United States

Sweet Little Jesus Boy

“Sweet Little Jesus Boy” reminds listeners that the true Christmas narrative is found not in the activities of the jolly, red-suited man, but in the birth of the Christ child.  Written in the style of old spirituals—but falling outside the genre’s definition—white composer Robert Hunter MacGimsey sought to portray the sacredness of Christmas as a song sung by slaves. MacGimsey once described “Sweet Little Jesus Boy” as more a meaning than a song, the lyrics depicting an aging black man whose life had been full of injustice “standing off in the middle of a field just giving his heart to Jesus in the stillness.”

A combination of influences inspired MacGimsey’s writing of “Sweet Little Jesus Boy.”  The much stronger, long-term influence came from seeds planted by MacGimsey’s upbringing in Louisiana. Raised in the company of Blacks who shared their gospel, spiritual, and Southern folk music traditions, MacGimsey built a rich foundation in these genres.  He was further inspired by the histories and family stories shared by Black friends and neighbors, who impressed on him that Christmas was a time of worship and for drawing closer to God through prayer and songs of praise.  The second influence, short-term and circumstantial, came about on Christmas Eve 1932 when MacGimsey was in New York City.  Walking home from a church service and passing crowded speakeasies (Prohibition was still in effect) filled with drunken patrons, MacGimsey was struck by the lack of connection to the birth of the baby Jesus or why He came into the world.

Gospel singer Mahalia Jackson, who recorded the song in 1955, brought the song widespread recognition.  Since then, many artists have recorded and performed “Sweet Little Jesus Boy, which has also become a favorite of school choirs.

Extra Credit Reading: Born into deep South poverty, Mahalia Jackson achieved world renown as a gospel singer and civil rights activist. Profoundly religious, she sang to make a “joyful noise unto the Lord,” resisting efforts by others to transform her into a jazz or blues musician. “Gospel songs are the songs of hope,” she said. “When you sing gospel you have the feeling there is a cure for what's wrong, but when you are through with the blues, you've got nothing to rest on.” Mahalia Jackson sung at Rev. Dr. Martin Luther King Jr.’s March on Washington in 1963 and at his funeral in 1968.