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Elder Roma Wilson
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Buy It Now!
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These recordings were made in November of 1994 at Revered Wilson's home and church in Mississippi. The CD includes reissues of his 1950s 78 rpm records with his sons on harps. Wilson, 83, is finally winning some recognition for his love of spiritual music. He was named as one of 11 folk artists from across the nation to win a National Heritage Fellowship grant given by the National Endowment for the Arts. Wilson's music has enjoyed recent accolades at the Chicago Blues Festival, the New Orleans Jazz and Heritage Festival, the Smithsonian Festival of American Folklife and other traditional American musical festivals. A tribute album to the legendary blues artist Robert Johnson on which Wilson played his version of the spiritual "This Train (Is Bound For Glory)" was nominated for a Grammy Award in 1993.
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Listen to some of the tracks!! (uses RealAudio®) 1.Ain't It a Shame - (2:23) 2.Give Me My Flowers While I Live - (3:42) 3.This Train Is a Clean Train - (3:11) 4.The Lord Will Make a Way, Yes He Will - (4:35) 5.My Lord's Gonna Move this Wicked Race - (4:30) 6.Gonna Wait Till a Change Come - (Stand By Me) (2:44) 7.Lily of the Valley - (3:11) 8.Better Get Ready - (3:17) 9.Trouble Everywhere - (2:39) 10.Got Just What I Wanted - (3:03) 11.This Train - (3:06) 12.Climbing Jacob's Ladder - (2:21) 13.I Don't Care What Skeptics Say - (2:06) 14.Death Ain't Nothing But a Thief and a Robber - (1:49) 15.Get Away Jordan - (3:21) 16.I'm So Glad, Trouble Won't Last Always - (5:46) 17.Amazing Grace - (4:55) 18.Motherless Children - (4:12) 19.Have You Tried Jesus - He's Alright ‚ (3:50) 20.This Train Is a Clean Train - (4:38) |
REVIEWS “Elder Roma Wilson's six unique 1948 sides accompanied by three harmonicas have long been regarded as among the finest postwar gospel. The way the harmonicas weave in counterpoint, alternatively soaring above the line and then underpinning it, was a marvel of almost telepathic ensemble playing and still is - especially considering two of the players (Wilson's sons) were under 13. Wilson is in his eighties now and still as powerful a singer and harmonica player as he was nearly half a century ago. This CD unites those truly amazing early sides with 1994 recordings of Wilson solo, with his wife and a Mississippi church congregation. Breathtaking singing and playing by a true original, although it's the 1948 sides which make this CD truly awesome.”(David Harrison — Folk Roots) |
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“It is a rare and great gift as we stumble to the end of the 20th Century we are blessed to hear and witness the soul moving music genius of Elder Roma Wilson. His harp, his voice, his breath are one. Sitting inside the sounds of his singing and playing is like opening the front door to walk into tomorrow with the best of the solid grounding of yesterdays keeping you steady. Let the world say, 'Amen'.”
(Bernice Johnson Reagon) |
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“As it says in the liner notes, Roma Wilson didn't realize he was world famous until he was 80 years old. Recordings he'd made for Joe Von Battle, the legendary Detroit label owner/record producer, back in the 1940s were so valued by collectors of gospel and harmonica blues that tape copies were being exchanged worldwide for decades by folk music fanatics. Elder Wilson's story is certainly fascinating. He's probably the last of the travelling harmonica-playing preachers, a genre that never had more than a couple hundred members during peak years in the '40s and '50s. Originally from Hickory Flat, Mississippi, Wilson worked in Muskegan and Detroit, Michigan, as a foundry worker and after a layoff he and his 3 harp-playing sons, accompanied by a guitar-playing daughter, would play on the street for tips and on Hastings Street in the '40s and '50s it didn't take long to draw a huge crowd. Joe Von Battle invited them into his record shop and surreptitiously recorded them. Those 6 tracks are included here and they are phenomenal! More of a Snooky Pryor-style harpman than a Sonny Terry stylist, Roma is a superb player and the interplay between his harmonica and those of his sons is amazing. Roma moved back to Mississippi in the 1970s after the death of his first wife and lives in the community of Red Hill, not knowing what to make of having his debut album out at the age of 84. He still plays in rural churches in the company of his old partner, Rev. Pinson on guitar and you know it'd be the experience of a lifetime to see and hear him perform in a small rural church. The other 14 tracks were recorded in 1994 by Arhoolie's Chris Strachwitz and Worth Long in Mississippi and they actually did something that's almost too good to be true. They recorded Elder Roma Wilson `live' in Johnson's Chapel, Church Of The Living God, in Abideen, Miss. with the whole congregation accompanying vocally and with handclaps. Simply marvellous. This is the real thing. This is the source. If you close your eyes Elder Wilson will take you aboard his train `bound for glory'. 6 bottles (that'd be 6 hallehlujahs!) for a classic example of American folk music.”
( Andy Grigg — Westcoast Blues Review) |
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“As he was born in 1910, it doesn't take much to work out that Wilson is now 85, though a mere lad of 84 when most of this gospel album was recorded, and he's quite simply the best harmonica player I've ever heard, just flat out phenomenal, and pretty good at singing, testifying and toe-tapping too. Five solo tracks, of which "This Train Is A Clean Train," with terrific effects, and "My Lord's Gonna Move This Wicked Race" are the knockouts, are followed by six much bluesier ones, recorded in a Detroit record store in 1948 with Wilson's then very young sons on additional harmonicas, including another version of "This Train." Then come three acapella tracks, two, including the powerful "I Don `t Care What Skeptics Say," with his wife, the third solo, after which Wilson gets the harp out again for four more solo cuts, of which "Motherless Children" is absolutely wonderful, as is the sermonette before "Amazing Grace," the 20 tracks closing with two more songs, including yet another "This Train," accompanied by Wilson' s congregation of Johnson's Chapel, Abideen, Mississippi. If you can imagine Rory Mcleod catching religion, becoming a minister in the Church of the Living God and just getting better and better for 50 years, you may .get some notion of just how extraordinary Wilson is. Fabulous album.”
( JC — Music City Texas) |
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“When Elder Roma Wilson takes to preaching with his harmonica, there is music in the air. Glorious spiritual music-filled with inspired singing and masterful harp playing. This Train is a welcomed portrait of the powerful sound of Roma Wilson and his harmonicaa Mississippi master of harp-based spiritual and gospel music.
Roma Wilson, born in the North Mississippi town of Hickory Flat in 1910, began playing harmonica around the age of 13. By 18, he became an ordained minister in the Pentecostal Church and, in combination with his partner- the superb guitar evangelist Rev. Leon Pinson, took to spreading the gospel, rich with their powerful music, along the North Mississippi Church circuit. In the early 1940s, Wilson and his family moved north to Michigan. When times were hard, he and his children (his sons also on harmonica and his daughter on guitar) would take their gospel music down to Detroit's famed Hastings Street and play for the crowds. In 1948, Wilson was recorded at Joe Von Battle's record shop on Hastings Street. To complete this great Wilson package on Arhoolie, these historic family recordings- six tracks in al l- are included on This Train. Since the 1970s, Wilson has been living once again in Mississippi, where he was recorded, at age 84, in 1994 in Red Hills (near Tupelo) and Abideen for 14 tracks. His significant contribution to traditional music was recently honored with a National Heritage Fellowship given by the National Endowment for the Arts in 1994. The 20 tracks on This Train highlight Wilson's stunning music in several settings, including solo vocal/harp, brilliant acapella singing backed also on harmonica by his sons, as well as accompanied by the Johnson's Chapel, Church of the Living God, congregation. All in all, 73 minutes of moving and sincere performances by a man who can effortlessly spread a message in magnificent song. The sound of Elder Wilson is one of controlled power: both in voice and on the harp. While his warm, rich, and robust vocals can be harnessed for quiet moments the force of his voice can easily command attention when left to soar. Wilson even goes it alone with acapella singing on 3 cuts, where his fluid voice glides through each song (with vocal support from his wife on 2 cuts) to provide some outstanding unaccompanied singing. His prowess on the harp is equally impressive. Wilson's strong, expressive harmonica playing, which developed from listening to both traditional secular and sacred harpists, can seamlessly blend with his vocal lines to masterfully "sing the words" or erupt into seemingly endless riffs. To up the ante, add the additional harp playing of his sons on the 1940s recordings and you have an astounding combination. The 1994 recordings show that his roar has been tamed only slightly from his younger days in the 1940s. An amazing amount of power from a man of 84 years. The title cut, of which Wilson's version of the traditional spiritual "This Train (Is Bound For Glory)" has been his signature song, is presented in three settings, including a 1948 recording with his sons, and two from 1994 where he was recorded solo and with a church congregation. All three versions offer their own distinctive reward. Among the early recordings, "Lily of the Valley (Stand By Me)" and "Trouble Everywhere" exemplify the powerhouse harmonica team of the Wilsons'. The recent recordings, such as the solo "The Lord Will Make a Way, Yes He Will" and "Get Away Jordan," capture Wilson's matured vocal and harp fire. It is his voice-and only his voice- that carries "Climbing Jacob's Ladder" and two other acapella tracks. And, " Have You Tried Jesus- He's Alright" captures Elder Wilson in action with a church congregation with his potent harp blowing spurred on by the rhythmic high-energy of the audience's hand claps and vocal responses. Another truly superb Arhoolie release.” ( Dennis Rozanski — Blues Rag) |
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“This album is probably unique. Roma Wilson is now in his mid-eighties, and has been an ordained minister for over 60 years. For the entire duration, he has used harp and vocal performances of spiritual and gospel songs as an integral part of his preaching and services. Some of the material evidently dates back to the days of slavery, and given the fact that he was born in 1910, it's likely that he learned at least some of this stuff at first hand from people who had previously been slavs. Which is a kinda spooky thought, innit?
Some of the recordings are also of a distinctly vintage nature, having been made in 1948, without Wilson's knowledge, the result being that this is the first ever 'official' Elder Roma Wilson album. The remaining material was recorded near Tupolo, Mississippi in 1994, and it's difficult to figure out from the sleeve notes which tracks belong to which period, though it all becomes cIear as soon as you listen to the disc. Though that in itself raises the question of why the thing was compiled without any apparent regard to chronologywe get five apparently modern tracks followed by the five 1948 songs, which, although they are not dis-similar stylistically, tend to stick out a bit owing to the poorer recording quality. Ho, humjust are the ways of record company execs, and justifiable unto men, I guess. Still, I wouldn't mind knowing what the rationale was. The whole thing is absolutely splendid, and I look forward to wearing it out in pretty short order. The seamless integration of voice and harp into a single musical whole is very much a dying art, in my view, and while I'm the first to object to the view that says `the harp player gotta sing,' there's something very appealing about the unaccompanied voice with 'own harp.' Then there's the fact that the harp is being used to enormous effcct in a relatively unusual setting (for me anywayfor all l know, the States is busting at the seams with harp playing preachers!). Of course, what defines this as 'gospel' is the subject matter of the Iyrics, rather than any matter of musical form or style, and it's a darn good listen, even if you find the mini-sermons that introduce some of the numbers off-putting, as some might. Personally, I think it's a good way of creating a context, and for making the thing a coherent statement, which may well be why Wilson sanctioned the thing in the first place. A jolly splendid noise, say I, and though many will find it a bit strange, it's well worth the candle.” (Steve Jennings — Blueprint) |
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“This is the sort of release that reaffirms my faith - not in God but in record producers (some of whom seem to have blurred the distinction). Of course it had to be one of that very small cadre of producers who try to maintain a precarious balance between commercial productions and `art'. The name of Chris Strachwitz assumes a prominent position in this group and if this sort of recording is to be released at all it comes as no surprise that it should be on Arhoolie. If you read Alan Young's article in B&R 81 of August 1993 (and if you didn't, you better have a bloody good excuse) you will need no introduction to Elder Wilson. In 1948 a pair of recordings (cut surreptitiously and offered to the public without Wilson's knowledge, it seems) were purchased from Joe Von Battle and issued on Gotham 726. Although both numbers were religious the backing Three harmonicas, played by the Elder's three sons, all chugging away at the same time - had a solid secular feel that endeared the record to blues collectors and presented them with a mystery in the form of the elusive Elder. A further four unissued cuts were later located by George Paulus and issued on a vinyl compilation with the slightly suspect appellation `Harp Suckers'. These vaunted recordings appear on the above track listing as "Gonna Wait Till A Change Come" and the following five titles. In Alan Young's article you can read about the re-discovery of the Elder, now relocated in Mississippi, through the intervention of his some-time playing partner Reverend Leon Pinson. The Detroit Dynamo was in his eighties when Chris recorded him last November but he could still generate a head of steam like the Coronation Scot.
Most of the tracks on this CD give us the Elder working with just his howling harp and thumping foot, each song preceded by a small explanation or mini-sermon. Wilson is clear and firm and didactically explains exactly what he means ("`Whosoever' (personal compound pronoun) `whosoever' - (He) don't care who you are, black, white, rich, poor, high or low"). On some tracks he duets with his wife whose somewhat unsure vocals still manage to complement the Elder's forceful certainty and bring to mind Annie Mae McDowell. The last two cuts were made during a service and revel in a hand-clapping, shouting congregation having a good time as the Elder pumps his harp straight into the mike. The live version of "This Train" really highballs down the track, bound for a glory you can almost see. I could muse that they don't make 'em like this anymore - but they never really made 'em like this in the first place. The Elder is unique, a one-off. Make sure that you at least hear this disc!” (Keith Briggs — Blues & Rhythm) |
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“Elder Roma Wilson was born in Hickory Flat, Mississippi, in l910. He began playing harmonica when he was about 13 years old. He didn't become world famous until he was 80. There is a very interesting story written in the inset of this CD detailing Elder Wilson's long life and career. This CD is definitely not for everybody. However, if you love harmonica music like I do, then you'll be impressed with Elder Wilson's style. He uses a unique "choke" method of playing while singing and accompanying himself all at the same time. At 83 years old, after traveling and living around the nation, Wilson is finally getting the attention he deserves. Although this CD is not "blues," it certainly has soul and there is a real sincerity that comes across causing the listener to feel as if we were actually there. I'm not sure if this C D is available locally yet. But if you're interested and can't find it in Nashville, write: Arhoolie Recrods/10341 San Pablo Avenue, El Cerrito, CA 94530.” (Dianna Ryan — Music City Bluesletter) |
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