sounds of Chicago
Vernon Oliver Price, “Change My Name,” live (TV show), Chicago, 1972
What function hath the Air?
—Emily Dickinson (1830-1886), from 1513 (Franklin)
Rev. Julius Cheeks and the Sensational Nightingales, “Standing at the Judgement” (J. Cheeks), 1959
Sunday Morning with the Sensational Nightingales
by Billy Collins (1941-)
It was not the Five Mississippi Blind Boys
who lifted me off the ground
that Sunday morning
as I drove down for the paper, some oranges, and bread.
Nor was it the Dixie Hummingbirds
or the Soul Stirrers, despite their quickening name,
or even the Swan Silvertones
who inspired me to look over the commotion of trees
into the open vault of the sky.
No, it was the Sensational Nightingales
who happened to be singing on the gospel
station early that Sunday morning
and must be credited with the bumping up
of my spirit, the arousal of the mice within.
I have always loved this harmony,
like four, sometimes five trains running
side by side over a contoured landscape––
make that a shimmering, red-dirt landscape,
wildflowers growing along the silver tracks,
lace tablecloths covering the hills,
the men and women in white shirts and dresses
walking in the direction of a tall steeple.
Sunday morning in a perfect Georgia.
But I am not here to describe the sound
of the falsetto whine, sepulchral bass,
alto and tenor fitted snugly in between;
only to witness my own minor ascension
that morning as they sang, so parallel,
about the usual themes,
the garden of suffering,
the beads of blood on the forehead,
the stone before the hillside tomb,
and the ancient rolling waters
we would all have to cross some day.
God bless the Sensational Nightingales,
I thought as I turned up the volume,
God bless their families and their powder blue suits.
They are a far cry from the quiet kneeling
I was raised with,
a far, hand-clapping cry from the candles
that glowed in the alcoves
and the fixed eyes of saints staring down
from their corners.
Oh, my cap was on straight that Sunday morning
and I was fine keeping the car on the road.
No one would ever have guessed
I was being lifted into the air by nightingales,
hoisted by their beaks like a long banner
that curls across an empty blue sky,
caught up in the annunciation
of these high, most encouraging tidings.
Pilgrim Jubilee Singers (aka Pilgrim Jubilees), “Testify” (feat. Cleve Graham), “Old Ship of Zion” (feat. Clay Graham), live, TV Show (Jubilee Showcase), Chicago, 1964
this morning, Oak Park, Ill.
a walk, a voice, a poem
“The Door” by Miroslav Holub (1923-1998), translated from Czech by Ian Milner
Blind Willie Johnson (1897-1945), “God Don’t Never Change,” recorded 12/10/1929 (New Orleans)
Within this temporal body composed of a hundred bones and nine holes there resides a spirit which, for lack of an adequate name, I think of as windblown.
—Matsuo Basho (1644-1694), The Knapsack Notebook (translated from Japanese by Sam Hamill)
sounds of Chicago
This track, even after forty years, I never tire of hearing.
Albertina Walker (1929-2010) with Rev. James Cleveland (1931-1991), “Please Be Patient with Me” (J. Cleveland), live, Chicago, 1979 (Please Be Patient with Me)
yesterday, Chicago (Columbus Park)
Mahalia Jackson (1911-1972), “How I Got Over” (C. Ward), live, Chicago
Do you not see how necessary a World of Pains and troubles is to school an Intelligence and make it a soul?
—John Keats (1795-1821), letter to his brother George Keats, 1819