Rev D.C. Rice – Complete Recorded Works (1928-1930)

Rev. D. C. Rice

Complete Recorded Works 1928 – 1930

Featuring the recordings of:

Rev. D. C. Rice, sermons with singing; assisted by His Congregation; accompanied by unknown, piano; unknown, mandolin. Rev. D. C. Rice, sermons with singing; accompanied by Mr. Hunter, trombone; Louis Hooper (not the New York pianist of that name), piano; unknown, mandolin; unknown, triangle. Rev. D. C. Rice, sermons with singing; accompanied unknown, trombone; unknown, piano; Mrs. Rice, tam or triangle. Chicago, Rev. D. C. Rice, sermons with singing; assisted by His Sanctiifed Congregation; accompanied by unknown, trumpet; unknown, trombone; unknown, piano; unknown, stand-up bass; Mr. Hunter, Sr., perc (tambourine, triangle, or drums). Rev. D. C. Rice’s Sanctified Singers: Vocal group; accompanied by unknown, piano; unknown, brass bass; Mr. Hunter, Sr., drums. Rev. D. C. Rice And Sanctified Congregation, vocal; accompanied by unknown, piano; unknown, brass bass; Mr. Hunter, Sr., drums. Rev. D. C. Rice, sermons with singing; accompanied by unknown, piano; unknown, drums; Sister Black, Sister Rice, testifying on 25.

Genres: Preacher, Sermon, Religious, Congregation, Preacher with Sermon and Singing, Gospel, Gospel Piano, Gospel Mandolin, Jazz, Testifying

Abridged from this album’s original booklet notes. Zora Neale Hurston wrote “All Negro-made church music is dance-possible… The service is really drama with music. And since music without motion is unnatural among Negroes there is always something that approaches dancing – in fact, IS dancing – in such a ceremony. So the congregation is restored to its primitive altars under the new name of Christ.” After hearing the recordings of Reverend J. M. Gates and most especially by those of Rev. F.W. McGee he was inspired to make his own records and so went to see Jack Kapp at Vocalion Records, who said to come back the next Saturday with his congregation to make some tests and evaluate them. Rev. D. C. Rice did, but Kapp rejected them, saying “I wouldn’t give you a nickel for your music.” However, the next Wednesday, Kapp called back and told Rice to return the next Saturday, ready to record, which he did. Rice never did understand this about face, unless it was a negotiating ploy: in any case, he rejected a royalty arrangement, and instead received $75 per record side. By May of 1928, his records were all over Chicago, and by August he had ten issued sides available. Soon he was also broadcasting Sunday services: he would record in the morning and then move to an adjacent studio for his live 12.30 programe. Although the sermon’s of Rev. D. C. Rice have the authority, conviction and fire that one might expect from a preacher they were not as doom laden and threatening as that of Gates. Nor were his records a full blown sermon from beginning to end. Indeed, they were little more than a few passages from the Bible before he and the congregation hurled themselves into a good sing-song. Also, in contrast to the presentations of the likes of Gates and the Rev A. W. Nix, the accompanied singing left the listener on a joyous and up-beat note. And we’re not talking of a piano here or a guitar there, we’re talking about piano, mandolin, trombone (played by a Mr. Hunter), trumpet, triangle, drum and tambourine, all well played with great vigour somewhat reminiscent to the return trip by a New Orleans Jazz Band from the seeing off of a departed one. Tracks such as He’s Got His Eyes On and I’m On The Battlefield For My Lord dispense with the formalities of the sermon altogether as everyone tears straight into song with great gusto and energy, guaranteed to lift the spirits.

Hallelujah!!!

DOCD-5071