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🎙ïļ From Slave Seculars to The Blues Pt. 2 – The Legacy of Black Spirituals and Hymnals ðŸŽķ

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Manage episode 467145120 series 2283011
āđ€āļ™āļ·āđ‰āļ­āļŦāļēāļˆāļąāļ”āļ—āļģāđ‚āļ”āļĒ Jack Dappa Blues Heritage Preservation Radio āđ€āļ™āļ·āđ‰āļ­āļŦāļēāļžāļ­āļ”āđāļ„āļŠāļ•āđŒāļ—āļąāđ‰āļ‡āļŦāļĄāļ” āļĢāļ§āļĄāļ–āļķāļ‡āļ•āļ­āļ™ āļāļĢāļēāļŸāļīāļ āđāļĨāļ°āļ„āļģāļ­āļ˜āļīāļšāļēāļĒāļžāļ­āļ”āđāļ„āļŠāļ•āđŒāđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ­āļąāļ›āđ‚āļŦāļĨāļ”āđāļĨāļ°āļˆāļąāļ”āļŦāļēāđƒāļŦāđ‰āđ‚āļ”āļĒāļ•āļĢāļ‡āļˆāļēāļ Jack Dappa Blues Heritage Preservation Radio āļŦāļĢāļ·āļ­āļžāļąāļ™āļ˜āļĄāļīāļ•āļĢāđāļžāļĨāļ•āļŸāļ­āļĢāđŒāļĄāļžāļ­āļ”āđāļ„āļŠāļ•āđŒāļ‚āļ­āļ‡āļžāļ§āļāđ€āļ‚āļē āļŦāļēāļāļ„āļļāļ“āđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāļĄāļĩāļšāļļāļ„āļ„āļĨāļ­āļ·āđˆāļ™āđƒāļŠāđ‰āļ‡āļēāļ™āļ—āļĩāđˆāļĄāļĩāļĨāļīāļ‚āļŠāļīāļ—āļ˜āļīāđŒāļ‚āļ­āļ‡āļ„āļļāļ“āđ‚āļ”āļĒāđ„āļĄāđˆāđ„āļ”āđ‰āļĢāļąāļšāļ­āļ™āļļāļāļēāļ• āļ„āļļāļ“āļŠāļēāļĄāļēāļĢāļ–āļ›āļāļīāļšāļąāļ•āļīāļ•āļēāļĄāļ‚āļąāđ‰āļ™āļ•āļ­āļ™āļ—āļĩāđˆāđāļŠāļ”āļ‡āđ„āļ§āđ‰āļ—āļĩāđˆāļ™āļĩāđˆ https://th.player.fm/legal

🎙ïļ From Slave Seculars to The Blues: Preserving & Conserving Black American Folklore Pt. 2 – The Legacy of Black Spirituals and Hymnals ðŸŽķJoin us for Part 2 of our deep dive into the evolution of Black American music, as we explore how Black Spirituals, hymnals, and Slave Seculars informed the Blues. In this episode, we uncover the sacred and secular traditions that shaped the foundation of the blues, from the sorrowful expressions of spirituals to the raw storytelling of early blues songs.We’ll break down the two distinct styles of Black hymnals—one rooted in oral tradition and the other shaped by formal musical training—and discuss how class and education influenced Black religious music. We’ll also examine how field hollers, lined-out hymns, and call-and-response structures carried over into the blues, creating a continuous thread of Black cultural expression.Expect a mix of history, storytelling, and audience participation as we connect the past to the present.ðŸ”Ĩ Tune in and join the conversation as we honor, preserve, and celebrate Black musical heritage! ðŸ”ĨSongs Played Titleâ€Ē The Old Ship of ZionNamesâ€Ē Johnson, Warren G. (Performer)â€Ē Gregory, Richard (Performer)â€Ē Richardson, Zema (Performer)â€Ē Winrow, Anthony (Performer)â€Ē Work, John W. (John Wesley), 1901-1967 (Collector)â€Ē Holloway High School Quartet (Performer)Created / Publishedâ€Ē Murfreesboro, Tennessee, 1941Headingsâ€Ē - African Americans--Southern States--MusicSource Collectionâ€Ē John Work Collection of Negro Folk Music from the Southeast (AFC 1941/035)Repositoryâ€Ē American Folklife CenterTitleâ€Ē John the RevelatorNamesâ€Ē Work, John W. (John Wesley), 1901-1967 (Collector)â€Ē Heavenly Gate Quartet (Performer)Created / Publishedâ€Ē Nashville, Tennessee, 1941Headingsâ€Ē - African Americans--Southern States--Musicâ€Ē - The performers of this song are identified by Bruce Nemerov as the Heavenly Gate Quartet. "In the spring of 1941 John Work recorded the Heavenly Gate Quartet at his house...(AFS #5163-64)" -- article by Bruce Nemerov.â€Ē - Heavenly Gate Quartet, unaccompanied vocals.Mediumâ€Ē Sound disc : analog ; 12 in.Call Number/Physical Locationâ€Ē AFC 1941/035: AFS 05163a01Source Collectionâ€Ē John Work Collection of Negro Folk Music from the Southeast (AFC 1941/035)Titleâ€Ē Po' Boy Long Way From HomeNamesâ€Ē Work, John W. (John Wesley), 1901-1967 (Collector)â€Ē Chestain, Sonny (Performer)Created / Publishedâ€Ē Georgia, 1941Headingsâ€Ē - African Americans--Southern States--MusicSource Collectionâ€Ē John Work Collection of Negro Folk Music from the Southeast (AFC 1941/035)Repositoryâ€Ē American Folklife CenterTitleâ€Ē Rock My Soul in the Bosom of AbrahamNamesâ€Ē Work, John W. (John Wesley), 1901-1967 (Collector)â€Ē Unidentified vocal quartet (Performer)Created / Publishedâ€Ē Fort Valley, Georgia, 1941Headingsâ€Ē - African Americans--Southern States--MusicSource Collectionâ€Ē John Work Collection of Negro Folk Music from the Southeast (AFC 1941/035)Repositoryâ€Ē American Folklife CenterDigital Id

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Manage episode 467145120 series 2283011
āđ€āļ™āļ·āđ‰āļ­āļŦāļēāļˆāļąāļ”āļ—āļģāđ‚āļ”āļĒ Jack Dappa Blues Heritage Preservation Radio āđ€āļ™āļ·āđ‰āļ­āļŦāļēāļžāļ­āļ”āđāļ„āļŠāļ•āđŒāļ—āļąāđ‰āļ‡āļŦāļĄāļ” āļĢāļ§āļĄāļ–āļķāļ‡āļ•āļ­āļ™ āļāļĢāļēāļŸāļīāļ āđāļĨāļ°āļ„āļģāļ­āļ˜āļīāļšāļēāļĒāļžāļ­āļ”āđāļ„āļŠāļ•āđŒāđ„āļ”āđ‰āļĢāļąāļšāļāļēāļĢāļ­āļąāļ›āđ‚āļŦāļĨāļ”āđāļĨāļ°āļˆāļąāļ”āļŦāļēāđƒāļŦāđ‰āđ‚āļ”āļĒāļ•āļĢāļ‡āļˆāļēāļ Jack Dappa Blues Heritage Preservation Radio āļŦāļĢāļ·āļ­āļžāļąāļ™āļ˜āļĄāļīāļ•āļĢāđāļžāļĨāļ•āļŸāļ­āļĢāđŒāļĄāļžāļ­āļ”āđāļ„āļŠāļ•āđŒāļ‚āļ­āļ‡āļžāļ§āļāđ€āļ‚āļē āļŦāļēāļāļ„āļļāļ“āđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāļĄāļĩāļšāļļāļ„āļ„āļĨāļ­āļ·āđˆāļ™āđƒāļŠāđ‰āļ‡āļēāļ™āļ—āļĩāđˆāļĄāļĩāļĨāļīāļ‚āļŠāļīāļ—āļ˜āļīāđŒāļ‚āļ­āļ‡āļ„āļļāļ“āđ‚āļ”āļĒāđ„āļĄāđˆāđ„āļ”āđ‰āļĢāļąāļšāļ­āļ™āļļāļāļēāļ• āļ„āļļāļ“āļŠāļēāļĄāļēāļĢāļ–āļ›āļāļīāļšāļąāļ•āļīāļ•āļēāļĄāļ‚āļąāđ‰āļ™āļ•āļ­āļ™āļ—āļĩāđˆāđāļŠāļ”āļ‡āđ„āļ§āđ‰āļ—āļĩāđˆāļ™āļĩāđˆ https://th.player.fm/legal

🎙ïļ From Slave Seculars to The Blues: Preserving & Conserving Black American Folklore Pt. 2 – The Legacy of Black Spirituals and Hymnals ðŸŽķJoin us for Part 2 of our deep dive into the evolution of Black American music, as we explore how Black Spirituals, hymnals, and Slave Seculars informed the Blues. In this episode, we uncover the sacred and secular traditions that shaped the foundation of the blues, from the sorrowful expressions of spirituals to the raw storytelling of early blues songs.We’ll break down the two distinct styles of Black hymnals—one rooted in oral tradition and the other shaped by formal musical training—and discuss how class and education influenced Black religious music. We’ll also examine how field hollers, lined-out hymns, and call-and-response structures carried over into the blues, creating a continuous thread of Black cultural expression.Expect a mix of history, storytelling, and audience participation as we connect the past to the present.ðŸ”Ĩ Tune in and join the conversation as we honor, preserve, and celebrate Black musical heritage! ðŸ”ĨSongs Played Titleâ€Ē The Old Ship of ZionNamesâ€Ē Johnson, Warren G. (Performer)â€Ē Gregory, Richard (Performer)â€Ē Richardson, Zema (Performer)â€Ē Winrow, Anthony (Performer)â€Ē Work, John W. (John Wesley), 1901-1967 (Collector)â€Ē Holloway High School Quartet (Performer)Created / Publishedâ€Ē Murfreesboro, Tennessee, 1941Headingsâ€Ē - African Americans--Southern States--MusicSource Collectionâ€Ē John Work Collection of Negro Folk Music from the Southeast (AFC 1941/035)Repositoryâ€Ē American Folklife CenterTitleâ€Ē John the RevelatorNamesâ€Ē Work, John W. (John Wesley), 1901-1967 (Collector)â€Ē Heavenly Gate Quartet (Performer)Created / Publishedâ€Ē Nashville, Tennessee, 1941Headingsâ€Ē - African Americans--Southern States--Musicâ€Ē - The performers of this song are identified by Bruce Nemerov as the Heavenly Gate Quartet. "In the spring of 1941 John Work recorded the Heavenly Gate Quartet at his house...(AFS #5163-64)" -- article by Bruce Nemerov.â€Ē - Heavenly Gate Quartet, unaccompanied vocals.Mediumâ€Ē Sound disc : analog ; 12 in.Call Number/Physical Locationâ€Ē AFC 1941/035: AFS 05163a01Source Collectionâ€Ē John Work Collection of Negro Folk Music from the Southeast (AFC 1941/035)Titleâ€Ē Po' Boy Long Way From HomeNamesâ€Ē Work, John W. (John Wesley), 1901-1967 (Collector)â€Ē Chestain, Sonny (Performer)Created / Publishedâ€Ē Georgia, 1941Headingsâ€Ē - African Americans--Southern States--MusicSource Collectionâ€Ē John Work Collection of Negro Folk Music from the Southeast (AFC 1941/035)Repositoryâ€Ē American Folklife CenterTitleâ€Ē Rock My Soul in the Bosom of AbrahamNamesâ€Ē Work, John W. (John Wesley), 1901-1967 (Collector)â€Ē Unidentified vocal quartet (Performer)Created / Publishedâ€Ē Fort Valley, Georgia, 1941Headingsâ€Ē - African Americans--Southern States--MusicSource Collectionâ€Ē John Work Collection of Negro Folk Music from the Southeast (AFC 1941/035)Repositoryâ€Ē American Folklife CenterDigital Id

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