The Fairfield Four

During the 1940s, the Fairfield Four were among the top-ranked gospel quartets, along with the Dixie Hummingbirds, Five Blind Boys, and Soul Stirrers. Originally a gospel duet created in the early '20s by the pastor of Fairfield Baptist Church in Nashville to occupy his sons, Harry and Rufus Carrethers, they became a gospel trio with the addition of John Battle. The group was transformed into a jubilee quartet by the '30s and began the first of numerous personnel changes. They recorded for RCA Victor and Columbia during the decade and were known for their reinterpretations of standard hymns, featuring bright, close baritone and tenor harmonies. When the Fairfield Four sang, they utilized the full extent of their voices, moving easily from deep, rolling basslines to the staccato upper peaks of the tenor range, all executed with precise, intricate harmonies and ever-shifting leads.

The Fairfield Four reached their broadest audience when the Sunway Vitamin Company sponsored a nationally broadcast radio show for them daily at 6:45 a.m. on WLAC, Nashville. At the same time, they also continued touring; it was a grueling schedule, especially with the drive to Nashville, and often the group would be missing a member or two on the show. In 1942, the quartet recorded for the Library of Congress, but by 1950, it all became too much. Coupled with some financial trouble and a dwindling radio audience, the Fairfield Four broke up, though one member, Reverend Sam McCary, used the group name to perform with other quartets. In 1980, the Fairfield Four from the '40s was reunited for a concert in Birmingham, Alabama, by Black gospel specialist Doug Seroff. In 1989, they were designated as National Heritage Fellows by the National Endowment for the Arts. They continue to perform, though the original members are either deceased or retired.

Discography

Standing In The Safety Zone

Founded in Nashville in the 1940s as a young, black gospel group, the Fairfield Four toured extensively and performed live on the radio. With the dropping-off of live radio programs in 1950, several group members went on to form the Skylarks, and then finally disbanded. Through the efforts of Doug Seroff, specialist in black gospel music, the group reunited in a moving performance in Birmingham, AL in 1980. Since then the National Endowment for the Arts named them National Heritage Fellows. 11 gospel songs: "Tree of Level," "My God Called Me this Morning," "Children Go Where I Send Thee," "Born Again," "Keep Me Near The Cross," "Roll Jordan Roll," the title tune, "Swing Low, Sweet Chariot," "Last Month of the Year," "How I Got Over" and "Dig A Little Deeper." This is rich, authentic stuff, and a gift to us from an incredible, deeply spiritual group of men.

The Bells Are Tolling

The Four are probably Nashville's best-known, most influential and certainly longest-performing African-American a cappella gospel quartet. "Bells" is a rare album actually recorded 40 years ago at the Fairfield Missionary Baptist Church in Nashville, Tennessee, and it represents post-war gospel music at its best. Included are: "The Bells Are Tolling," "What Are They Doing In Heaven Today," "Memories of My Mother," "Every Knee Has Got To Bow," "Don't Let Nobody Turn You Around," "Wait On The Lord" (aka "He's My Rock, My Sword, My Shield"), "I John Saw The Number," "In The Old Time Way," "At The Gates Of The City," "My Work On Earth Will Soon Be Done," "I¼ll Be So Happy" (aka "If I Could Hear My Mother Pray Again") and "Hide Me In Thy Bosom." Powerful, spirited and moving, "Bells" is African-American gospel at its authentic best!

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I Couldn't Hear Nobody Pray

Listen to Elvis Costello (from the CD notes) who invited the Fairfield Four to perform in an unlikely venue, The Meltdown Festival in London. "There was an apparent tension between the deep conviction on stage and a distinctly secular curiosity in the house. In truth I would have been among those who had never done more than utter "Amen" in their life. However, as I stood by the side of the stage to listen, it became apparent that something extraordinary was taking place. A "reprise chorus" became longer than the previous song, and so on, until the place was almost in an uproar, swept along by this wonderful sound and feeling. If few souls were saved that night, then quite a few were obviously swayed" Can we get a witness? If you consider yourself secular or not, this recording will move you just the same.

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