Musical arts – Page 4 – Yet Another Unitarian Universalist

Grumpiness and ukuleles

Three of us were in the office in the early afternoon. Each of us was feeling a little bit grumpy. Each of us was glad to be done with 2022, and hoping that 2023 will be a little bit better.

I told them my theory. Here we are, three years into a pandemic. Historically, pandemics have ended after a year and a half. But this pandemic is still going strong. I told them about this article I read that blamed the Ukraine war on the pandemic — Putin took advantage of societal chaos to launch his war.

I think I might even blame the pandemic for what happened in the U.S. House of Representatives today. The Republicans could not elect a Speaker of the House. Sure, we can blame it on right-wing extremists and ideologues. But I suspect part of the reason that people are voting right wing extremists and ideologues into office is that people are afraid and angry and doing stupid things like voting for people who can’t and won’t govern effectively.

It’s time to start playing ukulele again. I’ll never be a good ukulele player, but who cares. Pick up a ukulele, and you can’t help smiling. To quote George Harrison: “[The uke] is one instrument you can’t play and not laugh.”

Even if I can’t play it very well, a uke makes me feel better. Especially if it’s Carol’s uke, the one with blue flowers painted on it.

Me holding a ukulele with blue flowers painted on it. — Carol’s uke

The first rapper

I always thought of Gil Scot-Heron as the godfather of rap. But Ted Brooks and the Jubalaires antedated him by a couple of decades.

The Jubalaires formed as the Royal Harmony Singers in the late 1930s. Coming out of the Southern gospel tradition of Jubilee-style quartets, the Jubalaires went north to New York City. By 1946, they were regulars on the popular Arthur Godfrey radio program, and they had their own fifteen-minute program every Sunday morning as well. They were accompanied by a series of excellent jazz guitarists, but their music was mostly focused on tight vocal harmonies. As a gospel group, the topic of many of their songs was Bible stories or other religious topics.

So where does the rap come in? Well, one of their best known recordings is a song called “Noah.” After singing an introductory part in four-part harmony, baritone Theodore “Ted” Brooks takes the lead. But Brooks doesn’t sing, he raps. It wasn’t called rap back then, but today there’s no other word for it. His rhythm, his rhymes, the whole feel of it sounds a lot like some of the early rap I listened to back around 1980. I could almost imagine that Grandmaster Flash and the Furious Five had listened to Ted Brooks, except that the members of that group were born in the late 1950s and early 1960s, well after the hey-day of the Jubalaires. And of course, Grandmaster Flash and the Furious Five did not take Bible stories for their topics. But if they had — if they had done something about the story of Noah, for example — we could imagine that it might have sounded something like Ted Brooks in the mid-1940s:

“Hey children, stop, be still and listen to me,
When God walked down to the brandy sea
He declared that the evil descend from man,
And then he decided to destroy the land.
He spoke to Noah, and Noah stopped.
He said, ‘Noah, I want you to build me an ark,
‘I want you to build it three cubits long,
‘I want you to build it big and strong,
‘I want it thirty high and fifty wide
‘So it will stand the wind and tide.’…”

Black and white photo of four men wearing 1940s style suits and ties. One man stands in the center, and is the lead singer. The three others stand around and behind him. — Screen grab from a video of “Noah” by the Jubalaires, c. 1946. Ted Brooks is in the center.

Hard to believe that the first rapper was making rhymes about Bible stories. Now I’ve got to figure out a way to use this in a Sunday school curriculum….

More Jubalaires with rapped verses: God’s Gonna Cut You Down (not sure who takes the lead on this recording; this was later covered by Johnny Cash); The Preacher and the Bear (is that Caleb Ginyard taking the lead? I’m not sure).

Voices

I was talking with one of the elders in our congregation this afternoon. Somehow, we got to talking about classical music. She happened to know a great deal about opera, and asked me if I knew Ileana Cotrubas. I didn’t. She played me a short recording.

Now, I tend to prefer mezzo-sopranos to sopranos, and non-operatic sopranos to operatic sopranos; give me Jan De Gaetani or Catherine King over Beverly Sills or Maria Callas any day. So I did not expect to like Ileana Cotrubas.

But, to my surprise, I really liked the recordings she played for me: a lovely warm voice that didn’t get brittle on the high notes; extraordinary articulation; not too much vibrato. So I’ve just spent way too much time on Youtube listening to Cotrubas — like this recording of her singing an aria from La Boheme.

This reminded me of a visit Carol and I paid to my father in his last year. He was wheelchair bound, couldn’t talk; it was hard to know how much cognitive ability he had left. He had always been a real opera buff, so Carol and I decided to play some Youtube recordings of opera for him. I found a recording of Beverly Sills, and started to play it. Dad’s face turned into a big scowl. “Oops, sorry Dad,” I said. “I forgot that you don’t like Beverly Sills.” Actually, it was worse than that, he actively disliked her, saying her voice was too hard or brittle or something, I’ve forgotten exactly what now. So I quickly found a recording of Maria Callas; he always liked Maria Callas. His scowl went away, and we spent several happy minutes listening to Maria Callas. (Mind you, I don’t care for Maria Calls, but I was happy that we found something that gave Dad pleasure.)

It’s funny how I, like my father, have these visceral, unreasoning, and very strong preferences regarding vocal quality. There are some singers that I want to listen to, and other singers — as much as I might appreciate their artistry or expertise — that I’d rather avoid. This applies to speakers, too. So, for example, there are some ministers whose artistry I admire, but I don’t want to listen to them; and there are other ministers to whom I’m always ready to listen.

My mother would have said, “They can’t help their voice,” excusing those people whose voices I don’t like. Sorry, Mom. It’s completely irrational, but there it is. And — sorry, Dad, that I ever thought you’d want to listen to Beverly Sills….

Protest songs

At the end of August, “The Ongoing History of Protest Music” website had a blog post titled “A Month of Protest.” The first song they featured was “Black AF,” by Crystal Axis, an Afropunk band from Kenya. (Before you crank up the sound be aware that, like a lot of punk rock, “Black AF” is Not Safe For Work.)

I didn’t even know that leftist punk rock still existed. But Crystal Axis are keeping the tradition alive with some really hard-hitting songs. As I started listening to their music, I was particularly struck by their 2017 song “Leopold,” an anti-colonialist song about King Leopold of Belgium. Leopold led Belgium in the brutal exploitation of the Congo, and Crystal Axis’s lyrics provide a concise summary of the king’s self-justification:

“I’m the king and it’s all mine
Under Force Publique and Christ
Your hands are mine tonight
Fingers up one time!”

Leopold was especially notorious for ordering the amputation of the hands of workers if work quotas were not met. Theologically he, like other Western colonial rulers, used the Christian religion both as a cover and as a justification for his crimes against humanity.

“Take the Throne,” a song they released last year, also has some leftist theological comment. First, the lyrics call out the injustice caused by gross economic inequality, where the rich are literally starving the rest of the world:

“You eat, we watch; a revolution’s born
We’ll tear down the walls and then we’ll take the throne”

Now comes their theological commentary:

“The voice of the people is the voice of God
Too many lies, deities we can’t applaud”

This is a theology in direct opposition to King Leopold’s theology. Leopold claimed his God gave him the power to do what he liked to those who had less power, less wealth, those who were not white. By contrast, Crystal Axis are saying that God is in the voice of ordinary people — which is pretty much what Jesus said when he pointed out how difficult it would be for rich people to get into heaven. This is also a theology that’s consistent with an African ethics that privileges the social over the individualistic.

As someone who loves punk rock, I really enjoyed hearing leftist theology in the context of topnotch music. For more, visit their website or their Facebook page.

What I did on my summer vacation

Back in July, Carol and I drove to the Cumberland County Fairgrounds in Maine.

We sang Sacred Harp, in a pulling shed, with forty other Sacred Harp singers. There were horses trotting around the race track next to the pulling shed.

Click on the image above to view the video on Youtube

The pandemic shut down in person singing for a long time. It felt really good to sing with other people in person.

I was glad to see that someone posted videos of us singing, so I could be reminded of one of the highlights of my summer vacation.

Nine more copyright free hymns

Nine more copyright-free hymns. Yes, you can use these hymns online without having copyright trolls harass you. They’re in this Google Drive folder, along with 91 others — making a total of 100 copyright-free hymns in that folder.

Of interest in this batch of copyright-free hymns:

There are 3 hymn tunes by Thomas Commuck, the first Native American composer to publish his music. In two cases, I found texts in a current UU hymnal with copyright-protected music, and substituted one of Commucks’ tunes instead. In the third case, I found a lovely text by Frances Ellen Watkins Harper, the African American Unitarian poet from the mid-19th century, and paired it with a Commuck tune. These three hymns will be of interest if you’d like to include an Indigenous composer in your worship music.

For “Hush, Somebody’s Calling My Name,” I found a 1923 arrangement by J. B. Herbert, based on melodies provided by Rev. Turner Henderson Wiseman (1881-1939). T. H. Wiseman was a charismatic African American minister of the early twentieth century. On Feb. 7, 1914, the Kansas City (Mo.) Sun called him “a brilliant young minister,” adding: “Perhaps there is no young man in the ministry of the African Methodist Episcopal Church who has made such an enviable reputation as Rev. T. H. Wiseman…. Rev. Wiseman is not only a pleasing and intellectual preacher of the Gospel, but is one of the most accomplished and sweetest singers of the race.” He made a number of recordings in the 1920s, many of which you can find online. His quartet’s recording of “Hush” is online at the Internet Archive, and is well worth listening to. In the notes to this hymn (see below), I discuss what Wiseman’s contribution to this song might have been.

(Researching these nine hymns was painful. My brain hurts. I need to take a break from this copyright-free hymn project.)

Notes to all nine new hymns below the fold.

Still more copyright-free hymns

Five more copyright-free hymns added to this Google Drive folder. Full info about these newly added hymns below the fold. There are now 91 copyright-free hymns in the Google Drive folder.

66 of these are copyright-free versions (tune, text, and arrangement) of hymns from one of the two current Unitarian Universalist hymnals.

For the hymns not in the hymnals, I’ve tried to increase racial and gender diversity: 8 are from the African American tradition; 4 by women authors; 1 by a woman composer; and there’s 1 South African freedom song. I’ve also tried to add a little theological diversity: 1 Buddhist hymn; 1 Jewish hymn; 1 Neo-Pagan chant.

In the future, I’m planning to add tunes by Native composer Thomas Commuck, who was the first Native American to publish composed music. I’m also planning to add another 34 copyright-free versions of hymns from the current UU hymnals, bringing the total to 100 (plus the 25 hymns not from the current hymnals). Eventually, all these hymns will be gathered together on a static webpage. (But I don’t know when I’ll finish all these tasks, since we’re moving in a few weeks.)

Info for the newly-added hymns is below the fold.

More ambiguous copyright status

Here’s yet another example of a hymn in a current UU hymnal, with an ambiguous copyright status.

The lyrics to “This Old World Is Full of Sorrow” — no. 315 in Singing the Living Tradition — apparently first appeared in print in 1983 in New American Songster, ed. Charles W. Darling (Univ. Press, 1983). Darling provides the following source for the lyrics:

“Howie Mitchell learned the words to ‘This Old World’ from Bernie Lourie while attending Cornell University. Its message is universal. Test: Golden Ring, Folk-Legacy FSJ-16 (used by permission of Folk-Legacy Records, Sharon, CT).”

The album Golden Ring was first released in 1964, and is still available from the Smithsonian Institute (which bought out Folkways Records). You can still purchase the individual track for “This Old World” on the Folkways website. I can’t find any earlier publication.

My guess is that these lyrics are a product of one or more anonymous authors during the Folk Revival of the 1950s and early 1960s. Given the spirit of sharing during the Folk Revival, and given that they resemble other folk lyrics, the authors/redactors of the texts doubtless considered them to be in the public domain. From a legal standpoint, Folkways Records slapped a copyright on the recording, although they really didn’t have the right to do so. During the Folk Revival, this was standard practice: companies slapped copyright notices on public domain tunes and lyrics, often to prevent other companies from claiming copyright on public domain material. However it would be difficult to enforce any copyright claim, and it’s unlikely the Smithsonian Institute, current holder of the putative copyright, would even try.

Regardless, the attribution in Singing the Living Tradition should be changed. Instead of “Words: American folk tune, adapt.” (which doesn’t even make sense), a better attribution would be “Words: probably U.S. Folk Revival, 1945-1964.”

Here are the words as they appear in New American Songster:

This old world is full of sorrow,
Full of sickness, weak and sore.
If you love your neighbor truly,
Love will come to you the more.

We’re all children of one Father,
We’re all brothers and sisters too.
If you cherish one another
Love and pity will come to you.

This old world is full of sorrow,
Full of sickness, weak and sore.
If you love your neighbor truly,
Love will come to you the more.

So what about the other two verses printed in Singing the Living Tradition? It’s a good bet they were written by the compilers of the hymnal. (They certainly don’t sound like folk lyrics, or even composed lyrics from the Folk Revival.) So Unitarian Universalist congregations can safely use the last two verses in Singing the Living Tradition. But if you use them for any other purpose, assume they’re copyright-protected.

As for the music provide from hymn no. 315, it’s adapted from The Southern Harmony. There are enough changes in the arrangement that it may be protected by copyright. Again, it’s probably fine for Unitarian Universalist congregations to use, but for any other purpose assume that there’s a copyright.

Post-pandemic singing

Dr. Anthony Fauci has declared that we are now “out of the full-blown explosive pandemic phase” of COVID. This doesn’t mean that COVID is gone. It just means that “we’ve now decelerated and transitioned into more of a controlled phase,” according to Fauci.

This tallies with my own observations. COVID is still a threat, but not as dire a threat as it was a few months ago. So over the weekend, I decided to go to a group singing event that would require proof of vaccination for entry.

There were perhaps forty people at this Sacred Harp singing. I found it a little bit scary to be with so many people. (Though I was far more scared walking through airports when we flew to visit Carol’s father back in March — there were many more people in the airports, and anyone who was eating or drinking had their masks off.)

While I did find it to be a little bit scary, I also found it to be exhilarating. I’ve been too isolated during the pandemic. And I’ve done almost no in-person singing — no singing in choirs, no folk music jam sessions, no singing with a quartet, very little Sacred Harp singing. I’m not a particularly good singer, but before the pandemic, singing was my primary social outlet. Saturday’s singing event was definitely good for my mental health.

In this phase of the pandemic — this “more controlled phase,” to use Fauci’s words — we’re going to be balancing the threats from COVID against the threat that isolation poses to our mental health. It’s going to be a difficult balance to strike.

I’ll put a photo of the singing below the fold. But if you get triggered by seeing a bunch of people singing indoors at this point in the pandemic, don’t click through.