As Gospel Music moves beyond its incubator- -the church--it is imperative
to understand where it is, where it has been, and where it is going. As
Christians we must hope that the music is building bridges, not walls. As this
music continues to grow beyond most expectations, one can only hope that it will
be embraced, regardless of how it is labeled, by everyone who needs to be
reminded of the Good News it represents.
In the black culture of the first half of the 20th
cent., gospel music was considered antithetical to blues and jazz, despite
their similarity of origins, and gospel performers rarely sang in nonreligious
settings. Later, as all three forms became popular outside the black
community, they were less mutually exclusive. A strong gospel element
underlies the “soul” jazz and rock music of the 1950s and 60s. Composer and
pianist Thomas A. Dorsey, often referred to as “the father of Gospel Music,”
played a major role in the development of gospel music. Important gospel
performers have included Mahalia Jackson, Sister Rosetta Tharpe, Alex
Bradford, James Cleveland, The Swan Silver Tones, The Mighty Clouds of Joy,
The Dixie Hummingbirds, and The Five Blind Boys of Mississippi. Pop singers
who have been heavily influenced by gospel include Aretha Franklin and Ray
Charles. While the greatest era in gospel is widely considered to be
c.1945–1965, the tradition and the music remain vital in contemporary
culture.
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Amazon.com essential recording:
If the bazillion packagings and repackagings of Mahalia Jackson's music confound you and you don't know where to start, this expertly compiled, carefully annotated double-disc box set is for you. Jackson wasn't just gospel music's first international superstar--she was among its earliest adherents and inventors. Working with the great composer and former blues singer Thomas A. Dorsey in the late 1930s, Jackson gave a distinctly blues-trained, jazzy sass and grace to Dorsey's material and the other hymns and spirituals she sang. More than any other performer, she helped to define gospel music itself as a transcendent, rootsy, melismatic, and heady spiritual sound. Culled from her sides for Columbia in the 1950s and 1960s, some of the arrangements in the set are not ideal and may sound quite a bit dated, but that voice shines and soars and dives straight to the center of your heart. Whether backed by a simple organ or piano or with full studio accompaniment, Jackson's booming, instantly recognizable contralto is indescribable, exciting, and forever a wonder to behold. And if you think that's an exaggeration, you don't own this record. --Mike McGonigal
- Editorial Review
Review: I bought this CD and Volume II back in 2002. My mother loved Mahalia Jackson, so I grew up listening to her in vinyl round the clock it seemed. I actually thought I couldn't stand to hear another Mahalia Jackson song as long as I lived. But as an adult, I found myself humming some of the songs my mother had played over and over, and one day I realized I missed Mahalia's voice. When I bought these collections of hers, I actually went searching specifically for Mahalia Jackson music. Imagine my mother's surprise when I told her I had Mahalia Jackson blasting in my house the way she'd done when I was growing up! :-) There are still more Mahalia Jackson songs that I'm looking for that, in all the songs on these collections, weren't included. That's my only disappointment with these. But the quality of the recordings -- classic Mahalia!
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 "This CD is very inspirational, the songs are up tempo"
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1 So I returned, and considered all the oppressions that are done under the sun: and behold the tears of such as were oppressed, and they had no comforter; and on the side of their oppressors there was power; but they had no comforter.
2 Wherefore I praised the dead which are already dead more than the living which are yet alive.
3 Yea, better is he than both they, which hath not yet been, who hath not seen the evil work that is done under the sun. Ecclesiastes 4: 1-3

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