Thomas A. Dorsey, also known as `Georgia Tom', had considerable success in the 1920's as a pianist, composer, and arranger for prominent blues singers including Ma Rainey. In the late 1930s, Dorsey became involved in 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. A controversy developed between two conflicting visions; one segment idealized an institution that nurtured a distinct African-American religion and culture, the other saw the church as a means by which African Americans would assimilate into American Christianity and the dominant Anglo-American culture. However, by the end of the 1930s the former group prevailed by the power of the music. From that time on, gospel blues became a major force in African-American churches and religion.

About the Author
Michael W. Harris is Associate Professor of History and African-American World Studies at the University of Iowa.

Reviews
'In a text that is rich in historical, cultural and musical data and analysis, the discussion of the conflict over music in the 'old line' churches comes across strongly.' David Horn, University of Liverpool, Popular Music, Volume 13, Part 3 - 1994



Book Information
ISBN 9780195090574
Author Michael W. Harris
Format Paperback
Page Count 352
Imprint Oxford University Press Inc
Publisher Oxford University Press Inc
Weight(grams) 445g
Dimensions(mm) 216mm * 140mm * 23mm