"When the Saints Go Marching In", often referred to as simply "The Saints", is a traditional black spiritual.[1][2] It originated as a Christian hymn, but is often played by jazz bands. One of the most famous jazz recordings of "The Saints" was made on May 13, 1938, by Louis Armstrong and his orchestra.[3]
The origins of this song are unclear.[4] It apparently evolved in the early 1900s from a number of similarly titled gospel songs, including "When the Saints Are Marching In" (1896) and "When the Saints March In for Crowning" (1908).[5] The first known recorded version was in 1923 by the Paramount Jubilee Singers on Paramount 12073. Although the title given on the label is "When All the Saints Come Marching In", the group sings the modern lyrics beginning with "When the saints go marching in". No author is shown on the label. Several other gospel versions were recorded in the 1920s, with slightly varying titles but using the same lyrics, including versions by The Four Harmony Kings (1924), Elkins-Payne Jubilee Singers (1924), Wheat Street Female Quartet (1925), Bo Weavil Jackson (1926), Deaconess Alexander (1926), Rev. E. D. Campbell (1927), Robert Hicks (AKA Barbecue Bob, 1927), Blind Willie Davis (1928), and the Pace Jubilee Singers (1928).[6]
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Even though the song had folk roots, a number of composers claimed copyright in it in later years, including Luther G. Presley[7] and Virgil Oliver Stamps,[8] R. E. Winsett.[9] The tune is particularly associated with the city of New Orleans. A jazz standard, it has been recorded by many jazz and pop artists.
As with many numbers with long traditional folk use, there is no one "official" version of the song or its lyrics. This extends so far as confusion as to its name, with it often being mistakenly called "When the Saints Come Marching In". As for the lyrics themselves, their very simplicity makes it easy to generate new verses. Since the first and second lines of a verse are exactly the same, and the third and fourth are standard throughout, the creation of one suitable line in iambic tetrameter generates an entire verse.
Arrangements vary considerably. The simplest is just an endless repetition of the chorus. Verses may be alternated with choruses, or put in the third of four repetitions to create an AABA form with the verse as the bridge.
The response verses can echo the same melody or form a counterpoint melody, often syncopated opposite the rhythm of the main verses, and a solo singer might sing another counterpoint melody (solo soprano or tenor) as a 3rd part in more complex arrangements.
The song is apocalyptic, taking much of its imagery from the Book of Revelation, but excluding its more alarming depictions of the Last Judgment. The verses about the Sun and Moon are often interpreted as Solar and Lunar eclipses; the trumpet is the way in which the Last Judgment is announced. As the hymn expresses the wish to go to Heaven, picturing the saints going in (through the Pearly Gates), it is sometimes played at funerals.
Bill Haley & His Comets recorded a rock and roll version of the song titled "The Saints Rock 'N' Roll". Bill Haley started the song, which he learned through his mother, with the line "Rocking and rolling all the way". The song was recorded on 23 September 1955,[10] and released in March 1956 backed with "R-O-C-K" on Decca Records.[11] It reached No. 18 on Billboard's Best Sellers chart, and No. 5 in the UK chart.[12]A version of the song was included in the soundtrack of the 1956 film Rock, Pretty Baby.[13]
Welcome, once again we are going to play a song on the soprano recorder very easy, it is at the beginners level.
If you are a beginner you will love this lesson and the song you will be able to blow on your recorder. The song is called, when the saints go marching in.
Now you can listen to one of the best versions of this song sung.
It is the version sung by trumpeter Louis Armstrong who was born in New Orleans.
It is important that you listen to this song and pay close attention to the rhythm as this version is in the dixieland style.
Many times you will have to play this song with a certain touch of swing interpretation.
So we recommend you to listen to this version of L Amstrong.
It is often played by jazz bands and has been recorded by many artists, including Louis Armstrong, who famously performed it on May 13, 1938. The song expresses the hope of being among the saints who will enter heaven when the end of the world comes.
The song "When The Saints Go Marching In," performed by Louis Armstrong, is a timeless piece that has transcended its origins as a traditional gospel hymn to become a staple in both jazz and popular music. The lyrics express a deep yearning for inclusion in the group of the righteous, often interpreted as the saved or the elect, who will enter Heaven. The repeated line, 'Oh, Lord I want to be in that number,' underscores the singer's desire for spiritual redemption and to be counted among the blessed in the afterlife.
The song's references to the saints 'marching in' and the sun 'refusing to shine' can be seen as metaphors for the Apocalypse or the end times, as described in Christian eschatology. The 'saints' are typically understood to be the holy and virtuous people who have been sanctified by their faith. The imagery of the sun refusing to shine suggests a time of darkness and uncertainty, possibly the final trials before the Second Coming. The singer's aspiration to be part of the 'number' when these events occur reflects a hope for salvation and a belief in the ultimate triumph of good over evil.
Louis Armstrong, a legendary figure in the world of jazz, brought a unique energy and charisma to the song, transforming it into a powerful anthem of hope and spiritual aspiration. His rendition has inspired countless interpretations and performances, making it an enduring symbol of faith and resilience. The song's universal appeal lies in its simple yet profound message of seeking a place in a celestial, harmonious existence beyond the troubles of the earthly life.
"When the Saints Go Marching In", often referred to as simply "The Saints", is a black spiritual. Though it originated as a Christian hymn, it is often played by jazz bands. This song was famously recorded on May 13, 1938, by Louis Armstrong and his orchestra.
Oh, when the saints go marching in
Oh, when the saints go marching in
Oh Lord I want to be in that number
When the saints go marching in.
Oh, when the drums begin to bang
Oh, when the drums begin to bang
Oh Lord I want to be in that number
When the saints go marching in.
Oh, when the stars fall from the sky
Oh, when the stars fall from the sky
Oh Lord I want to be in that number
When the saints go marching in.
Oh, when the moon turns red with blood
Oh, when the moon turns red with blood
Oh Lord I want to be in that number
When the saints go marching in.
Oh, when the trumpet sounds its call
Oh, when the trumpet sounds its call
Oh Lord I want to be in that number
When the saints go marching in.
Oh, when the horsemen begin to ride
Oh, when the horsemen begin to ride
Oh Lord I want to be in that number
When the saints go marching in.
Oh, brother Charles you are my friend
Oh, brother Charles you are my friend
Yea, you gonna be in that number
When the saints go marching in.
Oh, when the saints go marching in
Oh, when the saints go marching in
Oh Lord I want to be in that number
When the saints go marching in.
Mardi Gras, the ultimate carnival, lasts only a few dizzying weeks. Charlie Kertz opened his bar at the corner of Apple and Cambronne streets a week before Mardi Gras in 1966, but when the city was awarded an NFL franchise nine months later -- on All Saints Day -- he came up with a way to extend those good times through the entire year.
"He said, 'We're going to have a club for the Saints,'" explained his daughter, Joan Serpas, who was 20 at the time. "Way before the first season started, we formed the club and, because it was my dad's club, they wanted to name it Charlie's Marching Saints Club.
Charlie served with the Army's 1st Cavalry Division in World War II, and took a bullet just above his left knee in the Philippines. He brought a slight limp and a Purple Heart back to New Orleans. He liked to have a good time as much as the next guy -- OK, maybe more than the next guy; behind the bar, he would sip the local brew, Dixie, along with his patrons.
The New Orleans Saints were the city's first big-time team, and months before the opening kickoff, Kertz already was all in. He changed the name of the bar to Charlie's Saint House Bar, and painted the bar itself black and gold. There were gold fleur de lis on the bathroom doors and Saints stuff all over the place. They had monthly meetings and, sure, a few pops, too.
"Just a bunch of normal people that like to imbibe a little bit," said Steve Slumber, who joined the club in 1970. "Most of our members were middle class, maybe towards lower middle class. We do look for a reason to party. If the sun rises, we're going to party, OK? We really enjoyed it when they won and you know what? We didn't do bad when we lost."
Not that it happened all that much in those early days, though the 1967 inaugural season started with a flourish. The very first play in franchise history was a touchdown, a 94-yard kickoff return by John Gilliam, but it was just a parlor trick; New Orleans lost to the Los Angeles Rams 27-13 at Tulane Stadium. In fact, the Saints lost the first seven games in their history. But then, on Nov. 5, Walter "Flea" Roberts scored three touchdowns in a 31-24 victory over the Philadelphia Eagles.
No one is exactly sure how or why it happened, but pretty soon pots and pans were coming out of the kitchen and, suddenly, the boys were taking it to the streets. They were hitting the tops of garbage cans with spoons, there was a kazoo, a tambourine and one guy jammed a railroad flare onto the top of a broom handle. 152ee80cbc
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