Chicago a cappella presents "Roll, Jordan, Roll" on Feb. 6, 7, 13, and 14. 
 
How did the African-American spiritual come about?  Here are some thoughts about the social background and history of the spiritual, from my program notes for these upcoming performances.   
 
* * * * *

This is the first in a series of blogs to provide historical context for Chicago a cappella's upcoming February performances of spirituals, Roll, Jordan, Roll.  Some of this material didn't make it into the program notes and so is unique to this blog and this website.  Enjoy, and don't be shy about commenting if you have something to say.

Our good friend Drew McManus sent me an invitation to list the four holiday songs/pieces I enjoy the most and the least, the four holiday concerts (live) I enjoyed the most and the least, and the four holiday CDs in I enjoy the most and least at his website Adaptistration. 

Anyone who has read my posts here knows that I love making lists, and I signed right on to Drew’s wonderful site and left my choices.  But why should I have all the fun?  I invite all of you to visit Adaptistration and give your 2 cents worth. Rather than actually follow Drew’s suggestions, I added my favorite holiday movies to my list and took a few swipes at various artists along the way – all in good fun (and good cheer, of course!). 

A contemporary phrase about flamboyant jewelry? An overused hip-hop reference?  Further proof that language is in a constant state of flux?  Yes, to all of the above, and also the title of composer Michael Daugherty’s most recent piece entitled Bling Bling for Full Orchestra and Break Dancers.  You can catch a short video excerpt of this work at www.thecereallist.com

Normally, the end of the National High School Music Institute at the Bienen School of Music at Pick-Staiger Concert Hall signals a short and quiet spell on our stage, but not this summer.  A diverse set of recording sessions have, or will, fill the air at Pick-Staiger in August and September that are very promising. These sessions include the Black Music Repertory Ensemble recording of Olly Wilson’s “Of Visions and Truth” for small chamber ensemble (conducted by the composer) and “Five Movements in Color” by Mary Watkins for fifty-five piece orchestra.