The Evolution of Gospel Music

Gospel as we know it today came into being around 1926 when Thomas A. Dorsey published the first song and coined the phrase “gospel music.” The actual elements of the music can be traced back to old Negro spirituals, early American hymns, folk songs and the blues.

Gospel has become one of the richest forms of music in America. It was developed in the intersection of two distinct but related historical periods in African American culture: the rise of ragtime, blues and jazz, and the emergence of Pentecostal churches at the end of the 19th century.

By 1945, there was wide and active use of gospel music in Baptist, Methodist and other black Protestant churches.

Gospel took its shape from all that was happening in African American culture between 1900 and 1930. During this period there was great migration of blacks moving North to escape racial and economic woes. As black people found commonality at church, two distinct styles of black religious music were emerging: the harmonious a cappella style of male barbershop quartet, and the Dorsey-influenced black gospel group, comprised by female singers accompanied by piano and singing in the treble-choir tradition.

Typically, black church songs of the day were still performed as old spirituals, hymns and jubilee singing.

Also during this period, many big jazz stars were coming to Chicago, a center for black culture and music. Chicago became the home base for Louis Armstrong and all the great horn players, as well as many blues and jazz pianists.

The elements of gospel music came to fruition as Dorsey (who at the time was an accomplished blues and jazz pianist) merged his particular music style into sacred songs. He developed this genre of music not to interfere with church traditions, but because he thought his efforts were inspired by God—a pure expression of his many talents. In 1926, Dorsey wrote his first two gospel songs: “Someday, Somewhere” and “If you see My Savior.”

Initially, he sent out 500 copies to churches across the country, but there was little interest. Most ministers in churches rejected the music: as a blues man, Dorsey was considered too much “in the world.”

The church community considered him a non-Christian and worse. The music had a swing to it, which they found “burlesque.”

There was also the competitive factor. Minister would preach and get a response from the congregation with Dorsey’s music, the singers got a comparable reaction.

Sometime later, around 1930 at a National Baptist Convention in Chicago, Dorsey’s song “If You See My Savior,” was performed to a rousing response. After that, order poured in from all over the country, gospel music was accepted.

By 1932, there was a gospel movement underway. Sallie Martin, Eillie Mae Ford Smith, Marion Pairs, Mahalia Jackson (later on), Roberta Martin, Magnolia Lewis Butts and Theodore R. Frye were big supporters. Around the same time, falsetto singer R. H. Harris joined the Soul Stirrers quartet at age 15. The quartet had a sweet background harmony and put the improvising lead vocal in front. It was a wonderful sound and the entire world embraced The Soul Stirrers.

The Soul Stirrers were among the first gospel-and-black artist to perform at Radio City, New York. They packed Madison Square Garden and first performed overseas in 1945. They went on to perform for Franklin D. Roosevelt, Prime Minister Winston Churchill, the president of France and the Queen of England.

The Soul Stirrers were featured in many gospel quartet competitions and never lost a contest. R. H. Harris left The Soul Stirrers and formed the Christland Singers around 1950. At that time, 19-year-old Sam Cooke began his illustrious musical career with The Soul Stirrers. Everybody from church singers to blues, pop, jazz, and rock-and-roll performers has been influenced by the sound of early gospel quartets.

In Chicago, and within the African American community, gospel music played many roles. It served as psychiatrist, psychologist and minister. It was also an outlet for relief from social, political, economic, personal problems and suffering of people who constantly had to be reminded of their color.

No history of gospel music would be complete without mention of the stellar achievements of Rosetta Tharpe, and the inimitable Mahalia Jackson. Sister Tharpe was the first nationally-renowned gospel singer. Chicago’s Mahalia Jackson was the unexcelled ambassador of gospel music during her distinguished career of concert appearances and recordings.

Today, Billboard Magazine reports double-digit growth and record-breaking sales in gospel music.