Gospel Music
Gospel music is arguably the most important African-American musical tradition. Throughout the twentieth century it has managed to instill a vision in African-Americans with its message of hope, love, and compassion through the power of Jesus Christ. Gospel music has also had a profound influence on religious and secular music, enabling it to become a part of the broader American culture.
During the Antebellum period, African-Americans used religious and sacred songs as a tool of liberation in order to help them survive the terrible institution of slavery. Once emancipation had been achieved, they then relied upon spirituals such as "Nobody Knows the Trouble I See," "Steal Away," "Didn't My Lord Deliver Daniel," "Ezekiel Saw the Wheel," and "In that Great Gettin' up Morning," to help them make the transition from slavery to freedom. Beginning in the early twentieth century, however, African-American religious music would enter a new age with the birth of black Pentecostal churches and denominations. With a strong worship emphasis on emotionalism and speaking in tongues, many traditional hymns were instantly "gospelized" by increasing the tempo and, at times, by adding percussion accompaniment. Instrumental in this phenomena was Charles Price Jones of Jackson, Mississippi, founder of the Church of Christ (Holiness) USA, who as the father of African-American Pentecostalism composed over 1,000 songs for his congregation. Jones' songs—such as "I'm Happy With Jesus Only" and "Jesus Only"—were unique in that they expressed the feelings and expressions of African-Americans after slavery.
Beginning in the 1920s, black religious music was introduced to the Quartet movement. Whereas most sacred music was sung by congregations, The Fisk Jubilee Singers of Nashville were responsible for popularizing the groups as they sprang up east of the Mississippi River. Because of their amazing popularity, record companies such as RCA Victor, Paramount, and Columbia, cashed in on the demand for this type of music in the Urban North by recording and promoting the quartet sound. Radio stations also sought to capitalize on the growing popularity of black religious music. Stations such as WLAC of Nashville, with its 50,000 watts, played the music at night to listeners as far away as Chicago, Philadelphia, and New York.
Seeking to take advantage of the growing popularity of black religious music, Thomas A. Dorsey of Chicago took African-American religious music to a new level by combining blues and jazz rhythms to traditional hymns; he labeled his sound "gospel." Dorsey, a former jazz and blues pianist, decided to give his talents to "the Lord" in 1932 and in that same year he organized a gospel choir at Chicago's Pilgrim Baptist Church. One year later he organized the National Convention of Gospel Choirs and Choruses (NCGCC). Thus, he had begun a career that would eventually lead him to compose over 500 songs. His most famous was "Take My Hand Precious Lord." In addition to directing and composing, Dorsey also opened a gospel music publishing house and soon thereafter he was labeled the "Father of Gospel Music." Although Dorsey was indeed a prolific songwriter, he did not operate in isolation. He worked with other artists such as Sallie Martin and the popular Mahalia Jackson. Between 1938 and 1947 Jackson made several recordings, but her most popular—"Move On Up A Little Higher"—catapulted her into gospel music fame. On the heels of the popular recording she secured a weekly CBS radio program and she also made a number of appearances at the famed Apollo Theater and the on Ed Sullivan Show. Since she was one of the first gospel artists to take her work to a secular audience, Jackson quickly became an international star and many today consider her the "World's Greatest Gospel Singer."
Beginning in the 1950s, other artists—the Dixie Hummingbirds, the Blind Boys of Alabama, and the Sensational Nightingales—filled churches, auditoriums, and jazz festivals with their unique style as they followed Jackson's lead in taking their message to a broader audience. Again, the media sought to take advantage of the popularity of gospel music by establishing such nationally syndicated television programs as TV Gospel Time. Although the show had a short existence it was nonetheless instrumental in bringing gospel music to a non-religious crowd.
While some artists were bringing gospel to new listeners, others such as James Cleveland were gaining notoriety within traditional gospel circles. Born in 1930 in Chicago, Cleveland served as composer, arranger, and pianist for several gospel groups before starting his own, the James Cleveland Singers, which performed many of his 500 songs. What made Cleveland unique was that he introduced the nation to the "Gospel Choir." At times, his choirs would number several hundred as they entertained audiences with their hand clapping, dancing, and singing, while arrayed in their fashionable robes. In 1968 Cleveland organized the Gospel Music Workshop of America (GMWA) and because of his success he received three Grammy Awards; in 1981 he was awarded a star on the Hollywood Walk of Fame.
In spite of Cleveland's broad appeal, there was a faction inside the gospel music industry that wanted to take gospel into the main-stream; quite simply, they wanted to imitate the more popular rhythm and blues songs. Leading this movement was Edwin Hawkins, who in 1969 recorded "Oh Happy Day," which rose to number one on the Top Fifty Chart with its catchy beat and rhythmic sound, but without any references to God or Jesus. A new generation of gospel was born.
Other artists such as Andrae Crouch followed Hawkins' crossover success by writing gospel lyrics for more popular secular songs. Although Hawkins and Crouch were forerunners of this "new gospel music," their popularity was still largely confined to the ears of black churchgoers. Beginning in the late 1980s, however, contemporary gospel groups such as Take 6 and the Winans began to take the gospel message to an ever wider audience. During their heyday both groups could easily fill a concert hall as they played their new style to the sacred and the secular. By the 1990s gospel music had grown to a billion-dollar industry, thanks in part to such artists as Kirk Franklin, whose debut album Why We Sing reached number one on the Billboard Gospel Chart and Number 13 on Billboard's Rhythm and Blues listing. Today, gospel music continues to be an important thread in the fabric of American popular music.
Further Reading:
Allen, Ray. Singing in the Spirit: African-American Sacred Quartets in New York City. Philadelphia, University of Pennsylvania Press, 1991.
Boyer, Horace, and Lloyd Yearwood. How Sweet the Sound: The Golden Age of Gospel. Washington, Elliott and Clark Publishing, 1995.
Harris, Michael. The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church. New York, Oxford University Press, 1992.
Reagon, Bernice Johnson, editor. We'll Understand It Better By and By: Pioneering African-American Gospel Composers. Washington, Smithsonian Institution Press, 1992.
This is the complete article, containing 1,121 words
(approx. 4 pages at 300 words per page).
