Video
Historical Narrative
Betty Jackson King’s Stan’ Still Jordan was arranged in 1973 and dedicated to Dr. Theodore Charles Stone, a distinguished baritone, educator, and administrator whose career left a lasting impact on the promotion of African American music. Dr. Stone’s commanding voice, coupled with his scholarly depth and administrative leadership, made him one of the most respected figures in the classical and sacred music communities.
In addition to his celebrated performance career, Dr. Stone served in major leadership roles within both the National Association of Negro Musicians, Inc. (NANM) and the Chicago Music Association (CMA)—the founding branch of NANM and one of the most active musical organizations in the country. As past president of both organizations, he worked tirelessly to expand platforms for Black musicians, promote music education, and elevate the Negro spiritual to concert-level artistry.
Through their shared association with NANM and CMA, Betty Jackson King and Dr. Stone became allies in a common mission: to preserve, perform, and promote the works of African American composers. King’s dedication of Stan’ Still Jordan to Dr. Stone serves as a musical tribute to his unwavering advocacy for cultural excellence and his lifelong commitment to nurturing the next generation of artists.
Musical Description
Stan’ Still Jordan opens in F major with the marking Lento, immediately establishing a tone of quiet solemnity. The piano accompaniment combines steady rhythmic chords with gently moving bass patterns, evoking the steady flow of the Jordan River. The vocal line, entering with “Stan’ still, Jordan,” unfolds with lyrical dignity, requiring both tonal control and expressive phrasing.
King’s use of repetition and sustained phrasing mirrors the meditative quality of traditional spirituals, while subtle harmonic shifts introduce emotional depth. The melodic contour rises naturally, reinforcing the spiritual imagery of stillness before divine movement. As the piece progresses into the verse section—“I got a mother (or father) in heaven, Lord, I can’t stan’ still”—the rhythmic drive intensifies, culminating in a passionate outpouring marked D.S. ff. This moment of heightened energy represents the soul’s yearning for spiritual union and eternal rest.