Really? A black vocal quartet in the 1950s doing jazz? You sure it’s not doo wop?
I’m sure!
First tenor Paul Benson, second tenor Julius Robinson, baritone John Oglesby/Conrad Moore and bass Charles “Woody” Woodford took the smooth delivery of the Ink Spots, added a dash of the Jordanaires, and the ideas of The Four Freshman to come up with their own unique and clever vocal team. This two album collection might be all you’ll ever hear from them, so you better enjoy it!
The first album from 1959 has them backed by a soulful stew of Sam Reed/as, Leroy Lovett/p, Billy Davis/g, Jay Roland/vib, Winston Williams/b and William Ross/dr for a gorgeous collection of smoother than silk takes of “You’re Mine You”, “Fools Rush In” and “Don’t Blame Me” with clever and concise solos by Reed and Davis at just the right time. Fast forward to 1962 for your next chance, and the team has heavy hitters Junior Mance/p, Les Spann/g, Henry Grimes-Arthur Harper/b and Grady Tate-Roy McCurdy/dr, all conducted by Melba Liston. Wait until you hear what they do with “Monk’s Mood” and “’Round Midnight”, and hang on to your hat for “A Night In Tunisia”. A take of “Back Door Blues” shows the grit under the nails, while “Til I Met You” glows like a full moon.
The original liner notes and some writing by Ms. Liston give a bit of background, but nothing is going to take the place of just sitting down with this collection, listening to it, and if you’re not singing along by the third spin, something is wrong with you!!!