The various labels in Mahalia's career
Mahalia Jackson's career was a remarkable journey through the musical landscape, marked by her unwavering dedication to gospel music and her fight for artistic integrity. Her time with various record labels is a reflection of this journey, from her early, unrecognized recordings to her rise to international stardom.
Decca Records 1937
Mahalia Jackson's first steps into the commercial music world led her to Decca Records on May 21, 1937. She recorded four songs: "God Shall Wipe All Tears Away" / "Oh, My Lord" and "God's Gonna Separate the Wheat from the Tares" / "Keep Me Every Day." Although these recordings caused a sensation in her hometown of New Orleans, commercial success eluded her.
A key point during her brief time with Decca was Mahalia's firm refusal to record blues songs, as suggested by the label in order to reach a wider audience. Her refusal to compromise on her gospel orientation led Decca to part ways with her and sign Sister Rosetta Tharpe instead. This early experience reinforced Jackson's determination to remain true to her musical calling, even if it came at the expense of commercial success.
Apollo Records 1946–1954
In 1946, Mahalia signed with Apollo Records, a small New York label run by Bess Berman. This partnership would prove crucial to her rise to stardom. Her first release was "I'm Going to Tell God All About It One of These Days" with "Wait Till My Change Comes" as the B-side.
Her big breakthrough came with the third Apollo record, "Move On Up a Little Higher." This song sold over a million copies and established Mahalia as the "Queen of Gospel." Despite her enormous success, her collaboration with Berman was marked by tension, mainly due to disagreements over royalties. Mahalia felt cheated out of her fair share of the proceeds, but her record sales gave her considerable financial independence.
In 1951, Mahalia received the prestigious Grand Prix du Disque, an important French music award, for her Apollo recording of "I Can Put My Trust in Jesus." French jazz critic Hugues Panassie played a key role in spreading Mahalia Jackson's music in Europe by playing her Apollo recordings on his radio show, thereby increasing demand for her records. In total, she spent eight formative years at Apollo Records, which laid the foundation for her international success.
CBS radio and television broadcasts, 1954–1955
Parallel to her recording career, Mahalia Jackson also ventured into the world of radio. Her time at CBS was marked by great success, but also by frustration. On September 26, 1954, "The Mahalia Jackson Show" debuted on CBS Radio. The half-hour program offered a mix of traditional gospel songs and spirituals and was praised by listeners and critics alike. Despite its success, the show was canceled after only twenty weeks due to a lack of sponsors—a result of racism in the 1950s.
In March 1955, Jackson launched a new television show, "Mahalia Jackson Sings," on CBS affiliate WBBM-TV in Chicago. This local production was sponsored by the Chrysler Company, which was a big deal for a Black artist on TV. Even though the show got good reviews, it didn't last long, which showed how tough it was for Black artists in the entertainment industry in the 1950s.
Columbia Records 1954 – late 1960s
In 1954, Mahalia Jackson moved to Columbia Records, one of the "Big Five" major labels. This move gave her a much larger platform and a wider audience, but also led to new challenges and conflicts. Columbia Records sought to make her music accessible to a broader, mainly white audience, which led to pressure to adapt her style and use more commercial arrangements. Although Mahalia vehemently resisted changing her traditional gospel sound, she had to make compromises that included the use of orchestras and choirs in some recordings. In retrospect, some of these recordings are among the most impressive and significant she ever made.
A decisive moment was Mahalia's decision in Oakland, California, to sign the Columbia contract, which she interpreted as a "sign from God." She trusted Mitch Miller, an influential music producer at Columbia. The move to Columbia brought her great commercial success, international recognition, and appearances on popular television shows such as "The Ed Sullivan Show." While some critics criticized the commercialization of her music, her greater visibility contributed significantly to bringing gospel music to a wider, international audience.
Vogue Records - Distribution in Europe
Vogue Records, a French record label, played a decisive role in distributing Mahalia's music in France and England. The popularity of her Apollo recordings, which French jazz critic Hugues Panassie regularly played on his radio show, sparked demand for her music in Europe. Vogue Records, which already distributed Apollo recordings in Europe, seized this opportunity to market Mahalia's work there as well. This distribution channel was essential to Mahalia's growing popularity outside the US.
Der Traum vom eigenen Label
In the late 1960s, Mahalia Jackson had a dream of starting her own record label called "Hallelujah." She wanted to gain full control over her music and her career and provide a platform for young gospel talents. However, this project proved too complex in terms of financing, distribution, and marketing, especially given her constant traveling, and was therefore unfortunately never realized.
Even after her death, major labels continue to release countless collections of her songs. Vinyl LPs with high sound quality and elaborately designed covers, often as 180g pressings, are particularly prized by vinyl enthusiasts.
Mahalia Jackson's journey through the record labels reflects not only the evolution of her impressive career, but also the changing music industry and the challenges faced by African American artists during the turbulent decades of the mid-20th century. Her tireless dedication to gospel music left behind a lasting legacy that continues to inspire millions of people today.