Be it jazz, blues, soul, R&B, rock or even country, the spiritual taproot of American music is found in the church, particularly in the pews of the black church. This four disc, 100 page anthology collects the works of the George Gershwin and Duke Ellington of gospel music, Reverend James Cleveland. By listening to the music and reading about this amazing man, you will learn how one man turned Sunday morning music from simple local spirituals for the few into a world wide movement that still reverberates to this day.
As the notes, copiously researched and written by Robert Marovich (with a forward by gospel giant Kirk Franklin) dictate, Cleveland began his career as a neighbor to Mahalia Jackson, singing with his penetrating sandied voice in what was then standard formats of a man with a piano or organ. Cleveland, however, pioneered the use of larger vocal ensembles (what we now call “gospel choirs”), and used them as either support, emphasis, call and response or extra declarations. The four discs have various incarnations of these choirs, under various names such as “The Gospel All Stars”, “The Angelic Choir”, “The Cleveland Singers”, “The Southern California Community Choir” and “The Voices of Tabernacle” among a plethora of others.
The music itself begins with a 1951 “Oh What A Time” with Cleveland preaching it with power, followed by the churchified and rollicking “That’s Why I Love Him So” which was secularized by Ray Charles. The Voices of Tabernacle clap and shout to “Something’s Got a Hold On Me” , while the congregation is solemn with the Reverend on “The Solid Rock” and reflective during “Lord Do It For Me”. There’s a glorious recitative with Sara Jordan Powell on “God Knows” , and Cleveland delivers a sermonette during “Amazing Grace”.
The composers include Cleveland as well as the advanced workings of Margaret Douroux, who brings rich voices to “Give Me A Heart” and a tambourine shaking “I’m Glad”. There’s even a take of Mac Davis’ “In The Ghetto” (made famous by Elvis Presley) that has a Sunday morning earthiness to it. Progressing through the 60s and 70s, Cleveland sounds a bit STAXY on “By the Grace of God” and “The Lord Is My ife” with a couple of choirs, and even gets orchestral with The Southern California Community Choir by 1979 during “God Is” while having the church roll down the aisles as he belts it out in 1981 on “This Too, Shall Pass”. There’s a fantastic medley of spirituals that include “Precious Lord Take My Hand” on the loose and spontaneous meeting with The Gospel Music Workshop, Chicago Chapter, while the set closes out with a mix of the ethereal and urban on “Lifting Me Up “ with The LA Gospel Messengers>.
Even if you think the walls of the church might collapse if you’d darken its halls, you will be inspired by the power and inspiration of this music. This is music that gives you a reason to get up in the morning and face the day. Do your ears and soul a favor.