{"id":83834,"date":"2021-07-07T11:40:00","date_gmt":"2021-07-07T09:40:00","guid":{"rendered":"https:\/\/pan-african-music.com\/archie-shepp-le-bon-genie-de-la-transmission\/"},"modified":"2021-07-07T11:46:34","modified_gmt":"2021-07-07T09:46:34","slug":"archie-shepp-the-great-champion-of-transmission","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/archie-shepp-the-great-champion-of-transmission\/","title":{"rendered":"Archie Shepp: The great champion of transmission"},"content":{"rendered":"\n

Let My People Go<\/em>: a truly symbolic title\u2026 It is the refrain from the most famous Negro spiritual, “Go Down Moses”, dating from the days of slavery, and in 1853 it was the first one to be edited as sheet music, ten years before Abolition in the United States. Massively evangelized in the 19th century, the African slaves quickly identified with the Hebrews who, according to the biblical legends they were taught, had rebelled thanks to their faith and had fled from Egypt where they had been enslaved. Other ancient spirituals are more like laments, such as
“Sometimes I Feel Like a Motherless Child” (another song on the album), but in a condition of servitude a lament is not far from a revolt.<\/p>\n\n\n\n

These two songs became world-famous in the 1920\u2019s, thanks to the great singer\/actor Paul Robeson, a champion of the civil rights struggle, and then later to the phenomenal success of the magnificent 1958 album by Louis Armstrong, “Louis and The Good Book.” I was six years old, it was a Christmas present, my very first “jazz” album\u2026 When Shepp sings these spirituals so sorrowfully with his rusty old baritone voice, he seems to be assuming the role of the ideal successor to Robeson and Armstrong. But it is obviously not so simple\u2026<\/p>\n\n\n\n

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