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Mike rated it liked it Aug 03, Baskerville added it Feb 14, Terrence marked it as to-read Sep 24, Sonia marked it as to-read Aug 16, Michael Strode marked it as to-read Aug 23, Yasmin marked it as to-read Sep 04, Michael Graber added it Sep 26, Jacqueline added it Jul 25, Dawan Scott marked it as to-read Mar 20, Brent marked it as to-read Jun 20, Noelle marked it as to-read Jul 15, Missy Scandrol added it Oct 06, Josh marked it as to-read Mar 03, JwW White added it Jul 17, Ahmed Alani marked it as to-read Dec 07, Margaret marked it as to-read Aug 30, Kimberly marked it as to-read Nov 26, Andrea Hart marked it as to-read Feb 08, Joe Milazzo marked it as to-read Jun 05, Hannah Kennedy marked it as to-read Jun 29, Bob Marovich added it Jun 29, Morgan marked it as to-read Dec 19, Most observers believe that gospel music has been sung in African-American churches since their organization in the late s.
Tracing the rise of gospel blues as seen through the career of its founding figure, Thomas Andrew Dorsey, Harris not only tells the story of the most prominent person in the advent of gospel blues, but also contextualizes this powerful new musical form within African-American religious history and significant social developments.
Dorsey, also known as "Georgia Tom", had considerable success in the s as a pianist, composer, and arranger for prominent blues singers including Ma Rainey. In the s, Dorsey became involved in Chicago's African-American, old-line Protestant churches, where his background in the blues greatly influenced his composing and singing. At first these "respectable" Chicago churches rejected this new form, partially because of the unseemly reputation blues performance had, but more because of the excitement that gospel blues produced in the church congregation.