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Oral Moses, bass-baritone performs regularly throughout the United States
and Europe singing recitals, concerts works, oratorios, and a wide variety
of art song repertoire with special emphasis on vocal works of
African-American composers.
He has had numerous successes with American Opera companies performing major roles in Le Nozze di Figaro, Regina, La Boheme, Albert Herring, Tremonisha, Rigoletto, and Die Zauberflöte. Symphonic engagements have included work
with the Nashville Symphony, Jackson Symphony, Detroit Symphony, Atlanta Symphony, Lansing Symphony and Tacoma Symphony.
The South Carolina native began his singing career as a member of the United States Seventh Army Soldiers Chorus in Heidelberg, Germany and a member of
the famed Fisk Jubilee Singers while attending Fisk University following his
military career. Upon completion of his undergraduate studies at Fisk he was
awarded a Thomas J. Watson Fellowship which provided him the opportunity to
return to Europe for further study in vocal performance and opera. Upon his
return to the United States he attended the University of Michigan where he
earned a Masters of Music and Doctorate of Musical Arts Degree in vocal
performance and opera. In 1986 as a recipient of the National Endowment for
the Humanities Grant he co-authored a book entitled Feel The Spirit: Studies
in Nineteenth Century Afro-American Music, published by Greenwood Press.
In 1991 he was awarded a second National
Endowment for the Humanities Grant to
study the broad spectrum of American
music. His premiere CD recording,
Deep River: Songs and Spirituals
of Harry T. Burleigh, was
released on Northeastern
Records label and
Albany Records.
In addition to Dr. Moses's
busy schedule in
performance he is
Professor of Voice
and Music Literature
at Kennesaw State
University in
Kennesaw,
Georgia.
George Morrison Bailey - Pianist, Composer, Arranger and Choreographer — for the past twenty-nine years
has served as rehearsal pianist and rehearsal assistant to the Stuttgart Ballet in Stuttgart, Germany.
He has traveled throughout the world with the Stuttgart Ballet assisting Ballet Masters in rehearsals and playing both major and minor character roles in such famous Ballets/Operas as Swan Lake, Gaité Parisienne, Boulevard Solitude,
La Boehme, and Cinderella.
He has assisted many world-famous choreographers such as, John Cranko, Maurice Bejart, John Neumeier, Glen Tetley, and Uwe Scholtz among many
others. Mr. Bailey is a much sought after solo entertainer and pianist throughout Germany, France and Italy. He is one of those gifted pianist who is equally
comfortable playing or accompanying serious classical works, jazz ballades or intricate rhythmically complicated jazz piano compositions, a talent which he probably inherited from his grandfather, the early twentieth century jazz legend, violinist, George Morrison.
During military service Mr. Bailey served as pianist , arranger and composer
for the Seventh Army Soldiers Chorus in Heidelberg, Germany where he
met and first performed with Oral Moses.
George Bailey studied piano with his mother, Marian Morrison Robinson
for nineteen years in Denver, Colorado. He then continued his studies at
the University of Denver where he majored in Advertising Design with a
minor in Music.
In his second CD recording, bass-baritone Oral Moses offers art songs and spiritual arrangements by African-American
composers and arrangers whose work spans the 20th century and spills over into the 21st century. Pioneer art song composer and
spiritual arranger Harry T. Burleigh is re-
presented by two songs and two spiritual arrangements. “Jean” (1903) was his first
commercial success and enjoyed enduring popularity among recital and parlor singers
in the first half of the 20th century. In 1916 New York Age critic Lucien White called this song “one of the most popular songs ever heard from the concert stage.” It was recorded in 1903 by tenor Evan Williams. “He Met
Her n the Meadow” (1921) shows Burleigh in a mischievous mood. He also wrote choral arrangements of this novelty song for mixed voices and for both women's and men's voices.
Two Burleigh spiritual arrangements are more familiar to singers: “Sometimes I Feel Like a Motherless Child” (1918) and “I Don't Feel No-ways Tired” (1917) are among his early published arrangements. Burleigh, who for several years traveled with Booker T. Washington on his summer tours through New England to raise money for Tuskegee Institute, reported that Washington often sang “I Don't Feel No-ways Tired” at the end of a long day of fund-raising.
Avery Robinson (1878-1965) was one of
a group Euro-American contemporaries of Burleigh who followed his example in
arranging spirituals and other African-American songs for concert use. His
best-known song, “Water Boy,” was often sung by Paul Robeson, who also recorded it.
One of Burleigh's younger African-American contemporaries, R. Nathaniel Dett
(1882-1943), decided to devote himself to preserving the spirituals he had heard his grandmother sing when as a music student at Oberlin College he heard Antonin Dvorak's “American” String Quartet in F Major, Opus 96. The first theme of the second movement of this quartet is written in the style of the spirituals Burleigh sang for Dvorak when he was a student at the National Conservatory of Music in New York City from 1892-1895. Dett often arranged spirituals in the solo and choral tradition of Burleigh, but in other instances such as “Zion Hallelujah,” which he labeled “Negro Folk Song Derivative,” Dett used the songs gathered from the oral tradition as the basis for his own compositions.
Francis Hall Johnson (1888-1970), born in Athens, Georgia, is known for the authenticity of his arrangements, and for his insistence that their performance reflect the care with which he represented the oral tradition he knew so well from family and church members who had been slaves. The Hall Johnson Choir, which he founded in 1925, enjoyed great
success, performing for movies and on Broadway. “Witness” is one of his most beloved spiritual arrangements, and “Swing Dat Hammer” is a work song similar to Avery Robinson's “Water Boy.”
William Grant Still (1895-1978) is known
for his larger instrumental works as well
as chamber works and songs. His two
symphonies and his operatic works reflect
his conscious decision to enrich the various European concert genres by infusing them with the musical motifs and harmonic
transparency of his African-American musical heritage. Several of his compositions reflect the influence of his study with Edgar Varese, but he chose to return to a musical language which he felt was more appropriate for incorporating the distinctive style of African-American spirituals, blues and jazz. While the style of the cycle Songs of Separation is less clearly flavored with an
African-American idiom, the poems he chose to set are by five African-American poets who were his contemporaries.
John Wesley Work III (1901-1967) came
from a family long associated with Fisk Institute (now Fisk University) and the
documentation and preservation of African-American spirituals. His father, John W. Work II, for many years led the famous Fisk Jubilee Singers, and his uncle, Frederick Work,
published a collection of folk songs in 1915 that is still highly regarded. Like Still, John W. Work published larger instrumental works and numerous choral works as well as secular art songs and spiritual arrangements such as “This Little Light of Mine.”
Two important African-American women composers are represented here. Margaret Bonds (1913-1972), a pianist/composer born in Chicago, studied there with Florence Price, another African-American composer
(1888-1953), and often performed her piano works. An accomplished composer, Bonds is known for her many art songs and spiritual arrangements as well as orchestral, choral and
dramatic works. “He's Got the Whole World in His Hands,” which Marian Anderson often sang, is one of her most loved arrangements.
Betty Jackson King (1928-1994) learned the spirituals from hearing them sung at the Southern Christian Institute near Vicksburg, Mississippi, where her mother taught music. King's career as church musician, choral
conductor, educator and composer centered in Chicago and New Jersey. Her arrangements such as “It's Me, O Lord” are known for their singable melodies, harmonic richness and pianistic accompaniments.
Though born in Denison, Texas, and
educated in Berkeley, California, Paris and Vienna, concert pianist, composer and stage and television actor Robert Owens (1925-) has spent most of his career in Germany. While teaching at Albany State College in Georgia, he met poet Langston Hughes. Hughes gave him a short volume of his poems, entitled Fields of Wonder, challenging him to “see what he could do” in setting the texts to music. Owens' response to that challenge
has given us Heart on the Wall, and Tearless, both written for African-American singers, and the sixteen-song cycle Border Line, recorded here. Owens' friendship with Oral Moses clearly informs this performance of the cycle and of “Go Down, Moses,” the opening spiritual on this CD. In 1994 Owens created an orchestral version of
Border Line that has been performed by the Black Music Repertory Ensemble.
Uzee Brown Jr. (1950-), the youngest in the line of singer/conductor/composer/arrangers represented on this recording, is also a close friend of Oral Moses. A co-founder of Onyx Opera Atlanta, Inc., Brown is an active
member of the Georgia music community.
In addition to earning degrees from Morehouse College, Bowling Green State University and the University of Michigan, Brown studied at the Graz Conservatory in Austria and the University of Siena in Italy. Among his credits as composer and arranger is his musical prologue for Spike Lee's movie School Daze. The simplicity of his arrangements of “There Are Angels Hov'rin' `Roun'” and “Oh, Mary, What You Gonna Call Your Pretty Little Baby” reflect his understanding and appreciation of the oral tradition from which these songs arose.
The arrangement of “Amen” by Jester Hairston (1901-199-) was first published in 1955 and later popularized by Sidney Poitier's performance in the movie Lilies of the Field. Moses' accompanist George Bailey has
further developed this arrangement for solo voice. In this recording Bailey and Moses make this spiritual uniquely their own.
Amen! African-American Songs and Spirituals
of the 20th Century
Go Down, Moses (1970) * arr. Robert Lee Owens (1925—) (3:12)
When Israel was in Egypt-land, Let my people go,
Oppressed so hard they could not stand, Let my people go.
Go down, Moses, way down in Egypt-land,
Tell old Pharaoh to let my people go.
Thus saith the Lord, bold Moses said, Let. . . .
If not, I'll strike your first-born dead, Let. . . .
There are Angels Hov'rin' `Roun' (19—) * arr. Uzee Brown, Jr. (4:34)
To the Memory of Kenneth Maurice Hamilton
There are angels hov'rin'`roun', There are angels hov'rin' `roun' ,
There are angels, angels hov'rin' `roun'.
In the new Jerusalem, In the new Jerusalem,
In the new, the new Jerusalem.
The angels came to tell of the King, to tell of the hope an' the joy he'd bring;
Listen, chillun, to the angels sing, There are angels hov'rin' `roun'.
Do you know him, Christ the Lord? Do you know him, Christ the Lord?
Do you know him, know him, Christ the Lord.
Let us praise him, Christ the King! Let us praise him, Christ the Kind!
Let us praise him, praise him, Christ the King!
Oo. . . There are angels hov'rin' `roun'.
Oh, Mary, What You Gonna Call Your Pretty Little Baby
arr. Uzee Brown, Jr. (1950—) (3:24)
Oh, Mary, what you gonna call your pretty little baby?
What you gonna call your pretty little baby?
What you gonna call your pretty little baby? Born, born in Bethlehem. (repeats)
Some call him one thing, I think I'll call him Jesus,
Glory! Glory! Glory to that newborn King!
Some call him one thing, I think I'll say Emmanuel,
Glory! Glory! Glory to that newborn King!
Jean (1903) * Harry T. Burleigh (1866-1949) * Frank L. Stanton (1857-1927) (2:18)
Jean, my Jean, with the eyes of light, And the beautiful soft, brown hair,
Do you know that I'm longing for you tonight?
For your lips, for the clasp of your hand so white?
And the sound of your voice so dear?
Jean, my Jean, with the glances bright, Where the smile shines through the tear,
Do you know that I'm calling to you tonight,
Where the seagulls cry like ghosts in flight
And the dark falls lone and drear?
Jean, my Jean, where the snow drifts white, Thro' the answerless, icy air,
Ah, would to God you were here tonight, Braiding your beautiful tresses of light,
And that I were lying there!
He Met Her in the Meadow (1921) * Harry T. Burleigh (2:46)
He met her in the meadow As the sun was sinking low;
They walk'd along together In the twilight's after-glow.
She waited until patiently, he had lower'd all the bars,
Her soft eyes bent upon him, As radiant as the stars.
She neither smil'd nor thank'd him, In fact, she knew not how
For he was but a farmer's lad, A barefoot farmer's lad,
For he was but a farmer's lad, And she a Jersey cow.
Sometimes I Feel Like a Motherless Child (1918)
* arr. Harry T. Burleigh (4:16)
Sometimes I feel like a motherless child, sometimes I feel like a motherless child
Sometimes I feel like a motherless child,
A long ways from home, a long ways from home
Sometimes I feel like I'm almos' gone, sometimes. . .
Sometimes I feel like I'm almos' gone,
A long ways from home, a long ways from home., a long ways from home.
I Don't Feel No-Ways Tired (1917) * arr. Harry T. Burleigh (1866-1949)
* Hebrews 11: 14, 16 (2:41)
I am seekin' for a city, Hallelujah, I am seekin' for a city, Hallelu.
For a city in de Hebben, Hallelujah, For a city in de Hebben, Hallelu!
Lord, I don't feel no-ways tired, Childaren! Oh, glory, Hallelujah!
For I hope to shout glory when dis worl' is on fire, Chillen,
Dere's a better day a-comin', Hallelujah, Dere's a better day a-comin', Hallelu.
When I leave dis worl' ob sorrow, Hallelujah, For to join de holy number, Hallelu Lord,
Zion Hallelujah (1923) * arr. R. Nathaniel Dett (1882-1943) (3:12)
(to Reinald Werrenrath) (Negro Folk Song Derivative)
O Zion, Zion, hallelujah, O Zion, Zion, hallelujah!
O Zion, Zion, hallelujah, O Zion, Zion, hallelujah!
Zion, city, bright and fair, Zion, hallelujah,
I hope and pray I'll meet you there; Zion, hallelujah!
Witness (1940) * arr. Francis Hall Johnson (1888-1970) (2:40)
Oh, Lord, what manner of man is dis? All nations in Him are blest;
All things are done by His will, He spoke to de sea an' de sea stood still.
Now, ain't dat a witness for my Lord? Ain't dat a witness for my Lord?
Ain't dat a witness for my Lord? Ma soul is a witness for my Lord.
Now dere was a man of de Pharersees, His name was Nicodemus an' `e didn' believe.
De same came to Chris' by night, Wanted to be taught out o' human sight.
Nicodemus was a man desired to know How a man kin be born when he is ol'
Chris' tol' Nicodemus, as a frien', “Man, you mus' be born again.”
Said, “Marvel not, man, eft you wanter be wise, Repent, believe, an' be baptize.'”
Den you'll be a witness for my Lord, You'll be a witness for my Lord,
You'll be a witness for my Lord. Soul is a witness for my Lord.
You read about Samson from his birth Stronges' man dat ever lived on earth.
`Way back yonder in ancien' times He killed ten thousan' of de Philistines.
Den ol' Samson went wand'rin' about; Samson's strength was never found out
Till `is wife sat upon `is knees. She said, “Tell me where yo' strength lies, ef you please.”
Now Samson's wife, she talk so fair, Samson said, “Cut off-a my hair.
Shave my head jes' as clean as yo' han' an' my strength will `come (become) lak a natchul man.”
Ol' Samson was a witness for my Lord, Samson was a witness for my Lord,
Samson was a witness for my Lord. Soul is a witness for my Lord.
Da's another witness, Now da's another witness, Da's another witness,
Ma soul is a witness for my Lord, Ma soul is a witness for my Lord!
Swing Dat Hammer (1960) * arr. Francis Hall Johnson (1888-1970) (4:27)
Swing dat hammer, Swing dat hammer, Swing it high above your head
Makin' li'l ones out'a big ones, Hammer kill you almos' dead.
Swing it high, boy, Swing it low, boy, Swing dat hammer `til you dead.
When I lef' Augusta, Georgy, All I had was one thin dime,
Now I'm back in dear ole Georgy, But I got to serv' dis time.
Swing it high, boy, Swing it low, boy, `Caus' I got to serv' dis time.
My Ma tol' me, my Ma tol' me, “Son, you do jes' like I say.”
If I had-a listen to her Wouldn' be breakin' rocks today.
Swing it high, boy, Swing it low, boy, Lord, I am breakin' rocks today.
Mommuh, Mommuh, Mommuh, Mommuh, Ain't you `shamed of your dear son, ah, Lord?
Ain't you sorry dat you borned me when you see what I done done?
Swing it high, boy, Swing it low, boy, Swing dat hammer, Lord.
Ah, Lord, Lord, Ah, Lord, Swing dat hammer, boy, `til you dead. Ah, Lord.
Songs of Separation (1945) * William Grant Still (1895-1978)
Idolatry * Arna Bontemps (2:18)
You have been good to me, I give you this:
The arms of lovers empty as our own,
Marble lips sustaining one long kiss
And the hard sound of hammers breaking stone.
For I will build a chapel in the place
Where our love died and I will journey there
To make a sign and kneel before your face
And set an old bell tolling on the air.
Poeme * Philippe-Thoby Marcelin (1:44) Poem
Ce n'était pas l'aurore, It was not dawn
Mais je m'etais leve but I had gotten up
En me frottant les yeux. rubbing my eyes,
Tout dormait alentour. all around, all was asleep
Les bananiers sous ma fenÍtre, The Banana trees under my window
Frissonnaient dans le clair de lune were shivering in the moonlight
Alors, j'ai pris me tÍte dans mes mains Then, I took my head in my hands
Et j'ai pensé vous. and I thought of you.
Translation: Dr. Rosa Bobia
Parted * Paul Laurence Dunbar (:41)
She wrapped her soul in a lace of lies,
With a prime deceit to pin it;
And I thought I was gaining a fearsome prize,
So I staked my soul to win it.
We wed and parted on her complaint,
And both were a bit of barter,
Though I'll confess that I'm no saint,
I'll swear that she's no martyr.
If You Should Go * Countee Cullen (1:29)
Love, leave me like the light
We would not know, but for the night,
When it has slipped away.
When done, should leave no trace
That it has lived, except a gleam
Across the dreamer's face.
A Black Pierrot * Langston Hughes (2:39)
I am a black pierrot: She did not love me,
So I crept away into the night and the night was black, too.
I am a black pierrot: She did not love me,
So I wept until the red dawn dripped blood over the eastern hills
and my heart was bleeding, too.
I am a black pierrot: She did not love me,
So with my once gay colored soul shrunken like a balloon without air,
I went forth in the morning to seek a new brown love.
I went forth in the morning to seek a new brown love.
I went forth in the morning, I went forth in the morning,
I went forth in the morning to seek a new brown love.
He's Got the Whole World in His Hands (19—)
* arr. Margaret Bonds (1913-1972) (2:26)
He's got the whole world in his hands, he's got the whole world in his hands
He's got the whole world in his hands, he's got the whole world in his hands.
He's got the little bitsy babies in his hands, he's got . . .
He's got the sun and the moon in his hands, he's got . . .
He's got you and me, brother, in his hands, he's got you and me, sister, in his hands,
He's got everybody here right in his hands, he's got the whole world in his hands.
Water Boy (1922) *Negro convict song, arr. Avery Robinson (1878-1965 ) (3:09)
Water boy, where are you hidin'? If you don' come right here,
There ain't no hammer that ring-a like mine, boy,
That ring-a like mine, boy, That ring-a like mine.
Goin' bust dis rock, boy, from here to the Macon
All the way to the jail, boy, all the way to the jail.
Border Line (1970) * Robert Owens, Op. 24 (19—) - Langston Hughes (1902-1967)
I used to wonder about living and dying
I think the difference lies between tears and crying.
I used to wonder about here and there
I think the difference is nowhere.
2. Night: Four Songs (:38)
Night of the two moons and the seventeen stars,
Night of the day before yesterday and the day after tomorrow,
Night of the four songs unsung:
Sorrow! Sorrow! Sorrow! Sorrow!
The land, the land wants me to come back to a handful of dust in autumn,
To a raindrop in the palm of my hand in spring.
The land, the land wants me to come back to a broken song in October,
To a snowbird on the wing.
The land wants me to come back.
It is not weariness that bows me down.
It is not weariness that bows me down, But sudden nearness,
But sudden nearness to song without sound, sound, sound.
Lonely as the wind on the Lincoln Prairies.
Lonely as a bottle of likker on a table all by itself.
And all confused with dice and women and jazz and booze.
The dream is vague without a name, yet warm and wavering and sharp as flame.
The loss of the dream leaves nothing the same.
To some people love is given
The circles spin round and the circles spin round and meet their own tail.
Seasons come, seasons go, the years build their bars till we're in jail.
Like a squirrel in a cage, for the jail is round,
we sometimes find ourselves upside down.
Here is that sleeping place, Long, long resting place,
No, no, no stretching place,
That never-get-up-no-more Place is here, here, here.
Tell me, tell me, is there peace behind your high stone walls?
Peace? Peace where no worldly duty calls. (repeats)
Or does some strange insistence beckon with a challenge that appalls?
A wild poppy flower withered and died. A wild poppy flower withered and died.
The day-people laughed, but the night-people cried.
A wild poppy flower withered and died.
Songs that break and scatter out of the moon.
Rockets of joy dimmed too soon.
Pigalle, Pigalle: A neon rose in a champagn bottle.
Pigalle. At dawn the petals fall.
Whispers, whispers, whispers of springtime.
Whispers, whispers, whispers of springtime.
Whispers, whispers, whispers of springtime.
Death in the night a song with too many tunes.
Anybody, anybody better than nobody,
Anybody better than nobody in the barren dusk.
Even the snake that spirals terror on the sand.
Better than nobody in this lonely land.
There are no clocks on the wall, and no time,
No shadows that move from dawn to dusk across the floor.
There is neither light nor dark outside the door.
It's Me, O Lord (1988) - arr. Betty Jackson King (1928-19—) (4:05)
It's me, It's me, It's me, O Lord, standin' in the need of prayer. (repeats)
It's standin' in the need of prayer.
Not my mother, not my father, but it's me, O Lord, standin'. . . (repeats) Hum. . .
Not the deacon, not the elder, but it's me, O Lord, standin'. . . (repeats)
Well-a, It's me, It's me, It's me, O Lord, standin'. . .
It's me, It's me, It's me, O Lord, standin'. . .
Not my sister, not my brother, but it's me, O Lord, standin'. . . (repeats)
Hallelujah, Hallelujah, Hallelujah, Praise His name, (repeats)
Hallelujah, Hallelujah, Hallelujah, Praise His name. (repeats)
Please, Lord, Please, Lord, I said, Please, Lord, Please,
I'm standin' in the need of prayer.
This Little Light O' Mine (1945) * arr. John W. Work (1901-1967) (3:35)
This little light o' mine, I'm goin' to let it shine,
This little light o' mine, I'm goin' to let it shine,
This little light o' mine, I'm goin' to let it shine,
Let is shine, let it shine, let it shine.
Ev'rywhere I go, I'm goin' to let it shine,
Ev'rywhere I go, I'm goin' to let it shine,
Ev'rywhere I go, I'm goin' to let it shine,
Let it shine, let it shine, let it shine.
All through the night, I'm goin' to let it shine,
All through the night, I'm goin' to let it shine,
All through the night, I'm goin' to let it shine,
Let it shine, let it shine, let it shine.
Amen * arr. Jester Hairston (1957)/George Bailey (1967)
Amen! amen, amen, amen, amen!
Executive Producer: Fred N. Moses
Produced by: Erik Lindgren for sFz RECORDINGS
Mixed by: Frederik Rubens
Programs Notes by: Jean Snyder
CD Design by: Carole Maugé-Lewis
Photographed by: Ranier Scheu
Translation by: Dr. Rosa Bobia
Recorded August 10-14, 2000 at Sounds Interesting, Middleborough, MA
Mixed September 9-10, 2000 at Sounds Interesting, Middleborough, MA.
Cover Location: NEUENSCHLOSS-Weissersaal - Stuttgart, Germany
Oral and George would personally would like to thank: Telecom Electric Supply Co.,
Plano TX, for their generous gift which made this project possible and STEADFAST
for the quiet, peaceful, halcyon space which kept us all sane.
Thanks; Fred & Mazzie, Erik, Fred Rubens, Bernadine Oliphint, Robert Owens, Dr. Uzee Brown, Jr., Dr. Rosa Bobia, Carole Maugé-Lewis, Jean Snyder, Mrs. Harry T. Burleigh II, Marie Burleigh, Dean Patterson, Judith Still “Honeybunch,” Dr. Peter Wetter, Klaus von Muaer, “Al,” Bishop Moses, Boot, Lula Mae, Gregory Henneghan, Faye & Lester, Everette, “Scooter,” Chuck & Linda, James Banks, CCMC, Ms. Simpson, Babbie & Charles, Barb Efird, Laura & Leah, Johnetta T., Tim Harper, Chris Patton, Vera, Jerome & Lena, Alex & Conchita Laub, Udo, Anka & Marc Cervellini, Lukas, Adi, Holge, Herr und Frau Ott, John Laughton, Harold Fiegle, Dr. Froelich, James T. Bailey, Kenny, Michelle and “my girls,” Tony Moore, Dr. Elango, Peter Marx, Ranier Scheu, Mark Mc Clain, David Moore, Ivan, Dan.
1. Go Down Moses Robert Owens 3:12
2. There are Angels hoverin' round Uzee Brown, Jr. 4:34
3. Oh Mary what you gonna call your pretty little baby 3:24
4. Jean (Frank L. Stanton) Harry Thacker Burleigh 2:18
5. He met her in the meadow 2:46
6. Sometimes I feel like a motherless Child 4:16
7. I don't feel no ways tired 2:41
8. Zion Hallelujah R. Nathaniel Dett 3:12
9. Witness Hall Johnson 2:40
10. Swing dat Hammer 4:27
Songs of Separation - William G. Still
11. Idolatry (Arna Bontemps) 2:18
12. Poême (Phillipe Thoby Marcelin) 1:44
13. Parted (Paul Laurence Dunbar) :41
14. If you should go (Countee Cullen) 1:29
15. A black Pierrot (Langston Hughes) 2:39
16. He's got the whole World in His hand Margaret Bonds 2:26
17. Water Boy Avery Robinson 3:09
Borderline (Langston Hughes) Robert Owens
34. It' Me O Lord
Betty Jackson King 4:05
35. This little light of Mine
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