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Long Island has one of the most complex music traditions: African American gospel music. The roots stem from the many regional denominations of African American churches. According to African American historian, Linda Day, the A.M.E. Zion church was founded in New York by free blacks and has a strong presence on Long Island where free black communities were established in the late 1700s. As a result of southern black migration during 1920-1960 to the north, there are also several Baptist churches on the island.
African Americans left the south in large numbers because of the economic opportunities available in the north, and the oppression of “Jim Crow” laws in the south which legalized segregation and discrimination. During the 1920s, there were numerous lynchings and widespread violence towards African Americans. In addition public schools were inferior to white schools, with no transportation to poor or rural residents. In contrast, the north provided economic and educational opportunities to all residents, along with jobs in factories and other businesses.
While there are distinct religious congregations, the music styles can overlap from one congregation to another. “Call and response” styles are common in many churches, although there are variations in musical style and rhythm. Most groups have a soloist, male or female, who has a strong voice. The soloist and arranger are generally regarded with higher artistic authority by group members. A capella is singing without musical instruments of any kind, a style of singing common in “jubilee” music, which reflects the Bible’s teachings. During the times of southern slavery, the lyrics contained code words which slaves used to carry messages from one farm to the next.
Gospel singing serves important religious and spiritual functions in Long Island’s African American communities. As members of one of the region’s largest minority groups, African Americans use gospel singing as a unifying and emotional force, seeking salvation and redemption on earth and a better afterlife found in heaven. From a social perspective, gospel music brings families who live in different communities together. Singing also takes place at birthdays, weddings, and other family celebrations.
The Elder Statesmen are a traditional gospel group consisting of several African American gentlemen whose families emigrated from the south during the Great Migration. On average, the members are over 60, and their name “characterizes who they are collectively.” The group consists of Joe Warren, Ronny Alford, Douglas Covington and Teddy Williams. They sing a variety of musical formats including hymns and spirituals, gospel, and jubilee, a capella-style and with instruments.
The Elder Statesmen have performed in numerous churches, folk festivals, gospel competitions, and at local events. The music teaches about the cultural legacy of African Americans, and the historical role of gospel music. Their program includes explorations of the musicians’ family histories and how African American culture is reflected in gospel performance.
Joseph Warren was born in into the world of gospel music in New York City but grew up in Darlington, South Carolina. Like other members Joe learned to sing from his family including his aunt and uncle. In 1948, at the age of 13, he returned to New York. In 1957, he founded the Golden Tones, which later became known as the Thrashing Wonders. He has also performed with the Flames of Harmony and the Highway Travelers. From1990 to 2003, he sang with the Gospel Elders. With characteristic humility he responds to a compliment with this reply, “I feel good when someone comes up and says they enjoy it. Prayer and faith keeps you going.”
Ronny Alford was born in Darlington, South Carolina, but lived in Lamar. He too started singing at a young age. “My father was a gospel singer. My uncles were ministers.”
Ronny continued to live in the south with his grandmother and extended family. His mother migrated to New York seeking work, when he was nine. They were reunited in New York. Most of the churches he attended were Baptist and he sang frequently in them. While attending Dutchess Community College, he studied several kinds of music ranging from classical to rhythm and blues. After serving in the Marine Corps, he returned home and met Teddy Williams. Together, they have performed with the Elder Statesmen since its beginnings.
Douglas Covington came to the group because of his musical association with Teddy Williams. They sang together in an earlier group and continue to feel comfortable crooning together. Douglas was born in Brooklyn but his family was from Utahville, South Carolina. He started singing in “...a small storefront church. There’s always been music in my house. On Saturday mornings, mom played old 45s, and grandmother played old 78s, and we would just listen to music all day while doing chores.” His mother, Vera Covington, sang in choirs as a child. As a youth, he sang in the Brooklyn Borough-wide chorus made up from junior high schools. He continued to sing with his high school chorus and school productions. In college, he played with York College jazz ensemble, and various rhythm and blues bands. Later, he did studio work with various gospel artists and played in a rock band. Doug continues to work with these popular and traditional music forms.
Teddy Williams was born in Clarks Hill, South Carolina. Although he believed he might spend his entire life there, he came to New York in 1958. His parents were farmers, and many of the workers sang as they toiled. His mother was considered a great singer. Teddy’s older brothers had a musical group and together sang gospel music in churches. As a young man and teenager he sang in various choirs. At the age of 18, he came to New York to “make money” and play baseball. Teddy admits that “things didn’t turn out the way I planned.” He has worked in a variety of occupations including auto mechanic, in the construction industry, and other “hands-on” jobs. Along with the rest of the group, he credits religion and faith as the guiding light in his life.