Document Records - Vintage Blues and Jazz

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Black Vocal Groups Vol 5 1923 - 1941

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Carolina Gospel Vol 2 1936 - 1939

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Black American Choirs 1926 - 1931
DOCD-5566 Negro Choirs 1926 – 1931 Genres; Gospel, Spirituals Informative booklet notes by Duck Baker. Detailed discography. This release affords a fascinating glimpse of various ways that African-Americans were approaching choral singing in the 1920’s. By the time of these recordings, the singing of the old spirituals had been a hotly contested topic for years. Many of the first generation of free-born blacks felt the old songs to be shameful relics of bondage. Another camp took their cue from Anton Dvorak’s famous pronouncement that any truly American art music would have to be based on the spirituals. This point of view was a driving force in the lives of many black Americans, from Fisk University figures like the Work family and Mr. and Mrs. James Myers to concert performers like Harry Burleigh to renaissance men like James Weldon Johnson. Continued...

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Preachers & Congregations Vol 7 1925 - 1928

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C & M A Gospel Singers / Quintet 1923 - 1926
Note: See also Document DOCD-5618 and 5639.

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Gospel Singers & Preachers 1926 - 1948

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Church Choirs, Gospel Singers & Preachers Vol 2 1925 - 1955

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Harrod's Jubilee Singers 1922 & Utica Institute Jubilee Singers 1927 - 1929

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Black Vocal Secular Groups Vol 3 1923 - 1940

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Church Choirs, Vocal Groups & Preachers Vol 3 1923 - 1931

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Black Vocal Groups Vol 9 1929 - 1942

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Sister Rosetta Tharpe Vol 3 1946 - 1947

DOCD-5607 Sister Rosetta Tharpe Vol 3 1946 -1947

Sister Rosetta Tharpe, guitar, vocal.

With contributions by;
Marie Knight, vocal.
The Dependable Boys, vocal group.
Sammy Price, piano.
Billy Taylor Snr., stand-up bass.
Wallace Bishop, drums.
Ben Moten, stand-up bass.
George "Pops" Foster, stand-up bass.
And others...

Genre; Gospel.

Informative booklet notes by Ken Romanowski.
Detailed discography.

Sister Rosetta Tharpe (born Rosetta Nubin in Cotton Plant, Arkansas on March 20, 1915) was already a seasoned veteran of the gospel highway by the time she burst upon the national scene in 1938. During the next two years she performed in New York at the Cotton Club with Cab Calloway and Andy Kirk, played the Apollo and the Savoy Ballroom with Lucky Millinder, and appeared at John Hammond's historic Spirituals To Swing concert at Carnegie Hall, bringing gospel music to the attention of mainstream America and becoming gospel's first national star in the process. Continued...


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