Summer of Soul and Spirit: A Review

During the Civil Rights era, the black church pioneered non-violent protests and marches, as well as protected and guided the African-American community. This led to the Civil Rights Act of 1964 getting passed in US government, but also resulted in the death of Martin Luther King Jr. years later. A man who was embodied as the olive branch between the black community and peace. A caring minister who acted as the middle man between the black community and security. Without him, there was no longer black leader drawing a bridge between the Christian faith and advancement of black people of America. During the 1968 protests, black people around the country were left feeling lost and enraged with hurt from political strike and militant control. The black church was also left feeling discarded once their socio-political role in the black community was no longer as needed as before. During the Summer of Soul film, the Edwin Hawkins singers, Staple Singers, and Mahalia Jackson performances exhibited the importance of black spirituality during difficult times. “Oh Happy Day” was a revelation to the black side of America to remember to always watch, pray, and then fight. This was actually the first heard contemporary form of gospel; layers of piano, bass, fender, bongos, drums heard seamlessly behind the lead vocalist and the choir throughout the funk-like record. Call-and-response is used as the volume increases as the tempo does. From the COGIC community around 3,000 miles away, the Edwin Hawkins singers were persecuted back for the performance with secular artists. Although they were chastised for their contribution to the festival, the group left a hopeful and joyous message with black Harlem to keep their eyes on God. The Staples Singers performed “Help Me Jesus” which consisted of elements from folk, gospel, jazz, and blues. “Pops” staples was seen incorporating the blues with the use of his guitar, which was influenced from his upbringing in the Mississippi Delta. Mahalia Jackson sang “Take My Hand Precious Lord” with Mavis Staples as tribute for Martin Luther King Jr. as Ben Branch, saxophonist, ushered her in. MLK had looked forward to hearing the song the night before he was assassinated at the Lorraine Motel, per Jesse Jackson’s remarks. Rev. Al Sharpton even had to recollect on how the black community has used black gospel as a gateway to Christ: “We didn’t go to a psychiatrist. We didn’t go lay on a couch. We didn’t know anything about therapists. But we knew Mahalia Jackson.” Throughout her performance as the lead, Mahalia was vehemently passionate and repetitive and Mavis acted ad-libs and response for the calls in the song. The audience wept, cried, and danced amongst one another while some even stared in awe. To elderly and the youth in front of the stage, gospel was revered again as a conscious tool to channel their experiences and combat their obstacles.