One of my favorite Mormon albums of the past few decades from a little-known LDS musician who lived in New York City for a while, Charlotte Smurthwaite. Her mid-90s album, “Lift me,” featured LDS hymns sung in jazz arrangements and her treatments of “Come, Come Ye Saints” and “If You Could Hie to Kolob” are fantastic and are still played regularly in our family. Since then, it seems like new arrangements of LDS hymns in different styles have become an important part of current Mormon music. I hear the Sabre Rattlers’ version of “Come, Come Ye Saints” introducing each Mormon Stories podcast. I believe I’ve even seen such versions on the latest music CDs even from Deseret Book.
I’ve been very pleased to see the rise of such music. And I hope to hear more. As I understand it, when similar versions of hymns first started appearing many Mormons objected, saying that such versions were sacrilegious. Fortunately, I think most of those objections have dissipated, or at least I’m tone deaf to them. But in thinking about these songs, a couple of questions occur to me. First, I wonder why so little of this kind of experimentation has appeared in Mormon literature. And second, I wonder what other kinds of experimentation are possible that we have simply not yet heard or read.
The more I read of Elder Orson F. Whitney, the more convinced I am that he was the most literary of our modern Apostles. A literary viewpoint influenced much of what he wrote about the gospel in a variety of settings. And his discussion of literary concepts and issues is not only frequent, but covers many of the major concepts that might be considered in a text covering the philosophy of literature.
A Motley Vision 