Nobody Knows the Trouble I've Seen

Nobody Knows the Trouble I've Seen ( Nobody Knows the Trouble I also lake ) is an American Spiritual. The song, whose author is unknown, is an outstanding example of this genre; He has also developed into a jazz standard.

History

Nobody Knows the Trouble I've Seen ( "Nobody knows the trouble I've seen" " ) is considered " the most poignant lament for the suffering of slavery " ( Monika Plessner ). The piece was handed down in writing by the baritone Harry Burleigh Thaker, a pupil of Dvořák.

Marian Anderson took the song in 1925 for the Victor label on .. Probably more than a hundred years after the birth of the celebrated Spirituals Mahalia Jackson in 1957 at the Newport Jazz Festival a great success. Not only the variety of gospel groups (of the Staple Singers to the Golden Gate Quartet ) had the song in their repertoire, but also blues singers like Big Bill Broonzy and Jimmy Witherspoon. Tennessee Ernie Ford and Johnny Cash also had the song in the program. In 1938, Louis Armstrong played a version of a 1946 Jack Teagarden. Lena Horne played their version of a 1946.

Musicians of the Modern Jazz addressed these Spiritual, about Dizzy Gillespie, Dave Brubeck or Grant Green. Representatives of the free jazz of Albert Ayler ( with Call Cobbs ) this song have interpreted that according to Hans -Jürgen Schaal a " high degree of expressivity " with her " cry of bitterness, despair and dignity " reached - but the record company published the piece first not ( it was not published until 1982). Even George Adams ( Don Pullen ), Charles Mingus (1977 ), Archie Shepp ( with Horace Parlan, David Murray and Charlie Haden ( with Hank Jones have put in the context of contemporary jazz Nobody Knows the Trouble I've Seen.

Bernd Alois Zimmermann used the spiritual as the basis for his 1954/55 composed of the same name Trumpet Concerto. In a plant introduction Zimmermann pointed out that the concert " written racial madness under the influence of (unfortunately even today still existing )" was and will " show in the fusion of three stylistically seemingly heterogeneous design principles as it were a way of fraternal connection".

Cinematic gained popularity the song in the feature film comedy Spaceballs from 1987., Where Daphne Zuniga sings aka Princess Vespa the song with a deep, masculine voice.

The traditional text

Variations

• The second line ( " Nobody knows but Jesus " ) is changed in some traditions and becomes "Nobody knows my sorrow".