On the Twelfth Day of Christmas: GO, TELL IT!

Yesterday's post ended with the ancient hymn "Of the Father's Love Begotten" combined with the South African Freedom Song Thula sizwe. You can hear the full work at the end of yesterday's post, but here is an excerpt of the work.

Sean Ivory and Paul Caldwell: Hope for Resolution
[Of the Father's Love Begotten
with Thula sizwe,
a South African Freedom Song]
Georgetown University Concert Choir

~~~~~

If you've followed this blog for awhile you probably know that I serve an urban congregation in Chicago. One carol that is an absolute must this time of year is "Go, Tell It on the Mountain."

The tune plus text of the refrain comes from the African-American tradition, while the text of the stanzas comes from an African-American educator named John Wesley Work, Jr. Work taught Latin and Greek at Fisk University and eventually chaired the department. He is possibly the first African-American to gather spirituals and publish them.

There is a variation going on with the refrain. Most editions end the refrain with "...that Jesus Christ is born." Some editions end the refrain with, "...that Jesus Christ was born." The latter usage kind of leaves Jesus back in the manger. The former usage brings Jesus to the present, and opens the door to a discussion of how Jesus comes to us today. All that said, my favorite arrangement is the final video below, and they are using the latter with an alternate text and counter-melody for the stanzas. The video appears to be at the close of a Christmas Vespers service.

~~~~~


The Blind Boys of Alabama

~~~

Go, tell it on the mountain,
Over the hills and everywhere
Go, tell it on the mountain,
That Jesus Christ is born.

While shepherds kept their watching
O’er silent flocks by night
Behold throughout the heavens
There shone a holy light.


Kurt Franklin: Go Tell It on the Mountain
The Second Bethlehem B.C. Mass Choir
Krystal Johnson, Lead Vocalist

~~~

Go, tell it on the mountain,
Over the hills and everywhere
Go, tell it on the mountain,
That Jesus Christ is born.

The shepherds feared and trembled,
When lo! above the earth,
Rang out the angel chorus
That hailed the Savior’s birth.


This a wonderful arrangement
Both the composer and the group are unknown

~~~


Go, tell it on the mountain,
Over the hills and everywhere
Go, tell it on the mountain,
That Jesus Christ is born.

Down in a lowly manger
The humble Christ was born
And God sent us salvation
That blessèd Christmas morn.

~~~


The Ambassadors of Harmony Double Quartet
First Baptist Church, St. Charles, Missouri

~~~

Go, tell it on the mountain,
Over the hills and everywhere
Go, tell it on the mountain,
That Jesus Christ is born.


"Go Tell it on the Mountain" with "Mary Had a Little Baby"
Arrangement by Bruce Thompson
The Choir of Jane M. Smith Memorial Church

~~~~~

English Anthems from Spirituals?

As I was researching this series using the highly-regarded sources of YouTube and Wikipedia (if you find it there, it has to be true!), I came across this series from contemporary English composer Michael Tippett (1905-1998).

These are thoroughly English in style and sound, yet the texts and tunes come from the African-American spirituals.

The first is "Steel Away." There is an interesting use of dissidence in the solo voice whenever the text, "the trumpet sounds," appears. Another (below) is "Go Down, Moses."

+++++

Steal away, steal away,
Steal away to Jesus.
Steal away, steal away home;
I ain't got long to stay here.

My Lord, He calls me,
He calls me by the thunder.
The trumpet sounds within-a my soul;
I ain't got long to stay here.

Green trees are bending;
Poor sinner souls attending.
The trumpet sounds within-a my soul;
I ain't got long to stay here.



+++++

Go down, Moses,
Way down in Egypt land,
Tell, O pharaoh, to let my people go!

When Israel was in Egypt-land,
Let my people go!
Oppressed so hard they could not stand,
Let my people go!

"Thus spake the Lord," bold Moses said,
"Let my people go!
If not, I'll smite your first born dead
Let my people go!"

Lena Horne: June 30, 1917 – May 9, 2010

Legendary songstress Lena Horne passed away on Sunday. Lena broke through the color barrier early in her career and later participated in the civil rights movement of the 60's.

Here's the AP news release (please pardon the commercial that precedes it) and perhaps her most famous song. Following those, a few things just for fun. I vote for Moon River as tops in this group!

~~~~~

AP News Release



~~~~~

"Stormy Weather"
Full version from 1943



~~~~~

"It's Not Easy Being Green"
Lena Horne and Kermit the Frog



~~~~~

"I Got Rhythm"
Lena Horne (source unknown)



~~~~~

"I Feel So Smoochy"
Original 1940's recording
Re-released in 1958


This one was for my dad.
"Smoochy" sounds like a word in his vocabulary!

An Irish Tune in an African-American Culture

You will find this one-line hymn in most African-American hymnals.

Probably the tune is a little more familiar. It comes from the Irish folk tradition.

I shall forever lift mine eyes to Calvary
To view the cross where Jesus died for me

Capping off Black History Month with Peaceful Authority

Here's Peaceful Authority an a capella quartet comprised of police officers from Flint, MI.

America the Beautiful



~~~~~

Swing Low, Sweet Chariot



~~~~~

Gimme that Ol' Time Religion



~~~~~

The Star-Spangled Banner
please rise

Black History Month: Take My Hand, Precious Lord; Lead Me Home

Chicagoan Thomas A. Dorsey is often considered the father of modern gospel music.

To be sure, there are two Tommy Dorseys living and working around the same time. One left his mark on the church, and the other left is mark on the music industry as a Big Band conductor. The latter could be seen filling in for Doc Severinsen as leader of the Tonight Show band. The former made it big in his own way, both in the secular realm early in his life and in the sacred realm later in his life.

As a parish musician, I can relate to Thomas A Dorsey's reflection, "I've been thrown out of some of the finest churches around!" For Dorsey, it was his progressive music that got him in trouble. For me, it was mostly budget cuts. At least that's what they all told me...

Where the black church had been using the spirituals up through this time, Dorsey introduced a new style of music. The spirituals had their roots in the rural south, while Dorsey's songs had their roots in the urban north.

Dorsey was music director at Pilgrim Baptist Church in Chicago from 1932 to 1983, so apparently at least one church decided to keep him around!

Pilgrim Baptist Church, Chicago, Illinois

Pilgrim Baptist Church, Easter Sunday, 1940

I don't know if Thomas A. Dorsey ever went on the Tonight Show like his contemporary Tommy Dorsey did, but you might have found his song, "Precious Lord, Take My Hand," sung by long-time collaborator Mahalia Jackson. This recording artist helped Dorsey's music burst onto the scene. She appeared on many variety shows including The Tonight Show with Johnny Carson.

And if you aren't familiar with Mahalia's rendition, you might be familiar with the one by Elvis Presley.

Getting back to Mahalia, she has a definite style for solo voice. This doesn't always translate into congregational song (anymore than an aria from Handel's Messiah would). Trust me on this, though, Mahalia's style has been used successfully in corporate worship! You need the right congregation, though. Here is a better pace for congregational singing.

Like "Lead Me, Guide Me," Precious Lord is an good choice to supplement your hymnody in the early Lenten season.

For we do not have a high priest
who is unable to sympathize
with our weaknesses,
but one who in every respect
has been tempted as we are,
yet without sin.
Let us then with confidence draw near
to the throne of grace,
that we may receive mercy
and find grace to help
in our time of need.
Hebrews 4:15, 16

You can find the complete text for Precious Lord, Take My Hand in Lutheran Service Book, #739.

Black History Month: Michigan's First Black Lutheran Congregation

Here's an article on Michigan's first Black Lutheran congregation over at the Detroit News.

Back then, segregation in the church and the nation was the norm.  "Separate but equal" was the mantra.  Of course, nothing was equal, but everything was separate.

Looking ahead, here's the South African Girls singing at Orange Lutheran High School in Orange, CA.  This would NOT have happened when St. Phillip, Detroit, was founded in 1930.

Note to African-American Lutherans everywhere, I need some youtube footage!

Special thanks goes out to Facebook friend Robert for reposting the article.

Black History Month: Lead Me, O Lord, Lead Me!

Many of my congregation's favorite hymns are appropriate for Lent. This one is no exception.

Check out this recording of "Lead Me, Guide Me" by Doris Akers. Doris wrote the text and tune, and sings all three parts on the recording.

The early part of Lent is more about our struggle and spiritual warfare with the evils of this world, as it kicks off with the Temptation of Our Lord. We ask God in this hymn to lead us through our times of trial just as we pray in the Our Father, "Lead us not into temptation, but deliver us from evil." A modern rendering of this text is "Save us from the time of trial and deliver us from evil."

Lead me, guide me along life's way,
For if you lead me I cannot stray.
Lord, let me walk each day with Thee;
Lead me, O Lord, lead me.

Here's a few members of the world-renowned Kentucky State University Concert Choir hanging out in their hotel room while on tour. They decided to record this video of Lead Me, Guide Me in their downtime. The kids can sing!

You can find the complete text in Lutheran Service Book, #721.

This song can be used to supplement other hymns, say, during the offering as a solo or choral piece, or perhaps as a closing hymn, as we ask God to lead us throughout the week.

Black History Month: Were You There?

In any congregation, there can be some "have-tos," such as...

• Singing "Silent Night" in candlelight on Christmas Eve
• Easter brunch after the Sunrise Service
• A Christmas program lead by the children

In my congregation, one of those "have-tos" is singing "Were You There" on Good Friday.

Were you there when they crucified my Lord?
Were you there when they crucified my Lord?
Oh - - -
sometimes it causes me to
tremble...
tremble...
tremble...
Were you there when they crucified my Lord?

Were you there when they nailed Him to the tree?
Were you there when they nailed Him to the tree?
Oh - - -
sometimes it causes me to
tremble...
tremble...
tremble...
Were you there when they nailed Him to the tree?

Were you there when they laid Him in the tomb?
Were you there when they laid Him in the tomb?
Oh - - -
sometimes it causes me to
tremble...
tremble...
tremble...
Were you there when they laid Him in the tomb?

Were you there when He rose rose up from the tomb?
Were you there when He rose rose up from the tomb?
Oh - - -
sometimes it causes me to
tremble...
tremble...
tremble...
Were you there when He rose rose up from the tomb?

The final stanza has been rendered in different ways, including this in Lutheran Service Book (hymn 456).

Were you there when God raised Him from the tomb?
Were you there when God raised Him from the tomb?
Oh - - -
sometimes it causes me to
tremble...
tremble...
tremble...
Were you there when God raised Him from the tomb?

Another rendering is...

Did you know He is risen from the dead?
Oh - - -
Sometimes I feel like shoutin'
Glory!
Glory!
Glory!
Did you know He is risen from the dead?

One use of this spiritual might be to intersperse verses into the Passion reading on Good Friday, in a similar way that the Passion chorales are used.

Some verses might include traditional verses mixed with newly written stanza (and these definitely need tweaking, but you get the idea):

Before the reading of the Passion
Were you there when they crucified my Lord?

After John 18:11
Were you there in Gethsemane that night?

After John 18:24
Were you there when the high priest questioned Him?

After John 19:2
Were you there when they crowned Him with the thorns?

After John 19:15
Did you shout, "Crucify Him!" with the throng?

After John 19:27
Were you there when John took His mother home?

After John 19:37
Were you there when they pierced Him in His side?

After John 19:42
Were you there when they laid Him in the tomb?

Black History Month: Siyahamba! We Are Marching!

Siyahamba is often sung in Zulu and English.

A quick youtube search will reveal that this is sung by choirs around the world, and regardless of their native tongue they sing this song in Zulu or English, and often times both.

Siyahamba, ekukanyen' kwenkos',
Siyahamba ekukanyen' kwenkos'.

Siyahamba ekukanyen' kwenkos',
Siyahamba ekukanyen' kwenkos'.

Siyahamba, siyahamba, oh,
Siyahamba ekukanyen' kwenkos'.

Siyahamba, siyahamba, oh,
Siyahamba ekukanyen' kwenkos'.


Rondo Historiae
Pula, Croatia

~~~~~

We are marching in the light of God,
We are marching in the light of God.

We are marching in the light of God,
We are marching in the light of God.

We are marching, marching we are marching, marching
We are marching in the light of God.

We are marching, marching we are marching, marching
We are marching in the light of God.


Chóru Akademickiego
Uniwersytetu im. Adama Mickiewicza
Poznań, Polska [Poland]

Black History Month: Let It Shine!

Please join in singing this Sunday School classic.

This little Light of mine, I'm gonna let it shine!
This little Light of mine, I'm gonna let it shine!
This little Light of mine, I'm gonna let it shine!
Let it shine, let it shine, let it shine!

Everywhere I go, I'm gonna let it shine!

God gave the Light to me, I'm gonna let it shine!

This little Light of mine, I'm gonna let it shine!

Black History Month: John Henry Newton, Part V

I gave a presentation at my church where I portrayed John Henry Newton, the slave ship captain turned Anglican priest and abolitionist who wrote Amazing Grace. Here is Part 4.

No one is really sure of the origins of this tune. Some believe it is of Scottish heritage. Given my background in slave trading, though, I like to think that this tune came to the US on the slave ships and was hummed in the cotton fields until someone caught wind of it decided to publish it.

Wikipedia notes that the text and tune for Amazing Grace has become “Emblematic of the African-American Spiritual.” Emblematic. An emblem is a symbol that represents something. The tiger is an emblem of St. Paul School. The cross is an emblem of Jesus’ suffering and death. Amazing Grace is an emblem of the African-American Spiritual.

It seems my little song lived on well past my life and has been embraced across cultural boundaries and continents. When people here it, it calls to mind the great spirituals of the past. And great gospel singers since then have placed their own twist on it. Mahalia Jackson, Aretha Franklin, and Whitney Houston are just a few.

Gospel singer Wintley Phipps says the tune was written on the “slave scale.” The slave scale is the five-note scale that is comprised of the black keys on the piano. He notes that it is reminiscent of a West African sorrow chant. This gels with my theory that the slaves may have sung the tune in the cotton fields. Wintley notes that any credible source lists me as the author of the text, but “Unknown” is always listed next to the tune. He says, “I tell the Lord that when I get to heaven, I want to meet Abraham and Isaac and Jacob, but boy I sure want to meet that slave called Unknown.”

We are going to sing my song with its familiar tune later in the service. When we do, remember how the Holy Spirit drew me to repentance over my days in the slave trade industry and how a little tune that may have West African roots has inspired generations and cultures throughout the world. It brings new meaning to the verse,

When we’ve been there 10,000 years,

bright shining as the sun,

We’ve no less days to sing God’s praise

Than when we’d first begun.

Thank you and God bless.

Black History Month: John Henry Newton, Part IV

I gave a presentation at my church where I portrayed John Henry Newton, the slave ship captain turned Anglican priest and abolitionist who wrote Amazing Grace. Here is Part 4.

But here in the United States I am not known so much for preaching, or pastoral care, or my work as an abolitionist. I am known as the author of hymns. Some of them are in your hymnal.

• How Sweet the Name of Jesus Sounds
• Glorious Things of Thee are Spoken
• Come, My Soul, with Ev'ry Care
• On What Has Now Been Sewn

Do you know any of these? Perhaps so, and perhaps not. But perhaps you know my most famous hymn, Amazing Grace. I wrote it as an illustration for a New Year’s sermon. My sermon is long gone, but the hymn has endured. First published in 1779, the hymn really didn’t catch on right away. In England it was hardly ever sung.

In the United States, though, the Second Great Awakening was going on, and my hymn was sung at revivals in the early 1800’s. In 1779, we only published the words. As many as 20 tunes were associated with my hymn. It was not until 1839 that it became associated with the tune “New Britain” here in America. This is the tune that you sing with my hymn today. The tune has been adapted for use in tent meetings, formal church settings, country music concerts, etc. It has been sung a capella, and with accompaniment. It has been arranged for bagpipes, guitar, piano, organ, string quartet, gospel choir … you name it, it’s been done!

Black History Month: John Henry Newton, Part III

I gave a presentation at my church where I portrayed John Henry Newton, the slave ship captain turned Anglican priest and abolitionist who wrote Amazing Grace. Here is Part 3.

I spent 16 years at my first call. Pastoral care and preaching were my specialties. The church had to add on to its structure in order to accommodate those who came to hear me preach.

From there I accepted a call to a parish in London. It was there where I met William Wilberforce. William was a young Member of Parliament and a recent convert to evangelical Christianity. Politics being what they are, William sensed a conflict between his newfound faith and his vocation. I encouraged him to remain in his vocation and serve God right where he was.

It was through William Wilberforce that I began to reconsider my attitude towards slavery and the slave trade industry. You see, I was 25 when I had my conversion experience, but it was not until I was 63 that I published a pamphlet that detailed the horrors of the slave trade industry and repented of my actions so many years ago. The Holy Spirit worked both an initial conversion as well as a continuing renewal throughout my life.

From that time on, I worked with my friend William Wilberforce to abolish slavery in England. Slavery wasn’t just a means to get cheap labor, it was an industry. And undoing an industry is challenging to say the least.

William and I persevered, though. Remember, he was a Member of Parliament. He used his influence there and forged partnerships with many people across England’s many political parties. In 1807 Parliament passed what it called, “An Act for the Abolition of the Slave Trade.” Today’s history books call it the Slave Trade Act of 1807. That was in March. I passed away in December of that year at the age of 82.

Black History Month: John Henry Newton, Part II

I gave a presentation at my church where I portrayed John Henry Newton, the slave ship captain turned Anglican priest who wrote Amazing Grace. Here is Part 2.

There on the ship back to England I called out to God during a violent storm as the ship filled with water. When the storm calmed I began to read the Bible. By the time the journey had ended the Holy Spirit began working saving faith in me. I gave up drinking, gambling, and profanity.

I still had things to learn, though. I continued to work the slave ships. It was during my next position on these ships that I professed my Christian faith and asked God to control my destiny. I was 25 at the time.

Of course, at such a young age I still thought I knew everything. I continued in the slave trading business until I had a stroke, and even after that I continued to invest in that industry, even though I could no longer sail.

At the age of 30 I became a tax collector at the port of Liverpool. I studied the biblical languages of Greek, Hebrew and Syriac. I was well-known as a lay-preacher, and sought ordination in the Church of England at the age of 32. They rejected me at first. So did the Methodists, Independents and Presbyterians. Finally, at the age of 39, a friend recommended me to a bishop, and the Church of England ordained me after a short vicarage.

Black History Month: John Henry Newton, Part I

I gave a presentation at my church where I portrayed John Henry Newton, the slave ship captain turned Anglican priest who wrote Amazing Grace. Here is Part 1.

John Henry Newton is my name. The details of my life are a little sketchy. Afterall, I am 275 years old! So bear with me, here, I am working with what I have. If it's on Wiki, it has to be true, right?

I was born in London in 1725. My mother was “non-conformist Christian,” meaning she was a practicing Christian but did not care for the excesses of the Church of England. She died of TB when I was six.

My father was a shipmaster in the Mediterranean, and he didn’t have much at all to do with religion.

At the age of 11, I went to sea with my father, and by 18 I had sailed six voyages with him.

My father planned for me to be a slave master on a sugar plantation in Jamaica. Instead I was pressed into serving the Royal Navy as captain of a slave ship. “Pressed into serving” really means I had no choice in the matter. Coercion was a common tactic for the Royal Navy to ensure they had enough men to meet their needs.

Of course, coercion doesn’t make loyalty, and I hated my job. I was bounced from ship to ship, demoted from captain all the way to the lowest level of seaman. At one point I was given over to an African duchess and treated like the slaves themselves. I was once an infidel, a rogue, and a servant of the slaves in Africa.
The difference between me and the slaves was that my father put the word out and a sea captain rescued me.

Amazing Grace, How Sweet the Sound
with
Amazing Grace Shall Always Be My Song of Praise

Black History Month: God Has Smiled on Me

Another song I had to learn pronto when I began playing for an urban congregation was "God Has Smiled on Me."

"Do you know this one, Iggy? We sing it here ALOT!"

"I am sorry, but I haven't heard it, so give me a week or two to work it out!"

To make matters a little more complicated, there are about as many arrangements of this song as there are congregations that sing it.

This recording is about as close as I could find to the way it is sung at my congregation. We take it a little faster, though.

I like this song as a Lutheran because it clearly places the Christian's conversion in God's power.

God has smiled on me;
He has set me free.
God has smiled on me;
He's been good to me.

Occasionally you find that someone picks up the refain and puts their own twist on the stanzas. Here's Mary Mary with their own take on this gospel classic.

Here's an a capella arrangement that works in "Amazing Grace" as the stanzas while the melody from the refrain is hummed underneath. Unfortunately the recording cuts out a bit early, but at least the creative aspect is captured.

And finally, this song was written by Rev. James Cleveland, and here is his arrangement.

Black History Month: Till Now We Stand At Last

Here's the African-American National Anthem, sung during the Divine Service in the rural Midwest. The note over on youtube states, "Angel and Cindi sing 'Lift Every Voice' in honor of Independence Day during the Offering."  After listening, please check out the website for St. Paul Lutheran Church in Hamel, Illinois.

See Hymn 964 in Lutheran Service Book for the music.

Lift every voice and sing,
'Til earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the listening skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith
that the dark past has taught us,
Sing a song full of the hope
that the present has brought us;
Facing the rising sun of our new day begun,
Let us march on 'til victory is won.

Stony the road we trod,
Bitter the chast'ning rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way
that with tears has been watered,
We have come, treading our path
through the blood of the slaughtered,
Out from the gloomy past,
'Til now we stand at last
Where the white gleam of our bright star is cast.

God of our weary years,
God of our silent tears,
Thou who has brought us thus far on the way;
Thou who has by Thy might
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places,
our God, where we met Thee,
Lest, our hearts drunk with the wine of the world,
we forget Thee;
Shadowed beneath Thy hand,
May we forever stand,
True to our God,
True to our native land.

Black History Month: The Blood Will Never Lose It's Power, Part II

I got wind that the group in the video below (Selah) was performing for free at the local non-denominational mega-church.  It was on a Thursday night, so I made the trek up to the northwest suburbs.

Having never been to this church and wishing to go unnoticed, I slipped up to the balcony of the auditorium.  I couldn't help but notice that most of the African-Americans in attendance sat up there as well.

It turns out that the brother and sister of this group were missionary kids in Africa, and the sister sang in the gospel choir at Wheaton College when she was a student there.  That gospel choir's conductor happened to be in attendance, and they invited her on stage towards the end of the performance.  They decided to sing "The Blood Will Never Loose It's Power."

Singing backup from the balcony were the African Americans in attendance and myself :)

Here's Selah with "The Blood Will Never Loose It's Power"

It should be noted here that this church is actively involved in issues bridging race relations, so I do not want to paint a picture of segregation there. I am merely telling my experience on one given evening.

Black History Month: The Blood Will Never Lose It's Power, Part I

A few of the songs I had to learn pronto when I began playing for an urban congregation were

• The Blood Will Never Lose It's Power
• God Has Smiled On Me
• We've Come This Far by Faith
• Lead Me, Guide Me

One of the more difficult ones was "The Blood Will Never Lose It's Power."

Israel Houghton tells the story about a song-writing workshop he was leading where all those in attendance were all sitting around talking about the bad songs they wrote when they first started song writing.  In walks Andrae Crouch.  He asked Andrae about the first song he wrote.  Andrae sat down at the piano and played, "The Blood Will Never Lose It's Power."  Apparently Andrae never wrote a bad song when he first started.

Here's Andrae Crouch closing out the Mike Douglas Entertainment Hour in 1981. Andrae is at the piano. Mike Douglas is singing backup between two couples. One of those couples looks like Donnie and Marie Osmond :) Most of the people are still wearing 70's clothes except for the guy in the leather sport coat with a leather tie. He's a little ahead of his time!