Negro music in America Program 22
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Negro music and American.
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Negro music in America.
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An exploration of it and its impact on American culture.
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Here is your host for the survey's Tony look at Vox our program of
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spirituals today will come from recordings that were made back in the 30s in the early 40s.
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All are 78 rpm acetate recordings but will surprise you with their sound quality for
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they have been rather well cared for. Another interesting thing about these records is that when I bought
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them 25 30 years ago they were purchased from separate catalogs which were then known
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as Ray's catalogs to distinguish these records from their recordings by white musicians.
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Believe me that was one Jim Crow line that was crossed back and forth up and down and sideways until it
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was finally eliminated. As you listen to these numbers you'll probably decide that they were
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especially chosen just to display the spine tingling exciting religious music of the Negro
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which while full of reverence for God shows a distinct kinship to jazz. And you're
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absolutely right for their relationship is strong in these probing the religious songs are one of the
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inspiring sources for the jazz musician. For a first number here is
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Reverend Kelsey in his congregation singing little boy.
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My brain now I want to call don't think that can help it go
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to court and to think Luke and be funny
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when he was below. They went up to do
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after that he can confront in about a lot
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and the point when he would only add a good plan.
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That would carry him to do root. I thought even up to the people that.
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They would on their way back to their home. Not Call the name that
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company did. They look like
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they couldn't find him. I saw that when they were trying back to do a little
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batty among the law you conducted them per.
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Month on him he would be good but
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that why we get a loan from the on thing
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right. I mean the boy Well I don't mean
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the family the mom.
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Uh. Uh.
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Uh.
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Uh uh.
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Next we have Professor Jay Earl Hines and his goodwill singers from Los Angeles
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singing Get on board as spiritual it is also known as the old ship of Zion.
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Uh.
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Uh.
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Uh. Uh
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uh uh
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uh
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uh.
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Uh.
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If you've never heard Sister Rosetta Tharpe you will be happy you wiped out that sent of the mission
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after you have listened to this version of done by the Riverside Inn which is accompanied by the
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Sam prize trio.
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To watch my son.
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Long.
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Long.
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Long.
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Long
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long
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long.
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Long.
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We know have Professor Jalen Hines back again happily and reverently singing
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yes God is real.
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Will eat
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meat.
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Bowl.
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Yeah maybe.
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Yeah
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me.
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Me
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alone.
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Home.
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On.
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Loan. Yes.
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The spirituals you have just heard are examples of a folk art form that is known and loved
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all over the world today. They indicate how strongly the Afro-American related to
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the Christian God musically as he poured out his heart and soul and needs an prayerful
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song with his natural rhythmic and cultural inclinations he has transposed
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the white man's religious teachings and him into a musical form much more
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satisfying to his own spiritual and physical needs. From slave times till
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now this Welling chorus of strange and exciting harmonies with words of simple
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and yet strongly moving folk poetry has captured the hearts and imaginations of all who have listened with
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open minds. The spirituals along with blues have been the source of tremendous
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inspiration to all musicians especially those who have woven them into the marvelous multi colored
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fabric that we know is jazz. Next week I'm sure you'll enjoy the harmonious singing of
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the spirituals in quartet style. Something that was very popular in the 30s and it
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went like this. As an example I shall not be moved
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far.
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Negro music in America I was told a local Bach presided transcribed by the
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SEIU Radio Network. Got it again next week as we continue
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our exploration of the negro and American music.
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This program was distributed by national educational radio. This
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is national educational radio network.
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This program has been transcribed using automated software tools, made possible through a collaboration between the American Archive of Public Broadcasting and Pop Up Archive. Please note that no automated transcription is perfect nor is it intended to replace human transcription labor. If you would like to contribute corrections to this transcript, please contact MITH at mith@umd.edu.