean remained in New Orleans and became a gospel music educator and choir director, while also establishing her own group called the Johnson Extension.

Songs of Spirit and Continuity of Consciousness: African American Gospel Music in Louisiana

Similarly in Monroe, Louisiana, Penola Caesar, a hair stylist, was an extraordinary gospel performer. Whenever she came to sing, audiences rejoiced. She also had her signature songs and became an educator of gospel music and long meter or Dr. She conducted workshops on how to sing in certain sacred styles, because as she stated "the youth of our churches do not know them. She was referred to by the black Monroe community as "Our Mahalia. Personalities other than performers in the gospel network are also very important for the maintenance of the tradition. Disc jockeys, booking agents, promoters, composers, and publishers play an important role in promoting gospel groups and programs not only in the African American community, but with the larger populace as well.

Most radio stations programmed by African Americans have several hours per day designated for gospel programming. Everyone interested in "being in the know" about religious music and services tunes in to "Cousin Carrey," especially on weekend mornings. She gives a complete rundown on gospel programs and special church activities in the area, along with religious music and special requests for particular tunes. Daddy O, played this identical role for several decades.

Another confirmation of the importance of maintaining the music today is the growing prevalence of twenty-four hour gospel stations. Within the last couple of decades, more stations are on the air with only gospel music for at least 18 hours. This radio program featured more group oriented broadcasts including quartets and mixed groups. There has also been a rise in gospel music publications. In New Orleans there are two monthly publications that have recently appeared in the community, the newspaper, Gospel Music Echo United Gospel Magazine.

Though brief and without citations, these articles and news items are valuable because of their descriptive accounts of events and informative interviews with performing artists and groups. There is no doubt that African American gospel music will continue to exist as a dynamic expression of the cultural identity of participants in the tradition. It is still one of the most genuine forms of the community's expression of values and aesthetics and has remained the least encumbered by Euro American influence.

There is still a strong continuity of consciousness. In her chapter on Mahalia Jackson, Hettie Jones contends, "By the forties gospel music had become an institution in black communities. Gospel music was a national affair, but a national Negro affair. Gospel was private, African, Negro, black" Despite the influence and popularity of some performers, gospel music has remained essentially African American.

This is due to the fact that the music is an intricate part and thus cannot be totally separated from the African American church and subsequently from centuries of the African American experience in America. Gospel music continues to speak to and for people of African descent in the vernacular as a dynamic form of folk creativity.

These worship settings, for example, could have been one of the cabins in the slave quartets or under one of the large oak trees in the woods. Many slave owners did not allow their slaves to worship; however, they continued to worship in a clandestine manner, thus the term "hush harbors.

This practice became prevalent in the early 20th century after African Americans arrived in urban centers seeking a place to hold worship services. The area designated as the Florida Parishes fell within the Spanish territory of West Florida in During this time it comprised the area of Louisiana north of Lake Ponchartrain, east of the Mississippi River and south of the Mississippi border. Tammany, Tangipahoa, and Washington.

This area is referred to as the Florida Parishes in recognition of its history. The term "jubilee" has various meanings depending on context and the period of history that it is used in. It has been used to designate rejoicing songs of freedom, special celebrations, religious narrative songs, a body of black religious folk songs, the style that the songs are performed in and the groups that sing these songs.

The main campus of Southern University was moved to Baton Rouge in ; however, the board continued to maintain a branch of the campus in New Orleans. There is also a branch in Shreveport. The respectful title "professor" or "fess" shortened version is given to African American musicians who have displayed a cultural competence in the performance of some form of African American music sacred or secular.

It does not, in the vernacular, designate an academic degree. Their name was changed when they began advertising for the Soproco Soap Company. Please note that you will be liable for damages including costs and attorneys' fees if you materially misrepresent that the material is infringing your copyright. Accordingly, if you are not sure whether material infringes your copyright, we suggest that you first contact an attorney.

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This item has not been rated yet. Published by Times Square Press. From the very beginning: From to Historical retrospective of the Afro-American gospel music in the late 19th century.