The MLK Community Choir Makes a Joyful Noise

From the youngest, Ignacio Sobres III, about 7, to the silver-haired seniors in the room, the audience’s sense of community, faith, freedom and joy was palpable on Feb. 16 when the Martin Luther King, Jr. Community Choir brought down the house and raised the roof in the Lemon Grove Library.

Led by former musical wunderkind Ken Anderson—he of the rich baritone and charismatic presence—the choir of 37 multiracial voices (there are more) made a joyful noise for an hour to a rapturous reception. Anderson’s powerful voice rose over his keyboard and the congas and chimes of noted musician Ignacio Sobres, whose gentle percussion enhanced the program.

The estimable Friends of the Lemon Grove Library sponsored the program, the library staff worked their hearts out to set up the Rosemary Putnam Community Room, the Lemon Grove Historical Society promoted the event—but it was the interaction between the audience and the choir that demonstrated that love and commitment are alive and well in America.

In a preamble, Lemon Grove’s Mayor Raquel Vasquez presented civic certificates of appreciation to the library and choir for their observation of Black History Month.

Anderson opened the show with his historical perspective on the coded meaning of some 100 well-known Negro spirituals that form the backbone of the choir’s repertoire. He noted that over 600 songs composed during two and half centuries of slavery emerged from “a deep, dark, heavy place” and that while some effort was made on plantations to avoid maiming and injuring slaves purchased for agricultural purposes, outright murder of Blacks ruled in the first half of the 20th century into the 1960s when artists like Mahalia Jackson and Odetta gave spirituals national prominence.

Anderson touched on linguistics noting that diphthongs like “oi” and the sound “th” were not in many West African languages, hence “gwine” in place of “going” and “de” in place of “the.” He prompted chuckles in the audience when he said that spirituals spawned gospel and gospel spawned jive, blues, rock ’n roll, hiphop, heavy metal and onward through contemporary musical genres—but do young musicians know that?

By keeping their lyrics close to Christian religious references, i. e., the cross, Christ, slaves could communicate with each other. “Little bitty baby” was a child stolen from its mother and sold into other slavery. “Face to the rising sun” meant fleeing the plantation at daybreak. “Steal away home” and “Go home to my Lord” meant fleeing to freedom.

These lyrics grow in poignancy in light of Southern White efforts to use the Bible to justify slavery, observed Anderson.

“Go Home to My Lord and Be Free” was sung by key soloist Dale Fleming, whose coloratura soprano and huge range turned the song into a breathtaking tour de force. Arnessa Jones’ liquid soprano turned “Hold on the End” into a veritable national anthem.

The soloists were backed by a powerful contingent of tenor baritones, baritones and basses at stage right, with the contralto, mezzo and soprano sections at stage left. All were distinguished by vocal virtuosity and heartfelt commitment to the songs, the moment and the joy of making music together and for others.

And by the way, the choir is a non profit (www.mlkccsd.org) and the singers are all volunteers. All funds bankroll scholarships, from $1,500 to $3,500, for gifted young artists with financial need, who are graduating seniors with a minimum 2.75 GPA, U. S. citizens, and college-bound in the visual and performing arts. The next grant deadline is Mar. 5, 2019, so visit the website pronto, or email parker.shelly@gmail.com.

The scholarships alone make the MLK Community Choir a rara avis in the arts. But those, coupled with the superior artistic level of the ensemble, its warm humanity and moving dedication to music raise them to celestial levels.

The choir closed the show with “Worship the Lord and Praise His Holy Name,” bringing the crowd to its feet. For more, the website lists upcoming performances.

Hallelujah.