American Gospel Music finds its roots in the marriage of European hymns and African spirituals. Slaves were denied access to their traditional instruments (which were thought to be of the Devil) but acquired access to the discarded instruments of their owners.

In pre-Civil War America, the beginnings of gospel music can be heard in the rhythmic “holler” songs of workers in the field. The lyrics reflect the loneliness of their lives (Sometimes I Feel Like A Motherless Child) and their hope in God’s righteousness (Amazing Grace).

After the Civil War, William and Catherine Booth’s Salvation Army arrived from England, and the 1800’s brass bands were serve sworn into the service of the Lord. Check out the tambourine playing on Battle Hymn of the Republic.

In the late 20’s and early 30’s of the 20th century, musicians were “jazzing” up their melodies and two primary paths of music began to emerge. In the north, Thomas A. Dorsey (one of the “fathers” of the blues) helped jazz take on a soulful sound. Songs like Precious Lord (which he wrote after the death of his wife) reflect a blend of hope and sorrow. Singers like Mahalia Jackson and James Cleveland carried northern gospel to wide acceptance and popularity.

 Down south in Dixie, jazz became known as Southern Gospel or Dixieland. In order to demo songbooks, James D. Vaughan paid quartets to travel across the south, sing at churches and music conventions, and--most importantly--sell his company’s songbooks. The high tenor (singing alto above the lead) and the low bass (specializing in runs and slides) were the vocal version of Dixieland jazz. In the 1920’s, there were dozens of groups out selling songbooks and singing professionally. Later, groups using this same style, such as the Chuck Wagon Gang, the Blackwood Brothers, and the Statesmen Quartet, became wildly poplar with the advent of radio. They would feel right at home singing Every Time I Feel The Spirit or Goodbye Troublesome Blues.

In more contemporary gospel music praise choruses of the 1970’s (I Will Sing Praises) and Christian ballads of the 80’s (He Wants To Change Me) easily mix with gospel folk, country, and western swing.  Jazz trio renditions of evangelistic songs (I’ll Fly Away) easily mix with upbeat unions of northern blues and Dixieland brights (When Jesus Saved Me).