Explores the role of jazz celebrities like Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams as representatives of African American religion in the twentieth century Beginning in the 1920s, the Jazz Age propelled Black swing artists into national celebrity. Many took on the role of race representatives, and were able to leverage their popularity toward achieving social progress for other African Americans. In Lift Every Voice and Swing, Vaughn A. Booker argues that with the emergence of these popular jazz figures, who came from a culture shaped by Black Protestantism, religious authority for African Americans found a place and spokespeople outside of traditional Afro-Protestant institutions and religious life. Popular Black jazz professionals—such as Ella Fitzgerald, Cab Calloway, Duke Ellington, and Mary Lou Williams—inherited religious authority though they were not official religious leaders. Some of these artists put forward a religious culture in the mid-twentieth century by releasing religious recordings and putting on religious concerts, and their work came to be seen as integral to the Black religious ethos. Booker documents this transformative era in religious expression, in which jazz musicians embodied religious beliefs and practices that echoed and diverged from the predominant African American religious culture. He draws on the heretofore unexamined private religious writings of Duke Ellington and Mary Lou Williams, and showcases the careers of female jazz artists alongside those of men, expanding our understanding of African American religious expression and decentering the Black church as the sole concept for understanding Black Protestant religiosity. Featuring gorgeous prose and insightful research, Lift Every Voice and Swing will change the way we understand the connections between jazz music and faith.
Prince Rogers Nelson, in fact, never left Minneapolis, where a small tradition of blues and R & B gave him all of the inspiration he needed. Capturing a major record deal in his early twenties, Prince spent months in the recording ...
An illustrated version of the song that has come to be considered the African American national anthem.
With linocuts of renowned Harlem Renaissance artist Elizabeth Catlett, this text and art pairing captures the achievements, spirit, joy, and struggle of the African-American experience.
... Lift Every Voice and Swing.15 The Song Goes On The spirituals and the gospel blues live on in the Black Church and in discussions of Black Theology. In 1969 and 1970, respectively, James H. Cone wrote Black Theology and Black Power and ...
In this book, Todd Graves has given us a blueprint for that swing, for those practice habits, and most of all for a process that builds success.” —Dan Coyle, New York Times-bestselling author of The Culture Code
"Horace Clarence Boyer ... served ... as general editor"--P. x.
This popular collection of 280 musical pieces from both the African American and Gospel traditions has been compiled under the supervision of the Office of Black Ministries of the Episcopal Church.
Recently, Cornelia Bailey's autoethnographic work— a cookbook, a set of interviews with community elders, and especially her memoir God, Dr. Buzzard and the Bolito Man (2000)—has staked clear claim to her own Sapelo-born-and-raised ...
Andy Kirk, as told to Amy Lee, Twenty Years on Wheels (Ann Arbor: University of Michigan Press, 1989), 71. 4. Jack Kapp, quoted in Kirk, 72. 5. Mary Lou Williams, quoted in Linda Dahl, Morning Glory: A Biography of Mary Lou Williams ...
... grave . Refrain distress ? 16. Packs of dogs close me in , and gangs of evildoers circle around me ; * they pierce my hands and my feet ; I can count my bones . 17. They stare and gloat ... Refrain 277 Refrain : The Lord Is My Light and My.