Complete Works in Chronological Order, Vol. 5: 1945-1949

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All Music Guide - Arwulf Arwulf
Vol. 5 in Document's six-part history of the Golden Gate Quartet samples their recording output during the second half of a decidedly turbulent decade, beginning with three sides cut in March 1945. "The General Jumped at Dawn" is an idealized account of the D-Day invasion of mainland Europe by a rigorously multi-ethnic "All-American, groovy crew." Eight titles recorded in June 1946 and issued by Columbia blend traditional religious melodies like "Wade in the Water" and "Joshua Fit the Battle of Jericho" with topical tunes of great sociopolitical import: "Atom and Evil" -- a parable set in the Atomic Age -- and "No Restricted Signs (Up in Heaven)." The Gates, who in 1938 ...
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Editorial Reviews

All Music Guide - Arwulf Arwulf
Vol. 5 in Document's six-part history of the Golden Gate Quartet samples their recording output during the second half of a decidedly turbulent decade, beginning with three sides cut in March 1945. "The General Jumped at Dawn" is an idealized account of the D-Day invasion of mainland Europe by a rigorously multi-ethnic "All-American, groovy crew." Eight titles recorded in June 1946 and issued by Columbia blend traditional religious melodies like "Wade in the Water" and "Joshua Fit the Battle of Jericho" with topical tunes of great sociopolitical import: "Atom and Evil" -- a parable set in the Atomic Age -- and "No Restricted Signs (Up in Heaven)." The Gates, who in 1938 had performed at Café Society -- the nation's first integrated nightclub -- were now more or less in alignment with the emergent postwar civil rights movement, although true social progress would be painfully gradual during the approaching decade of conformity and Cold War militarism. They were also continuing to modify their style along popular lines, sounding more than ever like the Charioteers or the Delta Rhythm Boys. The blend of traditional religious airs with the pop tunes such as "Abdullah" (which in 1947 qualified as a Fats Waller cover) worked OK for the most part. Many of the sides reissued here feature the singers backed by a rhythm section, which on the 1946 and early-1947 dates is believed to have contained swing guitarist Carl Kress and Jimmie Lunceford's drummer Jimmy Crawford. This volume's final six selections, which date from 1948-1949, include a beautiful bluesy interpretation of "Jesus Met the Woman at the Well," which ranks among the Gates' strongest offerings from this period.
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Product Details

  • Release Date: 9/7/2000
  • Label: Document
  • UPC: 714298563825
  • Catalog Number: 5638

Album Credits

Performance Credits
Golden Gate Quartet Primary Artist
Carl Kress Guitar
Jimmy Crawford Drums
Cliff Givens Vocals
Al Hall Baritone Saxophone
Henry Owens Vocals, Tenor (Vocal)
Clyde Riddick Vocals, Tenor (Vocal)
Orlandus Wilson Bass (Vocal)
Conrad Frederick Piano
Alton Bradley Vocals
Orville Brooks Bass (Vocal)
Willie Johnson Bass (Vocal), Leader
Technical Credits
Golden Gate Quartet Composer
Jimmy Mundy Composer
James W. Alexander Composer
Ramsey Lewis Composer
Bennie Benjamin Composer
Johnny Parth Producer
Lou Singer Composer
Hy Zaret Composer
Orlandus Wilson Arranger
Keith Briggs Liner Notes
Gerhard Wessely Remastering
Raymond Leveen Composer
Robert MacGimsey Composer
Traditional Composer
Larry Neal Composer
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