Gospel, on PBS

It became the music of the Church, but it developed out of elements that came from the old devil blues and the sinful nightclub music that was jazz. Eventually, gospel influenced jazz in return, with the rise of Soul Jazz and spawned Soul music through its fusion with R&B. Gospel music became a revered institution, yet it continues to evolve, in ways writer, host, and executive producer Henry Louis Gates chronicles in the four-part Gospel, which airs Monday and Tuesday on PBS.

Technically, it did not all start with former (or reformed) blues musician Thomas A. Dorsey, because gospel evolved out of traditional spirituals, but he was its W.C. Handy. Dorsey wrote and promoted many of gospel’s original classics. Rev. J.M. Gates, who was a bestselling recording artist in his own right, for his sermons, championed Dorsey within his considerable Church network. His close collaborator, Sally Martin also played a critical behind-the-scenes business role. In fact, Dorsey’s music was his business. Unlike so many jazz and blues artists, Dorsey was incredibly shrewd when it came to copyrights and publishing.

Logically, Mahalia Jackson is the heroic touchstone figure in Gospel, in much the same way Louis Armstrong was in Ken Burns’ Jazz. If anything, fans might argue she deserves even more screen time, considering her pivotal role supporting the Civil Rights movement. Fiftysome years after her death, she continues to be the greatest crossover success in gospel history.

Given their focus on Dorsey and Jackson, the first two episodes of Gospel are clearly the best. It also covers Sister Rosetta Tharpe, who probably also deserves more screen attention (since she inspired Elvis Presley), but at least Gayle Wald, the author of her excellent biography, Shout, Sister, Shout appears as an on-camera expert. The second episode also introduces Aretha Franklin (who needs no introduction), but Gospel presents her father, the Rev. C.L. Franklin in a radically different light than did Genius: Aretha.

The third episode is still pretty solid, covering the explosion of popularity for Gospel on the international festival circuit, Franklin’s return to gospel with the Amazing Grace concert and live recording, and the rise of Andrae Crouch.

How They Got Over: Gospel Veterans Testify

There would be no rock & roll without “Rock Me.” You could say that satanic rock owes its existence to the Church. Indeed, Elvis Presley always acknowledged Sister Rosetta Tharpe’s influence on his music. Tharpe was a pretty big name already, even before he copied her act. Yet, it was the success of those who came before her who made gospel music a viable career opportunity for the musicians (primarily vocalists) whose oral history informs Robert Clem’s documentary How They Got Over, which opens tomorrow in Los Angeles.

Unlike other gospel docs (like Rejoice and Shout), Got Over does not go all the way back to the roots of gospel and Thomas A. Dorsey. He basically starts immediately post-war, when there were little job prospects for blacks in the Jim Crow South. Life and entertainment almost entirely revolved around the Church, where touring gospel artists might make gas money to the next town if they were okay, but could build a following if they had talent.

Although Clem covers Sister Rosetta and some of the women’s gospel ensembles, he deliberately focuses on the male harmony singers, who followed the lead of the original Golden Gate Quartet. Among those groups, he largely spotlights the Dixie Hummingbirds, thanks to original member Ira Tucker, whose commentary helps drive the film. Probably, the next most prominent group would Clarence Fountain and the Blind Boys of Alabama, which makes sense given their recognition beyond the gospel world.

Say Amen: Rejoice and Shout

How hip a blues guitarist was Sister Rosetta Tharpe? Well, she was one of the primary influences on a kid from Tupelo, Mississippi named Elvis. Yet, she was not really a blues or R&B artist, but a Gospel singer. By profiling trailblazers like Tharpe, director Don McGlynn and producer Joe Lauro celebrate the rich legacy and diversity of American Gospel music in Rejoice and Shout (trailer here), which opens this Friday in New York at Film Forum.

Rejoice opens on a true high note, as a young member of the Selvy Family of Gospel singers belts out a powerful old-time religion rendition of “Amazing Grace.” The film then proceeds to backpedal, explaining where the music came from. Yes, it is rooted in the plantation experience of African Americans, but the story of Gospel’s development is more complicated, involving entrepreneurial figures like Thomas A. Dorsey. A reformed bluesman, Dorsey penned and promoted scores of Gospel standards, often popularized through performances by the great Mahalia Jackson.

Frankly, it is pleasantly surprising how intelligently Rejoice addresses the actual music. It is particularly effective illustrating the complexity of the arrangements and the syncopated jazz influences of the vocal ensembles like the Golden Gate Quartet. More to the point, many people will probably be surprised how much fun this legitimately sacred music truly is.

Of course, the music is the thing in Rejoice. To their credit, McGlynn and Lauro unearthed some remarkable rare footage, ranging from sound film that predates Al Jolson in The Jazz Singer to some totally cool video of the Edwin Hawkins Singers performing “Oh Happy Day” during a stadium concert. Still, Rejoice never forgets the music’s raison d’être, allowing former 1970’s Gospel superstar turned everyday preacher Andraé Crouch the time and space to speak eloquently of the glory and power of God.

Unfortunately, Rejoice largely runs out of steam once it hits the 1980’s, following Crouch’s main segment. Arguably, the more contemporary fusions of Gospel and pop lack the power of the previous seventy-some years and the artist profiles are more perfunctory, but that is quite late in the film. McGlynn also tosses up a partisan airball with the already clichéd conclusion of Obama triumphalism, cheapening an otherwise admirable survey of some genuinely stirring music.

Despite some third act slack, Rejoice is an entertaining and educational music documentary. In addition to Gospel devotees, jazz, blues, and soul fans will also find much to enjoy in the music and in the way it is presented. Quite well assembled overall and rather swinging, Rejoice is indeed recommended when it opens this Friday (6/3) at New York’s Film Forum.