LA005 Interviews: Alma Jackson, Mattie Gilbert, Marjorie Kelly, and Mary Thames Coleman; Reverend John Francis (LA005Abbott_Side1)
Description
Side 1: Interview with Alma Jackson, Mattie Gilbert, Marjorie Kelly, and Mary Thames Coleman of the Jackson Gospel Singers. Side 2: Continued interview with Jackson Gospel Singers. Interview with Reverend John Francis of the Second Zion Four. Abstract for Jackson, Gilbert, Kelly, Coleman, and Francis: [00:00-44:09] Alma Jackson, Mattie Gilbert, Marjorie Kelly, and Mary Thames Coleman of the Jackson Gospel Singers discuss the details of where they recorded their albums in the late 1940s (including Cosimo Matassa's studio on Rampart Street), record companies they worked with, and what songs were sung, specifically mentioning the process of recording “Heavenbound Train,” which took 13 takes – 00:55. They speak about the origins of the group, the frequent touring, other groups they toured with, and how they lined up programs beforehand. Together they look over photos and discuss the possibility of recording another album. When asked about Matt Morrison’s campaign for mayor, they sing an excerpt of a song in support of his campaign. Abbott asks about other female groups in the South and other quartets in New Orleans. [00:00-08:34] The interview continues on LA005Abbott_Side2 with Jackson, Gilbert, Kelly, and Coleman. They speak about Gilbert Porterfield, Reverend John Francis, and end with two humorous anecdotes about their time on the road as the Jackson Gospel Singers. [08:42-22:33] Reverend John Francis speaks about his participation in the Second Zion Four and the three other members of the group: James Morris, Thomas Hayden, and Henry Grey. The Second Zion Four started singing as a quartet in 1923, with each member having sung previously in church choirs. Francis then explains their experience recording at Columbia Records, stating that they were offered a contract to sing blues, but refused because “they would [be] put outta church” – 11:20. Francis says that the Second Zion Four stayed together until he started preaching more seriously in the 1930’s. After singing a section of their song “Second Zion Four Are We,” Francis recalls other quartets that emerged from local New Orleans churches in the 1920s, including the Second Zion Quartet, the Duncan Brothers, and the Dixie Harmonizers. When asked about Gilbert Porterfield, Francis remembers that Second Zion Four beat Porterfield’s group, The Soprocos, in a contest in the 1930s. He also speaks about quartets from Alabama, how their styles differed, and how the Second Zion Four were not influenced by the Alabama groups “jumpin business” – 19:30.