The Four Freshmen: A Legacy of Innovation in Vocal Harmony
Introduction
The Four Freshmen stand as a pivotal group in the history of vocal jazz, celebrated for their innovative harmonies and lasting influence on popular music. Emerging from a barbershop quartet, the group evolved into a sophisticated jazz ensemble that captivated audiences and inspired generations of musicians. Their unique sound, characterized by close harmonies and instrumental versatility, set them apart and cemented their place in music history.
From Barbershop Beginnings to Jazz Innovation
The story of the Four Freshmen begins in 1948 at the Arthur Jordan Conservatory of Music at Butler University in Indianapolis, Indiana. Brothers Don and Ross Barbour, along with Hal Kratzsch, initially formed a barbershop quartet called Hal’s Harmonizers. Kratzsch, with an intuitive understanding of harmony, sang the bass part, while Don, possessing a wide vocal range, took the second part. Ross, a natural baritone, covered the third part. To complete the quartet, they recruited classmate Marvin Pruitt for the top voice.
Initially, the group performed traditional barbershop tunes like "Sweet Adeline" at fairs and conventions, donning armbands, false mustaches, and waiters' aprons for a comedic effect. However, the members yearned for a more progressive sound. Drawing inspiration from big band vocal groups like The Modernaires, The Pied Pipers, and The Mel-Tones, they began incorporating elements of jazz into their arrangements. As fans of Stan Kenton, they started using diminished and augmented chords, creating a unique jazz vocal style.
As the group's musical ambitions grew, Pruitt's stage fright led to his departure. Initially, Ross's girlfriend, Nancy Sue Carson, replaced him, but the group felt that a fourth male voice would better suit their desired sound. The Barbour brothers then contacted their cousin, Bob Flanigan, who had previously sung in a high school quintet inspired by the Modernaires. Flanigan, who also played trombone and admired jazz greats like Charlie Parker and Jack Teagarden, brought a soaring tenor voice and a passion for jazz to the group.
With Flanigan on board, the group began accompanying themselves with musical instruments. Don played guitar, Ross played drums (initially piano), Flanigan played trombone and string bass, and Kratzsch played trumpet, mellophone, and string bass. This instrumental versatility became a hallmark of the Four Freshmen's sound, setting them apart from other vocal ensembles.
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The group soon left school and headed to Chicago, where they met agent Dick Shelton. Since Shelton already managed a group called the Cottontoppers, he renamed the former freshmen the Freshmen Four, which they then reversed to become the Four Freshmen. Their unique sound quickly gained the attention of jazz legends such as Dizzy Gillespie and Woody Herman.
The Stan Kenton Connection and Rise to Fame
A pivotal moment in the Four Freshmen's career occurred on March 21, 1950, at the Esquire Lounge in Dayton, Ohio. Stan Kenton, who had heard about a quartet that sounded like his 43-piece ensemble, was in the audience. Impressed by their sound, Kenton arranged an audition with Capitol Records, which signed them later that year.
Kenton's support proved invaluable. He had the demo produced by his former arranger, Pete Rugolo, and it contained "Laura," "Basin Street Blues," "Dry Bones," and two other songs. The demo was produced by Kenton’s former arranger, Pete Rugolo, and it contained “Laura,” “Basin Street Blues,” “Dry Bones,” and two other songs. In May, Kenton sent a letter telling the group to come west, and when they arrived their mentor arranged to have them perform at Jerry Wald’s Studio Club on Sunset Boulevard. On October 13, 1950, the Freshmen recorded a rhythm and blues number called “Mr. B’s Blues,” which was released in November and became an instant collectors’ item.
In 1950, they released a single, "Mr. B's Blues", and appeared in their first and only film, Rich, Young and Pretty, where they sang "How D'Ya Like Your Eggs In The Morning" with Jane Powell and Vic Damone. The Freshmen released another single in 1951, "Now You Know", which was not a commercial success. Later in the year Capitol rejected their proposed next single, "It's a Blue World", and dropped them from the label. In May of the following year, a furious Stan Kenton demanded that the record company send them the demo tapes so that they could promote the song themselves.
In May 1952 the group met up with Kenton in Chicago. Furious that Capitol gave up o his find, he demanded Capitol send demo copies of the songs to the group so they could promote it. They managed to get the song onto the radio, and in 1952, "It's a Blue World" became their first charted single. This marked the beginning of their rise to fame. The song had previously been recorded by Tony Martin and Glenn Miller, and later by Mel Tormé and Frank Sinatra.
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In May they came up with Ken Errair of Redford Township, Michigan, and his first session in July was their next chart single, “It Happened Once Before” (#29, September 1953). In August 1954 the Freshmen issued their first LP, titled Voices in Modern. In 1955 the group did a Jay Livingston-Ray Evans song called “How Can I Tell Her” for the film Lucy Gallant starring Charlton Heston and Jane Wyman. It came off so well they decided to try it as a single. The flip side, hastily chosen at the last minute, was Frank Sinatra’s 1946 hit “Day by Day” (#5). They gave the ballad an up-tempo Latin feel and waited to see what happened. Following a June release, radio gave cursory response to the film song and flipped the 45 chart single their fourth.
With Ken firmly in place, the Freshmen decided to break ground with new audiences and became one of the first groups to play college auditoriums and field houses. Now pursuing a younger audience, they came up with the relevant “Graduation Day,” their biggest chart hit at number 17 in the spring and summer of 1957.
The Four Freshmen released their first record in 1952, and a string of hit records followed, mostly standards given new life by the Freshmen’s arranging skills. In 1954, the Freshmen recorded their first album, Voices in Modern. They enjoyed early commercial success, performing in venues around the Midwest and honing a sound that incorporated improvisation and jazz-flavored harmony voicings.
Musical Style and Innovations
The Four Freshmen were renowned for their complex, close-harmony vocals and instrumental arrangements. Their signature sound involved singing five-note chords with four voices, where one voice would be shifting. This innovative approach to vocal harmony set them apart from traditional barbershop quartets and other vocal groups of the time.
They were the most innovative and imitated jazz vocal quartet ever to grace vinyl. Innovative because of their unique concept of singing “open” harmony, moving the third and fifth notes of a chord an octave higher or lower, or using ninths and elevenths while dropping root notes of a chord. Emulated because every type of artist heart something fresh and exciting in their sound not only jazz groups, but acts as diverse as THE HARPTONES in the 50’s, THE BEACH BOYS of the 60’s, and THE MANHATTAN TRANSFER in the 70’s heard a redefinition of harmony that stirred their own imaginations.
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Their influences ranged from Stan Kenton and Woody Herman to Mel Tormé’s Mel-Tones and the Pastels. The group represented a modernizing force in the sphere of close harmony quartets in American popular music, moving away from the barbershop style to introduce elements of jazz. Their arrangements often featured intricate instrumental passages, showcasing the members' musical abilities.
In their only session of 1951 the group recorded a Kenton-suggested “Tuxedo Junction,” but the vocal work was so intricate they had to lay down the instrumental track first and then do their complex scat vocals separately, reportedly the first time this kind of multitracking had been done.
Influence on the Beach Boys and Other Artists
The Four Freshmen's impact on popular music extends beyond their own recordings. Their complex harmonies and innovative arrangements deeply influenced Brian Wilson of the Beach Boys. Wilson, as a teenager, was obsessed with the group, spending hours dissecting their harmonies on his family's piano.
In 1960 the group recorded the masterful “Their Hearts Were Full of Spring.” It so enchanted a young Brian Wilson that he lifted the vocal arrangement note for note, fist as “A Young Man Is Gone” (Little Deuce Coupe LP) and then under the original title for the Live Beach Boys ’69 LP.
Brian Wilson credited the Four Freshmen as his main influence in crafting the Beach Boys’ sound. Those trademark vocal harmonies, were directly inspired by the Indianapolis group The Four Freshmen.
The Four Freshmen were an important influence on Brian Wilson, beginning in the mid-50s. He listened to one of their albums, Four Freshmen and 5 Trombones, and it "mesmerized" him. He spoke very highly of it: "'It brings a feeling of love inside me….
The Four Freshmen’s connection to Rock and Roll comes via Beach Boys leader Brian Wilson who as a teenager was obsessed with the group. Wilson would spend hours hunched over his family’s piano dissecting the notes of the Four Freshman’s complex harmonies, which became a key influence on the Beach Boys’ sound.
Wilson's admiration for the Four Freshmen is well-documented. He acknowledged their influence on the Beach Boys' signature vocal harmonies. The Four Freshmen's impact can be heard in many of the Beach Boys' classic songs. Long: I think we share the same favorite Four Freshmen record. I read that the 1955 album "The Four Freshmen and Five Trombones" is one of your favorites, and that was the first record you ever bought. Wilson: Yeah. I bought it at a record store in Hawthorne. I played it, and I was so, so happy to hear it.
The Four Freshmen's influence extended beyond the Beach Boys. Their innovative harmonies inspired other artists, including the jazz-oriented Manhattan Transfer. Their impact is a testament to their musical vision and originality.
Lineup Changes and Continued Career
Over the decades, the Four Freshmen underwent numerous lineup changes. In 1953, Hal Kratzsch left the group and was replaced by Ken Errair. In 1955, Errair was replaced by Ken Albers. Don Barbour left in 1960 and was replaced by Bill Comstock from Delaware, Ohio (also of the Stuarts). Despite these changes, the group continued to tour and record, maintaining their distinctive sound.
With many lineup changes, the Four Freshmen’s career continued well into the Rock era, thanks in part to their appeal to the Easy Listening market.
In 1972 Bill Comstock left and in 1977 Ross Barbour followed. Today, Bob Flanigan keeps the name and values of the Four Freshmen alive touring with three new and highly talented members, Autie Goodman, Mike Beisner, and Greg Stegeman.
Bob Flanigan was the longest surviving original member of The Four Freshman. He was born in Greencastle, Indiana in 1926 and passed away in 2011. Wilson: Yeah, I met him at a concert in Hollywood in 1958. I met him and The Four Freshmen. Long: Was he a fan of your music? Wilson: Yeah, I made it my own.
In 1977, Ross Barbour retired to go into the real estate business in California, after spending 29 years with the Freshmen. At the same time, Ray Brown also departed, choosing to step away from the road and spend more time with his growing family. Replacing them were Autie Goodman, who had spent 11 years with the Modernaires, and Dennis Grillo, a jazz composer and arranger who worked with numerous bands.
Ken Albers retired from the group in February 1982. As a result, Dennis Grillo temporarily took over the fourth part, while Mike Beisner, a student under the Stan Kenton Band Clinics, was brought in to sing the third part, as well as to play trumpet, flugelhorn and keyboards. With Grillo leaving a month later to become a professor at the Berklee College of Music, Rod Henley, who led the Hotlanta Jazz Singers and has played together with former Freshman Ray Brown in the Fancy Colors, became his replacement, while playing trumpet, trombone, flugelhorn and keyboards. Henley had previously been offered as a replacement for Comstock as early as 1972 at Brown's recommendation, though Brown was selected instead.
Rod Henley left the Four Freshmen in 1986, his place taken over by Dave Jennings and then Newton Graber. Despite returning briefly in 1987, he soon departed for a second time, and Seattle-based high school teacher Kirk Marcy was recruited as the group's bass singer in September that year.
In 1988, they made an appearance on Mother's Day with Joan Lunden, where they were joined by Lunden's husband-producer Michael A. In 1989, Mike Beisner was offered the role of musical director for talk show Everyday with Joan Lunden, resulting in his departure from the group. While he and Flanigan were searching for a replacement, they came across a 1988 demo from a then-39-year-old Greg Stegeman, featuring him singing all four parts and playing keyboards and horns.
While touring with Woody Herman's band in 1990, Flanigan suffered from a heart attack and would require heart surgery. With a few weeks left in the tour, Stegeman offered to take the top part, while Beisner temporarily returned following the commercial failure of Lunden's talk show. In April 1991, Garry Lee Rosenberg left, leaving a permanent opening for Mike Beisner to return, this time singing the bass part.
In 1992, both Bob Flanigan and Autie Goodman made the decision to come off the road. Despite the retirement of Flanigan, the last original member, the group did not disband, with Flanigan managing them. Taking their places were Bob Ferreira, a student of former member Kirk Marcy at the Edmonds College who auditioned for the group at Marcy's recommendation, and Kevin Stout, a freelance jazz trombonist in Las Vegas. Ferreira handled drums and bass vocals, while Stout played guitar, bass and trombone. As Stout could not sing at the top, he took the third part, with Stegeman taking on the high notes and Beisner singing the second part.
Mike Beisner came off the road for good in 1994. Greg Stegeman, who was then the most senior member, took on more of a leadership role, while Alan MacIntosh joined, singing the second part and playing bass, keyboards, and trumpet.
In 1998, the Four Freshmen were featured in a CBS special titled "The Four Freshmen: 50 Years Fresh!", hosted by Maureen McGovern to commemorate the 50th anniversary since their founding. This special features performances from not only then-current members Greg Stegeman, Kevin Stout, Bob Ferreira and Brian Eichenberger, but also former members Ross Barbour, Bob Flanigan, Bill Comstock and Mike Beisner.
Kevin Stout left the group in December 1999 after a seven-year stint, following which he would collaborate regularly with high school friend and saxophonist Brian Booth. Greg Stegeman retired from the group in 2001, but continued to serve as an advisor to the Four Freshmen Music Foundation. While searching for a replacement, Brian Eichenberger encountered Curtis Calderon performing at The Landing jazz club in San Antonio.
In January 2015, Brian Eichenberger left to tour with the Beach Boys, after spending 18 years with the Four Freshmen. He contacted Phil Mattson, the director of the School for Music Vocations, who recommended Tommy Boynton, then an adjunct professor at his alma mater. In end 2016, Curtis Calderon left the group to spend more time with his growing family. They began searching for a replacement, which ended up being Jon Gaines. Ferreira then sent Gaines charts of the Four Freshmen's most popular tunes, six at a time, so that he could learn the third vocal part.
On February 21 and 22, 2020, the Four Freshmen played two sets at the Dirty Dog Jazz Cafe in Michigan, with Minneapolis-based jazz trumpeter Jake Baldwin in place of Jon Gaines, causing fans to start questioning if Gaines had left the group. Stein Malvey left in November 2020 to pursue other musical ventures, after spending seven years in the group. Tommy Boynton moved to guitar and second part vocals, while bringing in Ryan Howe, a fellow faculty member and graduate of the School for Music Vocations, to sing lead and play bass.
Bob Flanigan remained the group's leader and guiding force until his retirement in 1992. He continued to manage the group even after stepping down from performing.
The Four Freshmen Today
The Four Freshmen continue to perform and record, carrying on the legacy of the original members. The current lineup consists of Bob Ferreira, Tommy Boynton, Stein Malvey and Curtis Calderon. Ferreira is the most senior member, having joined the group in 1992. Tommy Boynton plays bass guitar and sings first tenor, Stein Malvey plays guitar and sings second tenor, and Curtis Calderon plays trumpet and sings third tenor.
For the past half century, one of things that has made the Four Freshman unique among vocal ensembles is that they also accompany themselves musically. Singing complex harmonies while playing an instrument is a feat that not every street corner doo-wop group can pull off.
“Usually it’s just the four of us up there making a lot of noise,” said Bob Ferreira, in a phone interview. There, he will have the especially difficult task of keeping the beat on drums while adding bass vocals to the songs. He attributes this ability to singing backup while drumming for a rock band in high school. “For some reason, I never thought much about it. It was something I would just do,” he said. “So I think this ignorance helped me when I started playing a more complicated jazz style and singing intricate harmonies. It is a challenge. The key is practicing enough so that every song is second nature and then I can focus on entertaining people and presenting the song with whatever emotion it requires.”
Those attending the Hoogland show can expect to original Four Freshmen hits such as “It’s a Blue World” and “Graduation Day,” along with songs from the new album other selections. “They’re going to hear a great spectrum of songs from the Freshmen’s history. It will be 100 percent energy and a good time.
The group has recorded over 60 albums during their career, the most recent of which is 2015’s “Four Freshmen and Friends,” that was released on both CD and vinyl.
Ferreira said that in recent performances, songs from the new album are getting the biggest response from audiences. “They’re all classic and familiar tunes like ‘Stompin’ at the Savoy’ and ‘Girl From Ipanema,’” he said. “The get a great response because they highlight a new element of what the Four Freshmen harmony can do. They’re very much in line with our sound.”
With over 24 years in the group, Ferreira has now been a Freshmen longer than he hasn’t been. He was invited to join the band while a student at Central Washington University on the recommendation of a former member of the group. Since that time he has performed in all 50 states and 10 countries. While the memories and highlights are many, one in particular stands out. “My favorite football team is the Pittsburgh Steelers and in 1995 we got to sing the National Anthem for Monday Night Football in Three Rivers Stadium,” he said. “It was the first NFL game I had ever been to. Being a Steelers fan and getting to watch the entire game from the field in front of 60,000 screaming fans was really something special for me.”
Being a vocal ensemble known for impeccable harmonies, the Four Freshmen can’t hide behind jacked-up amplifiers, or in the case of many singers today, rely upon electronic vocal enhancements. That’s why it is especially important for them to stay rested and healthy. Spending a lot of time in busy airports and meeting crowds of fans after performances puts them in contact with the many pathogens and viruses that are always about, especially in the winter months. “We never know what germs we may come in contact with, but we just have to do our best to stay healthy and forge ahead,” he said. “If we do get sick, we perform anyway. I’ve performed with whooping cough, strep throat, We just do what we have to do to get the job done. Fortunately we’ve all been healthy this year.”
Legacy and Honors
The Four Freshmen's contributions to music have been recognized with numerous accolades. They were inducted into the Vocal Group Hall of Fame in 2001. The Four Freshmen Society, an organization dedicated to preserving and promoting their music, holds annual conventions for fans to celebrate the group's legacy.
Hal Kratzsch went on to sing with THE SIGNATURES and died of cancer in November 1970. Don Barbour never finished the work he started on his solo LP for Capitol having died in a car accident on October 5, 1961. Capitol issued The Solo Voice of Don Barbour the following year. Ken Errair did one Capitol solo album in 1957 called Solo Session and then went into California real estate.
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