Call-and-response, also referred to as “antiphony” in the classical music genre, is a pattern that involves two distinct phrases that are in conversation with one another. The soloist plays a “call” that is then “answered” by the ensemble. The musical call-and-response originated from the protest call-and-response that was a staple of democratic participation in some African cultures. Think of political protests, gatherings and marches in which one person yells something like “when do we want it?” and the chorus responds “we want it now!”

At public gatherings, religious rituals, in the discussion of civil affairs and musical expression, some African cultures used the call-and-response as a form of democratic participation. The Igbo of Nigeria had a solo storyteller who called out the lines of the story and an audience that responded in regular intervals with a “sala” or response. The Igbo sala was “amanye,” which roughly translates to the American English expression of “amen.”

Enslaved Africans brought their culture and traditions to the Americas, thus this call-and-response practice continued on, especially in the form of work songs sung on plantations. Through these work songs, also called “field hollers,” enslaved people coordinated their labor, communicated with each other, bolstered downtrodden spirits and commented on the oppressiveness of their masters, all of which fostered cohesion and community.

This call-and-response then became an important component of many genres of music: blues, gospel, soul, jazz, bebop, reggae, hip-hop, go-go and rap. At contemporary African-American worship services, the call-and-response is common–for example, the pastor may call out to his congregants “Can I get an amen?” to cultivate enthusiasm and participation.

In its musical form, the call-and-response consists of a solo musician who offers a phrase, and a second player, or players, who respond with a commentary. The musical phrases can be vocal, instrumental or both. Call-and-response may also be improvised and brought on by an overflow of passion.

Here are a few famous jazz songs that feature call-and-response:

Cannonball Adderley Quintet – Work Song

From the outset this song is trademark call-and-response: the alto saxophonist is the soloist who calls and the trumpet, piano, double bass and drums respond. This 1960 tune was inspired by the trumpeter Nat Adderley’s childhood memory of seeing a group of convict laborers singing while they worked in a chain gang and paved the street in front of his family’s home in Florida.

Georgia Gibbs – I Want You to Be My Baby

This swinging 1944 tune is a great example of a vocal call and response. Right off the bat, the solo singer, Georgia Gibbs, calls out one word “I” that the male chorus then repeats. She slowly adds a word each time, always repeated by the chorus, to eventually call out “I want you to be–” and the chorus responds “what?” and she says “I want you to be my baby!”

Can you find examples of Call and Response in Night is Alive’s music?

written by Jacqueline Knirnschild

Photo by John Matychuk on Unsplash