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Sweeping through the City
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This chapter examines the contributions of Thomas A. Dorsey and the gospel nexus to the development of gospel music in Chicago during the years 1932–1933. Pilgrim Baptist Church is often cited as the birthplace of gospel music because Dorsey served as its music director. However, it was actually Ebenezer Baptist Church that provided the creative spark that propelled gospel to the forefront of black sacred music. This chapter first discusses the political infighting endured by Ebenezer over two turbulent years before turning to its gospel programs, along with the establishment of the Ebenezer Gospel Chorus and the Pilgrim Gospel Chorus. It then considers the roles played by Dorsey, Theodore R. Frye, and Magnolia Lewis Butts in the advancement of the gospel chorus movement in Chicago; how gospel choruses became a means for African American churches to attract new members and more revenue; and Dorsey's composition of the gospel song “Take My Hand, Precious Lord.” The chapter concludes with a look at the Martin and Frye Quartette, renamed the Roberta Martin Singers.
Title: Sweeping through the City
Description:
This chapter examines the contributions of Thomas A.
Dorsey and the gospel nexus to the development of gospel music in Chicago during the years 1932–1933.
Pilgrim Baptist Church is often cited as the birthplace of gospel music because Dorsey served as its music director.
However, it was actually Ebenezer Baptist Church that provided the creative spark that propelled gospel to the forefront of black sacred music.
This chapter first discusses the political infighting endured by Ebenezer over two turbulent years before turning to its gospel programs, along with the establishment of the Ebenezer Gospel Chorus and the Pilgrim Gospel Chorus.
It then considers the roles played by Dorsey, Theodore R.
Frye, and Magnolia Lewis Butts in the advancement of the gospel chorus movement in Chicago; how gospel choruses became a means for African American churches to attract new members and more revenue; and Dorsey's composition of the gospel song “Take My Hand, Precious Lord.
” The chapter concludes with a look at the Martin and Frye Quartette, renamed the Roberta Martin Singers.
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