On any given day, reading any newspaper or watching any daily news show, it is not hard to become despondent about the state of the world. When our friends die of disease, or our children are bullied, we cry out with the psalmist, “How long, O Lord, how long?” And yet (for the believer, there is always a “yet”), we make this cry knowing that we have a God who hears us and responds. We are able to call out the evils of this world for what they are, because we know something better is coming. We have hope in our own salvation, and in the renewal of God’s creation.
Thus, when we sing this great spiritual, it is important that we do so not in an escapist mentality. While we eagerly await the day we see God face to face, we must trust that until that day comes, God is fulfilling His purpose on the earth through us. We can’t sing this hymn in order to run away from the hardship and the pain. Rather, we sing this hymn as an assurance that hardship and pain is not the end. Amidst all of our trials, we know what is yet to come, both in heaven and in the fulfillment of the Kingdom of God, and we wait for that day expectantly.
Text:
Hymnologist Erik Routley describes this hymn as one of the “archetypal” African American spirituals, incorporating images of “Jordan” and the chariot from the story of Elijah’s ascent into heaven. Death is portrayed as a welcomed occasion to enter Jordan (Psalter Hymnal Handbook). The text acts as a comfort for us all; no matter what happens in this life, we know with certainty what our final destination is.
There are a few speculations as to the origin of this text. Some believe it was written by Wallis Willis, a Choctaw freedman in Oklahoma, who was inspired to write the song when viewing the Red River. Others claim it was an old song sung by slaves to point them to Canada. Legend has it that “Jordan” was a code name for Canada, and “chariot” would often be switched to “Harriet,” referring to the famed escaped slave who led many others to freedom. Regardless of who actually wrote it, this text has power in its hope for a better world and the completion of the Kingdom.
Tune:
The tune SWING LOW is typical of a spiritual’s music structure, in that it uses “call and response,” or
“solo and congregation.” Try having a soloist sing the unison lines, with the congregation coming in on each “Coming for to carry me home” in harmony.
A remarkable feature of this hymn is the ease with which it can be sung at different tempos. It’s a beautiful choral piece sung a cappella; the hymn has rich possibilities for harmonies and alternations between male and female voices. The Robert Shaw Festival Singers offer a good example of this on their album, Amazing Grace. Alternatively, you could sing the hymn with a “swinging” lilt to it. Sam Cooke has a recording that demonstrates this style and provides a good example of solo-chorus call and response. If you’re looking for a really upbeat, reggae style version of the song, check out UB40’s recording, which, admittedly, was arranged for the Rugby World Cup.
When/Why/How:
The hopeful nature of this hymn mixed with the almost earthy tone of the chorus and the cry for rescue makes this a fitting hymn for times of hardship, acknowledging our hope in times of pain and trial, a theme established in many of the psalms. The eschatological theme of this hymn makes it a good choice as a hymn of response after preaching on this theme, or during the Advent season.
Suggested music:
Laura de Jong,
Hymnary.org
My Starred Hymns
My FlexScores
My Hymnals
My Purchased Files
