The King's Witness Quartet--I'll Meet You in the Morning (Diadem DLP 202; 1965)

 

Initial impressions can be deceiving--on my first listen, I heard what sounded like a northern edition of the Chuck Wagon Gang.  Certainly, they have the same two-men/two-women SATB (soprano, alto, tenor, bass) texture, but, listening again to the King's Witness Quartet, there's no hint of the CWG's lighter than air sound.  Of course, I had my window A/C running when I did my first round of edits, so maybe the noise was blocking out some of the lower end.  Background noise can filter out portions of the dynamic range when we're using phones.

The King's Witness Quartet (Thanks, Diane!) was headquartered in Elkhart, Indiana, though the record label, Diadem, was located in Grand Rapids, Michigan.  The group consists of soprano Jeanne Kauffman, alto Marilyn Wolber, tenor John Wolber, and bass Ledger Kauffman, plus accompanist Ralph Colburn.  Now, even if this group doesn't sound all that much like the CWG, the voice distribution sounds the same, arrangement-wise.  Meanwhile, the Gang, despite being a mixed group, is typically referred to as a close harmony quartet.  With same-sex close harmony (think Barbershop), we have it easy: the voices are designated TTBB (first tenor, second tenor, baritone, bass), regardless of sex.  Seriously.  The Chordettes consisted of first tenor, second tenor, baritone, and bass.  Except, of course, they were singing an octave higher than an all-male quartet.  I was discussing some of this with Josh, and I noted that an alto can function as a second tenor, or "lead."  This is the case in Barbershop, at least.  Don't ask me why.

So, there are websites which insist that four-singer SATB close harmony is possible, though I honestly can't see how.  Because unless a melody's range is highly restricted in the manner of, say, Jesus Loves Me, you're going to have instances in which the soprano has a high note, the alto harmonizes below, and the tenor is in the next clef down (bass clef).  For a I chord, that's a span of eleven notes (not counting the bass).  The most permissive definition of close harmony allows for a span of an octave or less in the upper three voices (the bass can do as it pleases).  So, eleven notes?  No.  But this is my problem, not yours.  Sorry for obsessing.

We have today a gospel album which doesn't show up anywhere online, which is kind of a cool thing (I should put this on Discogs, though the process isn't simple), and whose back jacket and labels give no composer credits.  I didn't feel like tracking down the composers and authors, so I just went with the info provided. 

Expert singing, a fine song selection, and an interesting arrangement of Amazing Grace.  The most CWG-style songs in the list would be 's I'll Meet You in the Morning (Albert E. Brumley), Just a Closer Walk, and maybe It Was for You and Me, though I'm sure the Gang would have done beautifully with any or all of these numbers.  

The RCA Custom pressing number is SR4M-2822, which means 1965.  Cool cover.  Link follows...

DOWNLOAD: The King's Witness Quartet--I'll Meet You in the Morning (Diadem DLP 202; 1965)

Heaven Came Down

I'll Never Be Lonely

Just a Closer Walk

All of This and Heaven Too

Love Held Him to the Cross

Nothing at All

Amazing Grace

I'll Live for Jesus

What a Precious Friend

It Was for You and Me

How Long Has It Been

Without Him

I Can See Jesus

I'll Meet You in the Morning

Lee