Lift Every Voice and Swing: Black Musicians and Religious Culture in the Jazz Century by Vaughn A. Booker

Abstract

Reviewed by: Lift Every Voice and Swing: Black Musicians and Religious Culture in the Jazz Century by Vaughn A. Booker Alisha Lola Jones Vaughn A. Booker, Lift Every Voice and Swing: Black Musicians and Religious Culture in the Jazz Century (New York: New York University Press, 2020) Lift Every Voice and Swing: Black Musicians and Religious Culture in the Jazz Century, by religion and African American studies scholar Vaughn A. Booker, incisively challenges assumptions about African American jazz musicians’ performance of race, personal belief, and socio-cultural hardwiring toward or against Afro-Protestantism in the popular imagination. Booker’s titular pun—Lift Every Voice and Swing—follows a tide of publications over the last decade on anthems (see Shana Redmond’s Anthem: Social Movements and the Sound of Solidarity in the African Diaspora [2013]) and particularly on “the Negro National Anthem”—J. Rosamond and James Weldon Johnson’s “Lift Every Voice and Sing”—profiled in Imani Perry’s May We Forever Stand: A History of the Black National Anthem (2018). Further, Lift Every Voice and Swing hearkens to the primacy of vocality and swing as prized organizing components and commoditized principles in religio- cultural performance practices that set apart popular African American musicians in the twentieth-century mediascape. After all, to echo Edward Kennedy “Duke” Ellington’s signature 1931 composition, “It Don’t Mean a Thing, If It Ain’t Got That Swing. ” [End Page 131] With a keen awareness of the African philosophical worldview that there is no bifurcation of the “sacred” and “secular,” Booker confirms that for many African American jazz and other musicians there is only a continuum between the religious and non-religious in the artistic discourses accessible to them. To illuminate this observation, he explores the extent to which four jazz tastemakers’ (networks’) commentary and performances influenced religious expression in multi-faith/transdenominational liturgy and popular religio-cultural portrayals: Cab Calloway, Edward Kennedy “Duke” Ellington, Ella Fitzgerald, and Mary Lou Williams. In the introduction, Booker establishes the parameters of “sacred” Afro-Protestant aesthetics, offering insight on the “swing concept” of vibraphonist and convert from Roman Catholicism to Christian Science Lionel Hampton. Hampton asserted that it was sacrilege for bands to swing (Negro) spirituals, especially in cinematic portrayals, presumably because of the sultry and sensuous musical associations that swinging prompts: “Sacred African American music was a cultural possession of Hampton and other African Americans, and, in his view, to transform it into a festive or entertaining commodity was to commit sacrilege and racial offense” (1). Hampton’s commentary reveals the extent to which Afro-Protestant religious expression is culture among African Americans, regardless of one’s personal belief. The first part of the book, entitled “Representations of Religion and Race,” comprises four chapters. Readers will note that Booker places taste-makers Cab Calloway and Ella Fitzgerald into the conversation by innovative means, tapping into often overlooked autobiographical material about Calloway, and, and taking alternative measures for Fitzgerald, who rarely interviewed and never produced an autobiography. The first chapter introduces a group of religious race professionals beyond male clergy who are middle-class leaders of Afro-Protestant denominations, organizations, and churches. In the second chapter, Booker concentrates on maestro Cab Calloway’s early jazz career and the extent to which, as a person who did not participate in institutional religion, he deploys religious humor to push the limits. Instead of typically centering Black male musicians within Bebop jazz discourse, the third chapter centers on the vocalist Ella Fitzgerald’s efforts to fashion her raced, gendered, and (non-)religious identity. Racial and religious reverence are investigated in the fourth chapter through Duke Ellington’s musical compositions in which he explores biblical and historical African civilizations. [End Page 132] Part two, “Missions and Legacies,” spans five chapters. The fifth chapter attends to Duke Ellington who was influential in religious literature while maintaining core conversation partners who were not formed in Christianity. We learn in the sixth chapter about Ellington’s theology through his recorded private thoughts in relation to his compositional practice. Composer Mary Lou Williams is featured in the seventh chapter, which examines her religious thoughts following her conversion to Roman Catholicism. Following Williams through her business archives...