Posts Tagged Black Gospel

Review: Doxa “Centered”

Gospel music is good stuff. I’m a fan. I have been deeply affect by gospel over the years. Especially the music of Fred Hammond, Kirk Franklin, Richard Smallwood, Hezekiah Walker, the Hawkins, the Clarks, Andrae Crouch, Israel Houghton, Kurt Carr, Tye Tribbett, the list goes on. Lately, I’ve been uninspired. There seems to be a very strong commercial drive to get the next hit. I realize that this is nothing new in the global marketplace of pop music and the “Christian” sub-genres have been absorbed into that same stream. In fact, after spending weeks listening to new releases, I heard a 1984 recording of Edwin Hawkins, Taste and See and it was like a breath of fresh air to hear a song so thoughtfully composed.

With that being said, it’s very refreshing to hear this recording from DOXA, CenteredDOXA is the name of the worship music ministry of Dr. Eric Mason‘s church Epiphany Fellowship. My dad recommend this to me and the first thing I heard when I previewed it was the glorious horn parts and lush changes. Yes, Lord! Looking into it more deeply through the handy lyrics link on their website, I found that several of the songs were actually written or co-written by “holy hip hop” artist, Shai Linne. How cool is that? Can we start seeing more lyricists lending their gifts to creating congregational music? There seems to be a strong sense of collaboration between the lyricist, the musical director (Aaron Johnson, I think), and the pastor who also sings on the recording. Less stars, more community. They have included a few good examples of using creativity combined with congregational considerations. Hymns and popular tunes covered and rearranged without losing their familiarity. There’s a freshness to this recording that brings to mind the music of next gen black artists like Robert Glasper, Esperanza Spalding,  or even the band-for-music-geeks, Snarky Puppy.

I’m not sure that I’ve picked on that I can use at New City Fellowship. I’m going to listen for a few weeks and see what sticks with me.

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Gospel Music for Guitar: the 16 bar Gospel Form

I’m a guitar player in a piano player’s world. In the context of Black gospel music, the guitar is not considered a lead instrument. Most choirs rely on keys, organ, or synths to lead the band and the guitar plays a support role by playing rhythm parts or maybe lead fills. To make matters worse, I’m a white dude and most white dudes show up to a cross-cultural worship setting with their beautiful Taylor or Martin acoustic and when the set-list strays from Houghton-esque “rockspel” then then they find that their guitar becomes less relevant. Then things get really ugly when the set-list includes a more traditional black gospel song. The guitar becomes downright offensive as the acoustic strum-er starts to make the urban, Chicago-style  Black gospel sound more and more like rural Nashville-style SOUTHERN gospel. There’s a BIG difference.

It’s not the guitar player’s fault. They have not been taught in the traditional of gospel guitar players like the great Sister Rosetta Tharp or the slightly more modern sounds of Pops Staples 

A good place to start is the 16 bar gospel form. My church sings a number of songs that use variations of this form: “Glory Glory Hallelujah”, “Jesus is on the Mainline”,  “I Said I Wasn’t Gonna Tell”, “Now Let Us Sing”, and even more moderate tempo “God is A Good God”.

Our children’s choir is working on an old southern gospel tune called “Glory Glory Glory Somebody Touched Me” which is all over youtube being performed by everyone from bluegrass legends to tiny little southern baptist churches. I had to make a demo for the kids to sing along with and I made my best effort to give it a little more “blues” and a little less “bluegrass”.  This represents how I would play a 16 bar gospel song especially in a setting where I was the only instrument. There’s a driving quarters bass sound that implies what a bass player would do and I’m hitting the muted strings on 2 & 4 to simulate a snare drum. The chromatic lead-in to the dominant at the end of each chorus is a cliche that helps define the style. The results also make a play-along demo for bass or drums to practice their gospel chops or for lead instruments to practice improvising.

I’ll admit that it would still fit into a song by Vince Gill or into the honky-tonk groove of a lot of country tunes. It’s certainly “down-home”. For an even more advanced bluesy take on the 16 bar gospel form check out this video of Pops Staples:

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Christ died to defeat sin – for the sinner and the sinned against

Harvie Conn taught that everyone is both a sinner and the sinned against. If we preach the gospel to sinners and leave out the sinned against, then we are only speaking to half of the problem. Christ died to save me from my sin, but he also died to save me from being sinned against.

I asked the question of my pastor, how do we bring this element back into worship services which have become so individualistic. My colleague, Anthony Johnson, spoke up and reminded me that gospel music is full of the response of the sinned against to the power of the gospel. (I was a little embarrassed that I missed that.)

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