Michael Morris wrote:

"Black Gospel music is neither European nor African, it's American, with antecedents from both African and European music. No one in Ghana ever sang 'Swing Low, Sweet Chariot"

Michael Morris, my point is that it's musical qualities are African derived. Basically, if you were to remove or ignore it's religious subject matter, musically/rhytmically/vocally/tonally, it would be no different from the African music Im talking about.

Micahel Morris wrote:

"Coincidence or not, this traditional AfroAmerican folk music possesses features that are found in Islamic African music and hardly at all in other styles."

Which features?

Michael Morris, I gave some of these features above...

However, the music of these different tribes does share some common components. Samuel A. Floyd, Jr. describes these components

as the characterizing and foundational elements of African-American music: calls, cries and hollers; call-and-response devices; additive rhythms and polyrhythms; heterophony, pendular thirds, blue notes, bent notes and elisions; hums, moans, grunts, vocables and other rhythmic-oral declamations, interjections and punctuations; off-beat melodic phrasings and parallel intervals and chords; constant repetition of rhythmic and melodic figures and phrases (from which riffs and vamps would be derived); timbral distortions of various kinds; musical individuality within collectivity; game rivalry; hand-clapping, foot-patting and approximations thereof; apart playing; and the metronomic pulse that underlies all African-American music

"Slave Songs of the United States" By William Francis Allen, 1830-1889

description of the vocal technique(s)the slaves used when singing these spirituals...

As stated in Slaves Songs In The United States,

"The best that we can do, however, with paper and types, or even with voices, will convey but a faint shadow of the original. The voices of the colored people have a peculiar quality that nothing can imitate; and the intonation and delicate variations of even one singer cannot be reproduced on paper. And I despair of conveying any notion of the effect of a number singing together."

"And what makes it all the harder to unravel a thread of melody out of this strange network is that, like birds, they seem not infrequently to strike sounds that cannot be precisely represented by the gamut, and abound in "slides" from one note to another, and turns and cadences not in articulated notes." "It is difficult to express the entire character of these Negro ballads by mere musical notes and signs. The odd turns made in the throat, and the curious rhythmic effect produced by single voices chiming in at different irregular intervals, seem almost as impossible to place on the score as the singing of birds or the tones of an Aeolian Harp."

Michael Morris wrote:

"If the blues contains features specific to Arabic-Islamic music, why wouldn't these same elements manifest themselves in Caribbean or South American music? Were there no African Muslims in these regions?

Michael Morris, itis said that the United States had more Muslim/Senegambian-Sahelian slaves than anyone outside of Brazil. The other factor is that hand drumming culture was banned in the United Sates whereas in Brazil, it was the main AFrican music.

Some interesting info:

"Senegambian peoples, many of whom were Muslims, were some of the first enslaved Africans brought to America. Many of these Senegambians were familiar with rice cultivation and as European settlers experimented with rice in the 17th century, these Senegambians passed on their knowledge, thus shaping the development of rice cultivation in America. Thereafter, planters in South Carolina, Georgia and Louisiana preferred enslaved Africans from Senegambia because of their experience in rice cultivation. This would explain in part why Americans imported a relatively large proportion of Senegambians. In French Louisiana, a captain was instructed "to try to purchase several blacks who know how to cultivate rice."

Distinct characteristics of AfromericanA Blues music that are found in Senegambian/Sahel music that aren't found in Carribean/West Indian or Afro-Latino music. "The absence of polyrhythm and asymmetric time-lines and the presence of emphasis instead of off-beats in blues and early jazz are also characteristic of Sahel music. On the other hand, the music of the rain forest and the Congo with its heavy emphasis on drumming is characterized by polyrhythms and asymmetric time-lines and its influence is reflected in the black music of the Caribbean and South America.[52] Arguments that the drum was prohibited in the U.S. and that enslaved Africans lived in closer proximity to whites are not persuasive because drums are not the only means to express polyrhythms and the cultural impulse for polyrhythm would not have been totally stifled by the influence of white culture. A more plausible answer is the influence of Sahel culture in the development of African American music"

"Like the blues, Sahel music typically uses pentatonic scales that allows inflections and shadings of notes (the blues notes) as well as the use of a central tone reference, often a drone stroke which renders it "out of turn" around which the melody revolves.[54] The blues tonality is not found in rain forest and Congo music or in Latin American music"

"In 1968 he [the Mali musician Ali Farka Toure] heard a recording of John Lee Hooker and was entranced. Initially he thought Hooker was playing music derived from Mali. Several Malian song forms—including musical traditions of the Bambara, Songhay and Fulani ethnic groups—rely on minor pentatonics (five note) scales which are similar to the blues scales"

"The blues and jazz style of bending notes, melisma (ornamental phrasing of several notes in one syllable which is typical of the Muslim call to prayer), slurs, and raspy voices are all characteristics of music in the Sahel zone. These aspects of Sahel music are undoubtedly a direct influence of Arab/Islamic music. Billy Holiday was master of this style"

As sung by her [Billy Holiday] a note may (in the words of Glen Coutler) begin 'slightly under pitch, absolutely without vibrato, and gradually be forced up to dead center from where the vibrato shakes free, or it may trail off mournfully; or at final cadences, the note is a whole step above the written one and must be pressed slowly down to where it belongs.' Coincidence or not, all these features are found in Islamic African music and hardly at all in other styles

Contributions of Enslaved African Muslims

Another interesting link...

Africans in America

The largest number of Africans in the lowlands (34 percent) came from Bantu-speaking regions of west-central Africa. Twenty percent were transported from Senegambia, while the Gold Coast and Sierra Leone each accounted for about 15 percent of the total number. Others came from the Bight of Biafra and the Windward Coast.

The enslaved population of Virginia/Maryland was composed mostly of Africans from the Bight of Biafra, some 39 percent. Senegambia accounted for 21 percent of the Africans in this region. Another 17 percent were of Bantu origin, and 10 percent were originally from the Gold Coast.

Therefore, nearly 90 percent of the Africans in these two major regions came from only four zones in Africa. Most came from the west-central area of Angola and Congo where languages - Kikongo, Kimbundu and culture (often referred to as Bantu) were closely related. Many more ended up in the tidewater than in the lowlands, but they comprised nearly a third of all migrants in both sectors.

Origins of Enslaved Africans Shipped to North AmericaThe Atlantic Slave Trade: A Database on CD-Rom Origins of Enslaved Africans Shipped to North America from The Atlantic Slave Trade: A Database on CD-Rom by David Eltis, Stephen Behrendt, David Richardson and Herbert Klein

"The Senegambians were much more prominent in North America than in South America and the Caribbean. Senegambia was strongly influenced by Islam, to a greater degree than any other coastal region where enslaved Africans originated. More Muslims were enslaved in North America - except for Brazil - than anywhere else in the New World. Their presence was especially pronounced in Louisiana, to which many Manding people - almost all males - had been transported. This state also had a large presence of non-Muslim Bambara from Mali."

The Muslim Community , Chapter 3 from Servants of Allah: African Muslims Enslaved in the Americas by Sylviane A. Diouf

"I did a talk a few years ago at Harvard where I played those two things, and the room absolutely exploded in clapping, because [the connection] was obvious," says Diouf, an author and scholar who is also a researcher at New York's Schomburg Center for Research in Black Culture. "People were saying, 'Wow. That's really audible. It's really there.'" It's really there thanks to all the Muslim slaves from West Africa who were taken by force to the United States for three centuries, from the 1600's to the mid-1800's. Upward of 30 percent of the African slaves in the United States were Muslim, and an untold number of them spoke and wrote Arabic, historians say now. Despite being pressured by slave owners to adopt Christianity and give up their old ways, many of these slaves continued to practice their religion and customs, or otherwise melded traditions from Africa into their new environment in the antebellum South. Forced to do menial, backbreaking work on plantations, for example, they still managed, throughout their days, to voice a belief in God and the revelation of the Qur'an. These slaves' practices eventually evolved—decades and decades later, parallel with different singing traditions from Africa—into the shouts and hollers that begat blues music, Diouf and other historians believe."

"Another way that Muslim slaves had an indirect influence on blues music is the instruments they played. Drumming, which was common among slaves from the Congo and other non-Muslim regions of Africa, was banned by white slave owners, who felt threatened by its ability to let slaves communicate with each other and by the way it inspired large gatherings of slaves.

Stringed instruments, however—favored by slaves from Muslim regions of Africa, where there's a long tradition of musical storytelling—were generally allowed because slave owners considered them akin to European instruments such as the violin. So slaves who managed to cobble togethera banjo or other instrument—the American banjo originated with African slaves—could play more widely in public. This solo-oriented slave music featured elements of an Arabic–Muslim song style that had been imprinted by centuries of Islam's presence in West Africa, says Gerhard Kubik, a professor of ethnomusicology at the University of Mainz in Germany. Kubik has written the most comprehensive book on Africa's connection to blues music, Africa and the Blues (1999, University Press of Mississippi)."

Saudi Aramco World : Muslim Roots, U.S. Blues

Kubik believes that many of today's blues singers unconsciously echo these Arabic–Muslim patterns in their music. Using academic language to describe this habit, Kubik writes in Africa and the Blues that "the vocal style of many blues singers using melisma, wavy intonation, and so forth is a heritage of that large region of West Africa that had been in contact with the Arabic–Islamic world of the Maghreb since the seventh and eighth centuries." (Melisma is the use of many notes in one syllable; wavy intonation refers to a series of notes that veer from major to minor scale and back again, something that's common in both blues music and in the Muslim call to prayer as well as recitation of the Qur'an. The Maghreb is the Arab–Muslim region of North Africa."

Some African examples

ETRAN FINATAWA live @ Sines, july 07, pt 3

mauritanie-music

vs

Some AfroAmerican Blues/Gospel stylings

Blind Willie Johnson - Dark was the night...

Otis Rush: I`Cant Quit You Baby ---> a modern modern approach to this vocal technique