Author: Rev. Donnie Addison
Published: June 10, 2005
Tool: [ email ]
Where Do We Go From Here?
Quartet Ministry in the 21st Century
Rev. Donnie Addison
Contributing Writer for MoPrayzeMusic.com
The bullet that spiraled through the air downing Dr. Martin Luther King Jr.
on April 4, 1968 penetrates the very pages of human history. The nation was
rocked by the loss of this great man of peace. While King’s political life
is well documented, many fail to realize Dr. King also had many friends in the
gospel music industry. One of Dr. King’s close friends was Rev. Julius
Cheeks, one of the hardest lead vocalists to ever front a quartet group. In
the year of 1969 with the nation still reeling from the loss of Dr. King, the
late Rev. Julius Cheeks released a song entitled “Where Do I Go From Here?”
The song expressed the intense feelings of a people seeking guidance in the
backlash of their fallen leader. Though Cheeks’ question was specific to
that time period and event, the question of “Where Do We Go From Here”
is relevant to all times and situations. While it is not my intention to be
comprehensive in my assessment, the purpose of this brief article is to provide
some answers to the question as it pertains to Quartet Gospel Music.
In looking at the current trends in Quartet Gospel, the rather familiar statement
“If it ain’t broke don’t fix it” would not be a fair critique
of our industry. It is this writer’s belief that there are several areas
that must be explored if this genre is to thrive. Let us begin by making sure
we all understand that Quartet Gospel is the very foundation of Gospel music.
Long before Thomas Dorsey, groups like The New York based Unique Quartette and
Chicago based Standard Quartette were recording, providing us with the earliest
examples of black vocal group harmony that this still surviving today. In the
case of the Unique Quartette their 1893 Edison cylinder “Mamma’s Black
Baby Boy” is the earliest example of black vocal group harmony. Another
early example is the Chicago based Standard Quartette’s 1894 recording
of “Every Day’ll Be Sunday Bye And Bye”. Sadly enough this information
is often overlooked and at times unknown in a contemporary dominated industry.
From the very beginning quartet gospel has been viewed as Christian Entertainment.
Group’s focused their attention on everything from “shoutin’
the house” to “dressing the best”. From their appearances on
the traveling Minstrel shows to the great Quartet Battles of the 1950s and 1960s,
the music has and will always have an element of entertainment. While a much
longer discussion of the place of entertainment in quartet is needed the scope
of this discussion will not permit such an investigation.
The first point of exploration is Quartet Gospel must be grounded on presenting
Ministry in song. When a group stands on the stage and presents their gospel
message they must be mindful that what they sing about is much greater than
they can or will ever be. As messengers of God we are simply the vessels used
to present the great message of salvation in God. As a starting point artists
and musicians must be sure that they have strong personal relationships with
God gained through regular church attendance and personal/corporate study of
the Bible. A group that sings together must be willing to study together. When
those that stand on the stage to present a hope giving, life altering Gospel
they themselves must know exactly what they speak of. As we move ever so closely
to the year of 2005 it is encouraging to say that many national artists are
performing in this manner. However, a programmed act that is replicated from
city to city does not a Ministry make. When ministry becomes the main focus,
every quartet program becomes a unique experience in which the Holy Spirit is
allowed to move.
Living in a time of such turmoil the people of God can no longer afford to
spend an evening in a song service and not once hear a message that ministers
to the here and now. As we survey the history of quartet, the period from 1950-1970
provides us with examples of some of the most socially relevant Quartet recordings.
A few examples include The Swan Silvertones “War In Vietnam” c. 1970,
The Dixie Hummingbirds “Wading Through Blood & Water” c. 1952,
The Brooklyn Allstars “A Soldier’s Prayer”, The Pilgrim Jubilees
“Mr. President” c. 1969 and the demanding Salem Travelers recording
“Give Me Liberty or Death” c. 1968. These groups saw the current social
situations and wrote music to speak to those issues from a Christian perspective.
As Ministers of the Gospel in song, it is the responsibility of the quartets
of today to pick up this fallen mantel of social relevancy. With HIV/AIDS on
the rise, young black males going to prison at alarming rates, strange wars
in foreign lands, and a host of other social issues one must ask the question
why are groups not speaking to these issues?
The second point of exploration is rooted in my argument for social relevancy.
When the pen hits the paper for that next radio targeted hit, simply look around
and see a world in turmoil and an audience that needs to hear from God and you
will have a successful song that ministers to your audience. For much too long
quartet groups have written and performed songs that play on the emotions of
their audience. While it is obvious from sales figures that these songs are
popular, as ministers for Christ through song to prey on emotions is irresponsible.
God is looking for quartet groups that are willing to tap into the message of
God through personal and group discipline. These songs of social relevancy will
not come easy, for the deep truths of God only come to us when God has found
us faithful in our service and sincerity. These songs will not always be easy
to record, but silence in the area of social relevancy is not an option. Fans
will simply no longer buy recordings in great volume that do not speak to their
current condition.
Having become Ministry conscious and socially relevant, quartet groups must
also tap into the 21st century way of doing business. All nationally known groups
must have a presence on the Internet. This ultimate avenue of advertisement
serves as a 24/7 connection with the entire world. Regardless of geographic
location one only needs a simple internet connection to tap into a Ministry
that is represented on the Net. For starters, group’s need to make themselves
available for booking through e-mail, and present historical information, and
concert schedules on their websites. While for any service there is a fee to
create a professional looking web presence, these basic pieces of information
made available to the world are well worth the investment. By providing a presence
on the Internet quartet group’s enter into the 21st century with its new
avenues of communication, advertisement, and ministry.
As the foundation of Gospel Music, quartet has experienced some structural
damage. I believe that a simple look at these three reform areas will do wonders
for carrying a powerful new Ministry to the fans and supporters of this unique
style of gospel music. Making Ministry a #1 priority on stage, becoming socially
relevant in songwriting, and tapping into 21st century technology are just a
few of the many reforms and ideas that will serve to build up our industry.
With the help of God and careful assessment of industry trends, quartet will
go into new markets and present ministry in areas that long for the unique vocal
harmony sound of quartet gospel.
About Rev. Addison
Rev. Donnie Addison is the nation's youngest and most respected African American
Quartet Music Historian. He currently serves as the official Historian for the
American Gospel Quartet Convention Inc. and is the Founder of the nation's #1
resource for Quartet Gospel on the Internet, Gloryland Gospel. For over 7 years
Rev. Addison hosted the world's first all quartet Netcast weekly on Gloryland
Gospel. Rev. Addison has collected quartet gospel for almost 20 years and has
a collection that boasts thousands of unique pieces. His amazing ability to
remember details about recordings and quartet group histories has landed him
many opportunities for seminar and convention appearances. It is his innovative
spirit and commitment to moving the Quartet Industry to the World Wide Web that
has spawned Quartet Radio.com, where the motto is simply: "Connecting Quartet
Gospel's Past & Present".
Visit Quartet Radio Online: Quartet Radio
Visit Gloryland Gospel: Gloryland Gospel
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