1924 - 1999
Brother John Sellers (1924–1999), affectionately known as "Brother John" and named after the famous Sister Rosetta Tharpe, was a colorful figure in American music history whose life was shaped by the deep roots of gospel and the harsh realities of the blues. Born in 1924 in Clarksdale, Mississippi, a town inextricably linked to the history of the blues – not far from places such as the site of Bessie Smith's accident and where Muddy Waters was discovered by Alan Lomax – his early experiences had a profound impact on his music and character. As an orphan who grew up with an aunt in Chicago, his songs often reflected the harshness, loneliness, and poverty of his childhood, which was marked by abuse from both blacks and whites.
The formative but ambivalent relationship with Mahalia Jackson
Sellers' path crossed Mahalia Jackson's early on. As a small child, attracted by his aunt's work with the Johnson Singers, he became an ardent fan. At around the age of eight, he was taken in by Mahalia Jackson and her then-husband Ike Hockenhull and lived with them for a short time. Hockenhull proved to be a father figure, and Mahalia became Sellers' surrogate mother and a crucial musical mentor. Under her guidance, he developed a gospel singing style that, as he himself admitted, was closely modeled on Mahalia's style. In the 1940s, he toured with her as a backup singer in Chicago and on national stages.
Sellers was not only a musical accompanist, but also one of Mahalia Jackson's closest confidants and an indispensable source for her biographers Laurraine Goreau and Jules Schwerin. He described himself as an "on-site source" and provided detailed insights into the dynamics and often fierce rivalries in the gospel scene. He observed and reported on the practice of singers being "sat out" by the audience—a form of silent protest—and recounted a memorable incident at Ebenezer Baptist Church, where Mahalia won over an initially skeptical congregation that preferred Sallie Martin and Roberta Martin with her impressive performance.
But his initial admiration for Mahalia faded as her commercial success grew and she displayed traits that disturbed him and others. He traveled with her on buses and stayed at fans' homes, which gave him an intimate insight into her daily life and personality. Sellers was really critical of Mahalia's stinginess with money. He said she didn't pay anyone if she could avoid it and even fired her longtime companion Mildred Falls after she asked for a raise. He pointed out to Mahalia that she was still selling sheet music even though she was singing for kings and queens.
Despite these tensions, he later accepted an offer from Mahalia to pay him $500 a week to help her set up her home and business office and to cook, knowing full well that it would only be temporary. He was deeply shocked and angered when he was excluded from Mahalia's memorial service and Aretha Franklin took his place. Sellers also expressed concern when Mahalia got involved with Columbia's "jazz business." But he also passionately defended her against derogatory remarks from Johnny Meyers when he disparagingly referred to her as "that girl."
Sellers was a pioneer: he was one of the first gospel singers from Chicago to record for an indie label in the immediate post-war period. In June 1944, he signed a five-year contract with the Coleman Brothers from Newark and moved to New York. He recorded his first records in March 1945 in Chicago for Black and White Records. He covered two of Mahalia Jackson's songs, "God's Gonna Separate the Wheat from the Tares" and "You Sing On," imitating her singing style. His 1946 recording of "Move On Up a Little Higher" for the independent Chicago label Miracle Records is the first known recording of the song and undoubtedly came from Mahalia's repertoire.
He was a regular guest on Johnny Myers' gospel programs in New York City and played a role in Johnny Myers' decision to get Bess Berman to sign Mahalia, as Meyers was convinced of Jackson's talent. In the late 1950s, burdened by the stress of his relationship with Mahalia and her pursuit of fame, Sellers made some important life decisions. He enjoyed his greatest success in the 1960s, when he reinvented himself as a folk singer. John Hammond, a luminary of the music industry, commissioned him to record two albums for Vanguard Records: "Brother John Sellers Sings Blues and Folk Songs" and "Jack of Diamonds and Other Folk Songs and Blues." These recordings, made prior to his tours in Canada and Europe, were both critically and commercially successful and gave him strong access to the European market.
Sellers also appeared as a vocalist in several works by the groundbreaking African-American dancer and choreographer Alvin Ailey, most notably in the iconic piece Revelations. In 1958, he accepted an invitation from Big Bill Broonzy to join him in England, Paris, and Brussels, thereby making the decision to leave Chicago and Mahalia behind. This international experience cemented his position as a versatile artist. After Broonzy's death, Sellers organized a memorial service for him and was also present at his funeral.
In February 1964, he appeared in an episode where he sang "Coming Back Home to Live with Jesus," accompanied by Dixon on double bass and Thomas A. Dorsey on boogie-woogie piano. His extensive interview with Studs Terkel, available in the Studs Terkel Archive, provides valuable insights into his career as a blues artist and the profound influence of church music on his artistic work.
Brother John Sellers' life was a remarkable journey from humble beginnings to international success. He was not only a talented musician, but also a keen observer and participant in crucial phases of gospel and blues music. His rich musical legacy is a testament to his adaptability and artistic sensibility. He can be seen in numerous YouTube videos and is cited as an important reference in countless books and documentaries about Mahalia Jackson. A remarkable and perhaps somewhat curious anecdote is his meeting with Cassius Clay (later Muhammad Ali) in Paris, where he stepped over him while Clay was resting on the floor—an image that underscores Sellers' easygoing nature and the fascinating encounters of his career. Sellers' story is a moving reminder of the complexity of human relationships, the resilience of the spirit, and the transformative power of music.
©Thilo Plaesser