Church music committees are always seeking worship songs that can enrich the liturgical life of the church. A sampling of a few such recordings follows.
Diversity and Heritage
Global Songs, Local Voices (1993, Division for Global Mission, ELCA Distribution Center, 8765 West Higgins Road, Chicago, IL 60631) is a recording of powerful music from various cultures produced by a group of musicians for Evangelical Lutheran Church of America (ELCA) mission events. With music from each continent, GSLV offers a diversity that demonstrates the universality, as well as the particularity, of the church. It is reminiscent of the Swedish recording that made South African freedom songs so popular within the church and movements for social justice in the United States.
This live recording opens with a beautiful Zimbabwean hymn of worship, "Uyai mose." On it and on "Cántalo," an evangelistic popular tune from Argentina, the crowd's enthusiasm demonstrates the potency of song.
"The Earth Is the Lord's" is a powerful Filipino hymn that catches both a commitment to the Creator and a concern for the created. Similarly, "For the Beauty of the Earth" has been arranged with a Chinese melody, which fits well the lyrics of the hymn.
My favorite offering is "Mold Me, Lord," a Tanzanian tune written in call-and-response style. In the tradition of African-American spirituals, this song's message reassures us of a God who is with us and reshapes us over and over again.
Other songs come from El Salvador, Sweden, Cameroon, the Caribbean, and Peru. Even a couple of North American songs are interjected, including "A Song of Joy," a hopeful and upbeat song written by group member Bret Hesla.
The variety provided here is encouraging and enjoyable. Western Christians can be reminded that we have much to learn from our sisters and brothers from other traditions.
An additional recording reminds me that Western Christians have something to offer as well.
Tom Witt, the keyboard artist on the aforementioned tape, has also released a solo recording of revamped European-origin hymns. These selections serve as an interesting counterpoint to the global--especially Third World--emphasis of Global Songs, Local Voices. In the two recordings, Witt balances the recovery of his own tradition with the addition of diverse insights and experiences gleaned from other peoples and places.
Dusting Off the Green Book (1993, c/o St. Martin's Table, 2001 Riverside Ave., Minneapolis, MN 55454)--the ELCA's "Worship Book and Hymnal" is euphemistically called "the green book"--draws from a rich variety of recognizable hymns, but presents them in a more popularized style. Songs range from Lutheran staple "A Mighty Fortress Is Our God" to altar-call anthem "How Great Thou Art." And though all are familiar, "these aren't your father's odes-to-God."
"Praise to the Lord, the Almighty" and "For All the Saints" both open with the traditional organ melody. After several measures straight up, Witt lets loose with jazz interpretations, alternating between the traditional and the modern. "Praise" begins with a heavy percussion track that builds with the accompanying joyous piano melody. With each stanza his improvisation becomes progressively freer. The electric keyboard gives an orchestral feel by adding the sounds of horns and strings.
An up-tempo variation of "A Mighty Fortress" gives Witt an opportunity to run the keyboards with understated grace. His jazz solo is filled with countless themes and subthemes, winding back and forth, weaving themselves into an intricate pattern.
The handful of hymns-turned-blues are most satisfying. "A Stable Lamp Is Lighted" is a soft blues rendition in which you might expect to hear Bonnie Raitt's voice atop the instrumentation.
"Let Us Break Bread Together" is another cool blues adaptation of this popular communion song. Late at night with closed eyes, the listener can be transported to a safe and sacred place by the rhythmic waves of sound.
This recording should inspire other church musicians whose souls long to fly free of the staffs and pages. As more musicians find opportunities to redeem their own cultural history, our combined heritage will be well-served.
Bret Hesla, a guitarist on GSLV, has teamed with Larry Dittberner to produce two other tapes worthy of note. A New Perspective: Songs of Simple Living (1991, 293 Superior St., St. Paul, MN 55102) is an offering of prophetic message with populist imagery.
The positive tone of this recording about justice is very refreshing. Acknowledging the pain of oppression many experience, Dittberner and Hesla are still able to stress the hope and certainty that freedom and a new day will come.
"When Justice Comes" reflects this optimistic sense. Its simple melody and the confidence with which Hesla sings the lyrics invite all to share in the optimism:
It's gonna blow in heavy and hard, when justice comes
And the experts will be caught off guard, when justice comes
The first drops'll startle your skin, when justice comes
Then we'll all be drenched to the bone, when justice comes....
Let there be no place left to run, when justice comes.
With the guitar and harmonica playing off each other, as if in a dialogue, the melody reinforces the lyrics.
A round, "Yea of God," combines the biblical images of God as mother, as father, and as potter. This tune, with its mantra-like feel, would be a great introduction to intercessory prayer. "Bread For the Journey," a practical song for a wandering people, serves the same function as eucharistic preparation.
But the folk tunes are not confined to overt worship themes. "Farmer's Market" is an ode to buying foods locally when possible. The singers gently chide us all by reminding us that "if it is out of season, I can wait."
"Market" is not the only song with a theme of land. "We've Got to Stop" talks about the natural cycles of life and death. Taking seriously the insight "Ashes to ashes; dust to dust," Hesla stresses that we "stop treating the soil like dirt," with Dittberner doing his best Bobby McFerrin in the background.
And because fun is an important part of the journey, Hesla and Dittberner include "Stir Fry" on the tape. With the opening invitation, "Okay, grab your aprons boys," I think this tune is their effort to "wok their talk."
These two musicians have also released a children's tape, The Big Fat Tape (1992, 293 Superior St., St. Paul, Minnesota, 55102). It combines originals with slightly altered recognizable tunes--"One Bottle of Pop" becomes an ode to recycling.
A rich diversity of opportunities await any worshiping community. Start with those that suit you; be challenged to go beyond.
Bob Hulteen was Under Review Editor of Sojourners when this article appeared.
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