Web Hosting by Netfirms | Free Domain Names by Netfirms

THE GOSPEL MUSIC: HISTORICAL PERSPECTIVE

EARLY 20^th CENTURY

By Maximillien de La Croix de Lafayette

Cecil Sharp (1859–1924) who spent years exploring and searching the origin of popular and folkloric American folk-song literature concluded that American folk music had British ancestry. Another eminent historian, G. P. Jackson traced the roots, origin and influence American folk music, its revivalist and evangelist songs to the early 19th-century black “camp meetings” in the Southern States of America. However, to my personal astonishment, Jackson claimed and explained by using documented analogy and hundreds of comparative examples, that a considerable number of original black “spirituals” were not totally and exclusively African. According to Jackson, they were adapted from or inspired by white “spirituals” created by white communities. He added that, African musical traditions were amalgamated with the church hymns and religious songs of the white South, the cradle of gospel music. For the Southern States had many sources and resources to create and produce popular and or folk music that was sometime distinctly black in nature, and some other time, white in character.

I do not totally agree with Jackson, for various and additional historical research conducted in France around 1965 on the origin of “black music” as an inspirational and religious music in nature concluded that, many blacks in Congo Belge, Sierra Leone and other parts of Central Africa were singing a type of religious songs  centuries before Afro Americans were shipped to the United States as slaves. Many central African tribes had already their own tribal and religious ceremonies, hymns, chants and songs, in the same tradition it was carried by Afro American slaves in the New World and in  the same manner “white spirituals” developed and sand their “white spirituals”. According to gospel music historians (black and white), the modern day gospel music history is less than 50 year old. The modern gospel music had two stages:

STAGE ONE:

During the periods of 1900-1930's, the gospel music as we know it today was the cause-effect of social changes, way of life and social necessities in the Southern States in America. It was a direct expression of the daily life of Black Americans in the South. This expression remained deeply rooted in their direct milieux and immediate surroundings. However, when the Afro Americans began to migrate to the Northern part of the United States, as well as to other parts of America, this very individualistic and collective expression began to metamorphose into different directions and to branch out to new social conditions, but remained authentic and original in its nature and character. Wherever they went, Afro Americans looked upon the gospel music as their own.

STAGE TWO:

The second stage of the Gospel music began in the 30's, under the influence of Reverend Dorsey known as the father of modern Gospel music. Reverend Dorsey was an innovative and creative composer and singer. He brought a sense of modernism to the traditional and aging gospel music. A daring and refreshing creativity which was not always well received and warmly welcomed in all the black churches. For many black traditionalists described his creative musicality and new interpretation of the sacred songs of the black church as very avant-garde and liberal in their style. Many churches and congregations would not sing the modern songs of Dorsey’s contemporary compositions known also as the “Dorseys”. In the 40's, the gospel music began to change and to organize itself into quarters and ensembles which toured the United States and commenced to gain popularity, despite some geographical racial biases. After 1946, the black gospel music became an “American music”, a national inspirational expression for both blacks and whites. Herb Brewater a native of Memphis, Tennessee recorded a great number of gospel songs. His records were sold nationwide.

GOSPEL MUSIC IN THE 1950s

In the 50's, the black gospel music changed drastically and evolved into a music du jour. The old times solo and collective singings without musical instruments are now performed with churches organs and pianos. The most illustrious ensemble of the era were the Clara Ward Singers of Philadelphia in Pennsylvania, The Staple Singers of Chicago and the famous Albertina Walker of Atlanta, Georgia who created a group called the Caravan. This very group featured the great James Cleveland.

THE STAPLE SINGERS

Photo: The Staple Singers.

The Staples' story goes all the way back to Winona, MS, in 1915. It was then and there that patriarch Roebuck Staples entered the world. A contemporary and familiar of Charley Patton, Roebuck quickly became adept as a solo blues guitarist, entertaining at local dances and picnics. Gradually drawn to the church, by 1937 he was singing and playing guitar with a spiritual group based out of Drew, MS, the Golden Trumpets. Moving to Chicago four years later, he continued playing gospel music with the Windy City's Trumpet Jubilees.

  A decade later Pops Staples (as he had become known) presented two of his daughters, Cleotha and Mavis, and his one son, Pervis, in front of a church audience, and the Staple Singers were born.

Photo: The Staple Singers

The Staples recorded in an older, slightly archaic, deeply Southern spiritual style first for United and then for Vee-Jay. Pops and Mavis Staples shared lead vocal chores, with most records underpinned by Pops' heavily reverbed Mississippi cotton-patch guitar. In 1960 the Staples signed with Riverside, a label that specialized in jazz and folk. With Riverside and later Epic, the Staples attempted to move into the then-burgeoning white folk boom. Two Epic releases, "Why (Am I Treated So Bad)" and a cover of Stephen Stills's "For What It's Worth," briefly graced the pop charts in 1967.In 1968 the Staples signed with Memphis-based Stax. The first two albums, Soul Folk in Action and We'll Get Over, were produced by Steve Cropper and backed by Booker T. & the MG's.

 The Staples were now singing entirely contemporary "message" songs such as "Long Walk to D.C." and "When Will We Be Paid." In 1970 Pervis Staples left and was replaced by sister Yvonne Staples. Even more significantly, Al Bell took over production chores. Bell took them down the road to Muscle Shoals, and things got decidedly funky.
Starting with "Heavy Makes You Happy (Sha-Na-Boom Boom)" and "I'll Take You There," the Staples counted 12 chart hits at Stax. When Stax encountered financial problems, Curtis Mayfield signed the Staples to his Curtom label and produced a number one hit in "Let's Do It Again." The Staples went on to continued chart success, albeit less spectacularly, with Warner, through 1979. One more album followed on 20th Century Fox in 1981. Data/Source: Rob Bowman

ALBERTINA WALKER

 
The Caravans are heralded as an unparalleled launching pad for future gospel superstars: Shirley Caesar, Inez Andrews, Bessie Griffin, Dorothy Norwood, Cassietta George, and James Cleveland were just a few of the ensemble's alumni who later went on to solo fame. In that tradition, the pioneering gospel singer started The Albertina Walker Foundation for the Creative Arts which provides scholarships to gospel musicians and singers. In 1955, they were signed to Savoy Records. Dance fans should take note that the Caravans, in 1966, included teenager and future disco diva Loleatta Holloway.

 
By 1956, the Caravans were among the most popular acts on the gospel music circuit due in part to their ethereal, amazing vocal interplay and strong alternating leads. Riding high in 1962, the Caravans signed to pioneering Chicago record label Vee-Jay to record the LP Seek Ye the Lord. Other hit albums with VeeJay include Walk Around Heaven All Day and To Whom Shall I Turn.

The Caravans disbanded in the mid-'70s, though there were occassional reunion tours.
The '70s saw Ms. Walker re-signed with Savoy releasing such LPs as Please Be Patient With Me (her first Grammy-nominated album), I Can Go to God In Prayer, Spread the Word, I Wont Last a Day Without You. By the '80s, Ms. Walker had moved to Word/Epic recording Let Jesus Come Into Your Heart, I Will Wait on You, and Joy Will Come In the Morning. By this time, she had been nominated 11 times for the Grammy Award. In 1995, she won a Grammy Award for the Best Traditional Gospel Album, Songs of the Church. Also that year, she recorded an album with Phoebe Snow, Thelma Houston, CeCe Peniston, and Lois Walden as the Sisters of Glory, and released an album called Good News In Hard Times on LLF/Warner Bros. Records. The veteran's warm, venerable vocals graced Thomas A. Dorsey's "Precious Lord" and Dorothy Love Coates' "He's Right on Time." In 1997, she won a Dove Award for Traditional Gospel Album of the Year for the Grammy-nominated album, Let's Go Back - Live in Chicago. Released in summer 1997, I'm Still Here (BMG/Zomba/Verity) was a solid contribution to a catalog that includes over 40 albums. Some of the standout tracks are the title track, "Sanctify Me (I'm Available)," "Lord I Want to Thank You," and a jazzy orchestrated cover of "The Impossible Dream." As the 21st century began, Albertina Walker was guesting on albums by Kurt Carr, the Gospel Music Workshop of America, and the National Baptist Convention. ~Data:  Ed Hogan, All Music Guide

Photo: RUN DMC Group

Today, fortunately or unfortunately the sacred gospel music became in certain areas for certain recording artists a “hip hop” platform. However, many aggressive and free-spirited modern singers and Rap artists found spiritual and meaning comfort and consolation in this contemporary wave of gospel music. The famous Run DMC group illustrates the case.

In the  90's, Kirk Franklin made his mark on the gospel music heritage and industry.