By Robert M. Marovich
Marovich follows gospel track from early hymns and camp conferences throughout the nice Migration that introduced it to Chicago. In time, the track grew into the sanctified soundtrack of the city's mainline black Protestant church buildings. as well as drawing on print media and ephemera, Marovich mines hours of interviews with approximately fifty artists, ministers, and historians--as good as discussions with family and associates of prior gospel pioneers--to get well many forgotten singers, musicians, songwriters, and leaders. He additionally examines how a scarcity of monetary chance bred an entrepreneurial spirit that fueled gospel music's upward thrust to recognition and opened a gate to social mobility for a couple of its practitioners. As Marovich exhibits, gospel tune expressed a longing for freedom from earthly pains, racial prejudice, and life's hardships. in any case, it proved to be a legitimate too robust and too joyous for even church partitions to hold.
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Extra resources for A City Called Heaven: Chicago and the Birth of Gospel Music
Phonograph recordings during the 1920s and radio broadcasts of church services in the 1930s helped set the stage for the Dorsey revolution by disseminating the music of Pentecostal, Holiness, and Spiritual churches well beyond their walls. C hap t er 2 “When the Fire Fell” The Sanctified Church Contribution to Chicago Gospel Music Spontaneous in every sense of the word. No pianist, organist, or choir director interferes with the freedom. . A spiritual may be started any time in the service and by anyone who feels the urge to sing.
64 Elmer Fearn, president of Consolidated Music Publishing, was sufficiently intrigued to write Dranes through Crouch. His letter of May 4, 1926, states in part, “We have heard of you as a pianist and your excellent rendition of spiritual songs. ” OKeh added one caveat: “We are bringing you to Chicago to make test records first. ”66 Dranes arrived in Chicago from Fort Worth on Wednesday, June 16, 1926. The following day, accompanied by Jones and OKeh recording artist Sara Martin as her seeing companion for the visit, she sang and played in a south Loop studio.
This arrangement gave Paramount sales manager M. A. 37 Supper had plenty of reason to be interested 2. “When the Fire Fell” 35 in a better product line because prior to summer 1922, Paramount’s catalog was comprised of middleweight artists and milquetoast output. Record companies with better resources, such as Victor, Columbia, and Edison, had signed the top talents of the day and released better discs manufactured with superior sound fidelity. 39 Paramount established a special 12000 numbering series for recordings aimed at the African American consumer.
A City Called Heaven: Chicago and the Birth of Gospel Music by Robert M. Marovich