A Legacy of Inspiration — It’s Called Gospel Music!

When most people think of gospel music, the Black church immediately comes to mind — deacons and sisters shouting and animated pastors asking for Amens. Gospel music has its roots in the Blues. Think about a John Coltrane ballad or Ray Charles foot patting to his rhythmic piano delivery. Listen to the soulful shouts of Big Maybelle and Gregory Porter songs. It is the melodic cadence of ancestoral sounds — the call and response from the cotton fields and prison chain-gangs. On Sunday mornings, it resurfaces in the Baptist Church pulpit, the ringing voice of the impeccably dressed minister’s cadence and the choir ensemble singing Negro spirituals and hymns — now-a-days, transformed into moving, rhythmic mass choirs accompanied by live bands.

The sounds of our ancestors were heard long before the American sound of European instruments. In “Slave Culture” (1987), Sterling Stuckey noted, “The ring shout was the main context in which Africans recognized values common to them, that is the values of ancestor worship, and, of contact and of communication and teaching. The ring helped preserve the elements that we have come to know as the characterizing and fundamental elements of Black music: calls, cries, and holler, call and response; additive rhythms and polyrhythms; blue notes, bent notes, hums, moans, grunts; and constant repetition of rhythmic and melodic figures and phrases (from which riffs and vamps would be derived); hand clapping and foot patting.”

Yesterday’s and Today’s Pioneers of Gospel Music

The jazz and blues composer and arranger, Thomas A. Dorsey, the “Father of Gospel Music”,  had a career that spanned from 1919 to 1993. He wrote some 3,000 songs, including Take My Hand, Precious Lord, sung by Mahalia Jackson. Historically, it is the most recorded gospel song ever. Aside from the lyrics, Dorsey saw no real distinction between blues and church music.  He viewed songs as a supplement to spoken word preaching, mainly cadence. He opened the door for gospel hip hop, a genre that is currently being led by the young choir director, gospel singer/songwriter Kirk Franklin. His leading of urban contemporary gospel choirs like The Family, and One Nation’s Crew, has inspired an expanding and younger generation fanbase. Checkout The Rebirth Kirk Franklin concert.

Pioneer gospel singers Mahalia Jackson and Sister Rosetta Tharpe share the reputation for early influences of R&B and rock & roll. Tharpe’s successful gospel recordings of rich spiritual lyrics while dancing with her rhythmic electric guitar caught the music world’s attention. Her early electric guitar playing has influenced guitarists from Little Richard, to Jerry Lee Lewis, to Elvis Presley. During a 1960s European tour with Muddy Waters, Tharpe’s guitar playing techniques caught the ear drums of British guitarist Jeff Beck, and Keith Richards — both of whom took note.

The rapper, lyricist, producer, Kanye West, also from a Christian background, moved on the gospel scene in 2019, when he released Jesus Is King (GOOD Music), a Christian hip hop album. It became the first gospel album to simultaneously hit the Top Charts of Gospel Albums, R&B/Hip Hop Albums, and Christian albums. During that same year, West started his Sunday Services at specific locations only known to invited guests. It was more of a weekly concert fest which featured his Sunday Service Choir. It is clear that Kanye’s perspective on gospel music crossing multiple genres, is closely drawn from both Dorsey and Franklin’s unique styles.

One of the most revered gospel elders of all time, is 86-year-old Dorothy Norwood. It took this writer five phone calls before finally arranging a telephone interview with her from her home in Atlanta. Even then she explained, “I can’t talk long, I am in make-up now, going on stage at 3pm. It was 1pm at the time. The vivacious octagenarian was preparing for a solo performance in Raleigh, North Carolina.

At 19 years old, she toured with Mahalia Jackson (1956-57). “She taught me so many things”,  said Norwood. “Most importantly, she taught me showmanship … how not to stand in one spot, but move around, and the importance of being on time.” In 1958, she joined the renowned gospel group, The Caravans, which had already included James Cleveland and Cassietta George. This ensemble, which began in 1947, featured a revolving cast of singers. The group would later help to launch the career of gospel great, Shirley Caesar.

Norwood began her solo career in the early 1960s and toured as an opening act for the rock group the Rolling Stones. She felt rather strange at first, opening for the big rock act.  But The Stones said they were moved by her music in a different way, and wanted her on the tour. “I was really humbled to tour with them,” says Norwood. As the pandemic seems to be losing its grip on the world, she stated, “It seems like live performances are coming back, so I’m moving out there slowly.”

Joyful Choirs

Both U.S. and international tourists have been known to scout out acclaimed African-American churches, particularly when visiting Harlem in New York City. Their collective desires? To be entertained by gospel choirs, and perhaps, touched by the pastor’s deliberate rhythmic cadence, while passing on the Word. There seems to be a never-ending curiosity of African-Americans and their religious roots and practices in the church — the communal shouting, the call-and-response, the hand waving, and stomping of feet — all, still very much alive.

The Abyssinian Baptist Church Choirs

The Abyssinian Baptist Church with its music ministry has served as a central pillar of the church’s worship while often delivering an outspoken voice of activism in the village of Harlem and the City of New York for more than 200 years. LaFrederick Coaxner, Choir Director explained, “the choir under my leadership is The Inspirational Voices Of Abyssinian (IVA). This choir was originally formed as a young adult choir to hone musicianship and become acquainted with church music. IVA brings diversification to the music ministry with more contemporary gospel music as well as traditional gospel and spirituals.”

The Abyssinian Music and Fine Arts Ministry consists of seven adult choirs, youth ministry aggregations, and a staff of six instrumentalists. The repertoire consists of negro spirituals, both choral and solo arrangements, traditional hymns, hymn arrangements for chorus, anthems, gospel music- both traditional and contemporary music. As well as other works written for Abyssinian such as Wynton Marsalis’ “All Rise,” which was a central feature of the church’s 200th anniversary celebration.

The popularity of gospel music has always been there. There has always been a gospel radio station (or at least a radio station in NYC that played it on Sunday morning) and in various parts of the country there are all day gospel stations,” said Coaxner. “Gospel artists are winning major awards and having vocal competitions like The McDonald’s Gospel Fest/Competition and Sunday Best. The secular folks were paying attention, they just didn’t know STOMP was gospel.”

The Jubilation Choir

The Jubilation Choir delivers the holy spirit like an Aretha Franklin soul searching shout out. Over 400 singers came out to audition for the Jubilation Choir in 1998. But only 100 singers earned the honor to wear the Jubilation robe. Currently, 35 of the original members are still raising their voices to the Lord. The choir was founded by Councilman Donald Tucker, and then president of New Jersey Performing Arts Center (NJPAC), Larry Goldman. Reverend Dr. Stephanie Minatee was named choir director and artist-in-residence. Under her leadership, Jubilation has released six albums, and earned a Grammy award. Jubilation was highlighted as the choir on the video Ray Charles with the Voices of Jubilation Choir 2006. “When I flew out to California to meet Ray, we hit it off immediately. He said let’s do it, bring your band and choir, and I will play with them,” said Reverend Minatee. “I will never forget that experience of performing with him.”

Other secular artists who have enlisted Jubilation’s heavenly harmonies include Queen Latifah, Isaac Hayes, and Dionne Warwick. On the gospel circuit, they have performed with Bishop Walter Hawkins, and Donnie McClurkin. “There is a message in our music,” stated Reverend Minatee. “We do various genres of music to enlighten, not just entertain.” After more than two decades, Reverend Minatee recently retired last year during the pandemic. “It is time to pass on the torch. I thank God for all he has done for us,” she concluded.

Harlem’s Convent Avenue Baptist Church Choir

The Inspirational Ensembles repertoire of Harlem’s Convent Avenue Baptist Church covers a wide range of musical styles that include traditional and contemporary gospel, Negro Spirituals, anthems, and a number of original compositions written by its members. Founded in 1982 by former director, Juanita David, the ensemble is presently under the direction of the renowned tenor, Professor Gregory H. Hopkins (singer, pianist, organist, choral conductor, teacher). The Choir recorded the Grammy-nominated CD Amazing Grace with Metropolitan Opera Mezzo-Soprano, Barbara Conrad (Naxos Recording label). The tradition continues with Director, Elana King, church pianist, Jeremy Jordan, and church organist, Raphael Fusco.

The Grace Baptist Church

The historic Grace Baptist Church in Mt. Vernon, New York, began in 1888, when five African American women founded the church that would become home to Black Americans who were part of the Great Migration. Under the leadership of Reverend Dr. W. Franklyn Richardson, the church, with its 3,000 parishioners, not only raises spirits through their music ministry, but the choir’s joyful sounds are so powerful that it seems they might even reach as high as the gates of heaven.

It is expected that megachurches with huge congregations should have great gospel choirs. But the truth is, gospel music isn’t about the size of the church, or the wealth of its congregation. In fact, gospel music is about the journey of praising the Lord. It is also about African-American life, history, and culture. That soulful hand clapping; the rhythmic foot stomping; the primal call-and-response; and the tambourines to glory — a testimonial of African Americanism in one of its purest forms — regardless of size.

These are the same expressions that ring out from the deacons in the pulpit of a small church that sits on a hill in West Palm Beach, Florida — Mt. Gilead Missionary Baptist Church. This church has an exceptional choir, although at times there are only five to eight singing members. However, it is their melodic flow, their purpose, belief, and magical harmony that more than compensates for number of celebrants. The pastor, Reverend Rufus Parsons, commands that you stand up in praise as he offers a stirring Sunday morning sermon, following one of his favorite songs,  “I Love to Call on the Name of Jesus.” His small, but dynamic choir, boasts an electric keyboardist and drummer. Milton Perkins, a member of the choir, really touches souls as the male lead on the hymn It Could Have Been Me.

My cousin, Reverend Alfonso Scott, Jr., the associate pastor at Mt. Gilead, often jokes: “I am the only Black Baptist minister who can’t sing.”  I told him it’s all in his cadence and flow. While he practices his singing skills, gospel music will continue to offer hope, inspiration, and praise to Baptist churches small and large. It is music that heals, soothes, and comforts, in times of need. Gospel music will continue to marry with R&B, classical music, and jazz. And as life moves onward, young people will add their fire to the brimstone. Gospel music lives within, and comes from, the souls of Black folks.

The Stellar Gospel Music Awards founded in 1970 by Don Jackson, to honor those outstanding artists in gospel music will commence on July 16, in Atlanta for a live-taped ceremony at the Cobb Energy Performing Arts Center.  The Stellar Awards are returning after a two-year absence due to the COVID-19 pandemic. For more information visit their website Thestellarawards.com.

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Ron Scott

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