The 4 Notes
By Marv Goldberg
© 2024 by Marv Goldberg
The 4 Notes made some 1940s recordings and are mostly known for having two of their members form the Blenders. However, there's a lot more to the group than that. Unusual for the day, many blurbs listed the members, so it's possible to get a snapshot of who was in the group at a particular time. However, in the space between those blurbs, things aren't so clear. [And, I'm sure you have no idea how many newspaper articles were concerned with four extortion notes or four suicide notes.]
Let's go back to January 1934, when a group called the 4 Southerners started appearing over Baltimore's WJZ and its allied station, WEAF. They were sometimes listed as the Southerners Quartet, but I'm not sure if listings for just the "Southerners" are them (I tend to think not).
The membership of the 4 Southerners was never disclosed, but (based on something we'll get to in about ten years) one of the members was James Sapp. I'm also willing to bet that another was his brother, Eddie Sapp, but I'm less certain of that.
I try to give some small biographies of the singers, as they appear, but some of these present problems. The worst of them is:
James Sapp (bass and guitarist). Since I can find his October 16, 1940 World War 2 Draft Registration data, Sapp should be a snap [sorry]. But he isn't. At the time, he was working at WKRC in Cincinnati [not WKRP], which means it's definitely him. But he didn't fill out the card himself; he sat at a desk and answered the registrar's questions, and the registrar filled out the card. Under "age in years", it says 27, meaning a birth year of 1912 or 1913. In the "date of birth" box, under "month", it says 13 (what comes after December, daddy?); the "day" space is blank; and the "year" is "1913" followed by a curve that resembles the left half of a zero. Where was he born? The "town or country" field looks like it says "JY-GA" and the "state" field says "STATE". I really hope the registrar was immediately shipped off to the front lines (and I don't care that we hadn't entered the war yet; this is IMPORTANT STUFF!) I can tell you that he was actually born in Savannah, Georgia, but his date of birth remains elusive; there doesn't seem to be a Social Security record I can check it against and he never appears in any census. Because you had to let the draft board know if you changed addresses, there are several changes written in around the periphery of the card (reflecting different cities he performed in); they're mostly illegible (except for one that we'll get to later).
On December 16, 1935, the 4 Southerners appeared at the three Hewit drug stores in Binghamton, New York. The ad said they were a "popular quartet".
They were still around in 1937, when, on March 18, they recorded a couple of sides for Decca Records in Chicago: "Trouble In Mind" and "Dan The Back Door Man". These were released in April, but, once again, nothing gives the personnel. "Dan" was a cover of the Georgia White song, which had been released, also on Decca, in February. (A "back door man" was the guy who flees out the back door as her husband is coming in the front door.)
Finally, some names. The June 8, 1940 Cincinnati Enquirer had this:
A new Negro vocal team, "Four Of A Kind", recently added to the WLW [a Cincinnati radio station] staff, will be heard in the "Musical Patch Quilt" at 3:30 o'clock today. All from Savannah, Ga., the foursome comprises James and Eddie Sapp, Adam Jackson, and Herbert Houston. The boys' ambition is to follow in the footsteps of the Mills Brothers and the Charioteers.
Their first listing as the Four Of A Kind was on June 13 at 4:30 on WSAI (a station allied with WLW).
The June 28, 1940 Dayton Forum had a photo of the Four Of A Kind, with this caption:
The thought being rhythm. The purveyors of same are a new WLW Negro quartet known as "Four Of A Kind", logical successors to the Mills Brothers and the Charioteers, who were heard over WLW not so many years ago.... They hail from Savannah, Ga., and since 1933 have traveled around the east and middle west making recordings and doing broadcast work. They are featured currently on "Afternoon Follies", heard Monday, Wednesday, and Friday at 5 p.m. EST.
Once again, other than James Sapp, I can't honestly tell you that any of them had been in the group prior to 1940, but the October 16, 1940 draft registrations for all four are available. We've seen the mess that was James'; here are the others (keep in mind that, unlike most other singers that I research, there are few other records around that I can check these against):
Eddie Sapp (James' brother) was born, he said, on August 5, 1913 in Savannah, Georgia. Like his brother, he's working for radio station WKRC in Cincinnati (a sister station to WLW, both part of the Crosley network). However, chances are that both he and his brother weren't both born in 1913 (although it's possible). His mother's name is "Rehamma Sapp" of Savannah. Even worse, he gave his age as 22, and the last I heard, 1940 minus 22 is around 1918. I'd really like to know where they got the registrars from in Cincinnati. At the time of the April 1940 census, he was living in Pittsburgh (an "entertainer"), and, again said he was 22. It's really probable that he was born in 1918.
Adam Jackson was born on August 6, 1912 in Savannah. He, too, said he was working at WKRC (in the Alms Hotel). You may have heard of his son, Adam, Jr; he grew up to be lead of the Jesters.
Herbert Limberick Houston was born on August 12, 1913 in Savannah. For some reason, when he registered for the draft, on the same date as the others, he said he was working for WLW, rather than WKRC.
The July 2, 1940 Variety said: "Cinc. 7/2/40 - Also new on the Crosley staff are the Four Of A Kind, Negro vocal quartet from Savannah, Ga. They are James and Eddie Sapp, Adam Jackson, and Herbert Houston and were heard on small eastern stations of late. Quartet warbles hot tunes and spirituals on WLW."
In the spring of 1941, the Four Of A Kind hooked up with Leon Claxton's 1941 All Sepia Revue, a part of the Royal American Shows, a traveling carnival. They were first mentioned when Royal American played Mound City, Missouri. The May 3 Chicago Defender said: "The 'Four Of A Kind' quartet, too, was a hit with the crowd."
The May 10 Pittsburgh Courier had a photo of the group saying that they were appearing with Claxton's "Hipp Cat Revue".
And, here's how I knew about their earlier recordings (from the July 5, 1941 Detroit Tribune):
Today, on Royal American's initial visit to one of the best show cities in the U.S.A., Claxton brings 60 all-star troupers to the Dearborn show grounds at Wyoming and Michigan. They run the gamut from "Four Of A Kind" whose quartet songs over WLW, Cincinnati, and for Decca recordings were known as "The Four Southerners". Because their professional name conflicted with NBC's "Southernaires", WLW changed their title to "Four Of A Kind". They will be heard over Detroit stations this week. [See, I don't make this stuff up. (At least not all the time.)]
But by August, Adam Jackson had departed. This confusing piece was in the August 23, 1941 Indianapolis Recorder (talking about the show at that city's Cotton Club):
Dorothy Jackson, a most unique little hoofer who does acrobats with her dancing, and also taps while jumping the rope! Her hubby, Adam Jackson affords the vocal, and he's formerly a member of the Four Of A Kind who broadcast over WLW all last year!
Why is that confusing? Because in 1938, Adam ("singer") had married Ruth Walker in Manhattan. While in the 1950 census, she said they were separated, there's no record of him (or any other Adam Jackson) marrying anyone named Dorothy. Of course, nothing said who replaced him in the group.
In early 1942, the Four Of A Kind started experimenting with calling themselves the "Four Notes". In February, they appeared at the Club Three 666 in Detroit. A blurb in the March 28 Chicago Defender said that they were managed by Mabel Whitman, one of the famed Whitman Sisters, and were auditioning to be part of Claude Hopkins' orchestra.
However, that didn't happen and, according to the June 13 Chicago Defender, the Four Of A Kind were back with Claxton and his "Hep Cat Revue" in the Royal American Shows. However, the June 20 Defender called them the "Four Notes".
They must have left the show sometime in August, since they spent the week of August 28 at the Howard Theater in Washington, D.C. Also on the bill were the Lucky Millinder Orchestra, Rosetta Tharpe, and dancers Tip, Tap, & Toe.
Starting in October 1942, the 4 Notes appeared at the Buvette Club in Rock Island, Illinois. The ad promised "Vocal Solos - Duets - Quartette". They alternated with the 4 Clefs and were still there in early January 1943.
The January 30, 1943 Billboard said:
MINNEAPOLIS, Jan. 23 - Fergy Bloom, operator of the Flame Club here, is back from Chicago, where he appointed the Frederick Bros.' office as his booking representative. New bill set under this deal opens Wednesday [January] (27) and includes Sam Koki (3) and Napua, and the Four Notes, colored unit.
Remember back when we were reading James Sapp's draft registration card I mentioned that there was only one subsequent address that I could read? [Is anyone paying attention?] That address was for the Frederick Brothers Chicago office.
Finally, some more names, courtesy of a blurb in the March 6, 1943 Cleveland Call And Post. The title was King Tutt Lodge Initiates "4 Notes" In Membership Drive.
By a special ceremony performed by a committee appointed by Exalted Ruler Charles V. Carr, King Tutt Lodge No. 389 IBPOE [International Benevolent Protective Order Of Elks] of W [?], obligated members of the Four Notes, noted vocal stars of radio and stage who are currently appearing at Chin's Golden Dragon Cafe in downtown Cleveland. The singers by name are: James Sapp, Eddie Sapp, Frederick Jackson, and Daniel Hall.
We now have a question: was "Frederick Jackson" really "Frederick Jackson" or is he Frederick Johnson (who'll be along later)? The definitive answer is "who knows?" This is the only reference to a singer by that name.
Daniel Hall is a mystery man. It's a common name and the most likely candidate (who lived in Cleveland) turned out to have been in the army during this period.
The May 22, 1943 Billboard said: "Four Notes, vocal quartet, expected to head for the west coast shortly on a picture deal." As in almost all notices of this type, it never happened. There was nothing further about the 4 Notes in all of 1943.
A good reason was that, at some point, the 4 Notes were no more. The April 15 and 29, 1944 Pittsburgh Courier had an ad placed by Jimmy Sapp:
Bass Singer and Guitarist for 14 years with the Four Notes. Prefer working with similar groups. Write - Jimmy Sapp 462 E. Oakwood Blvd., Chicago
Strangely, his ad didn't seem to appear in any Chicago paper.
There was a photo of the 4 Notes in the November 25, 1944 Indianapolis Recorder, but it was a local spiritual group.
So, Jimmy Sapp was trying to put together a new 4 Notes group. They wouldn't coalesce until very late 1944. I know this because one of the members would be Gene Smith, who wasn't available until that time. (He was somewhat busy taking Harry Mills' place in the Mills Brothers, since Harry was in the army from September 22, 1943 through October 17, 1944. Gene even appeared in some films with the Mills Brothers and would capitalize off this for the rest of his career.) The other two new members were Tommy Adams and Frederick Johnson (I told you he'd be back).
Richard Eugene "Gene" Smith was born on November 11, 1916 in Asheville, North Carolina. In the 1940 census, he was living in North Brentwood, Maryland and was a car cleaner for the Southern Railway Dining Car Department. He'd be the usual tenor lead for the 4 Notes from now on.
Frederick Earl Johnson was born October 18, 1918 in Columbus, Ohio. In his October 1940 draft registration, he said he was a concert singer. I suppose he was a tenor or baritone.
Tommy Adams is another mess. In the 1950 census, "Tommie Adams" (singer - night club), was living in Manhattan with his wife, Bernice. He was 25 and had been born in New York (in either 1924 or 1925). However, neither of them show up anyplace else.
The first appearance I can find for the new 4 Notes was a good one. The week of February 2, 1945, they appeared at the Apollo Theater, along with the Erskine Hawkins band. They were only credited as "The Notes" in the ad (although the "Four Notes" in part of the write-up). The February 3 New York Age said: "Two members of the Notes had been pinch-hitting for the absent Mills Brothers, and then decided to form their own organization." However, Harry Mills was the only brother to be drafted and neither Sapp, Adams, nor Johnson was ever associated with the Mills Brothers.
They were back at the Apollo (as the 4 Notes this time) the week of February 6, along with Andy Kirk's band and Una Mae Carlisle.
The first photo of the 4 Notes appeared in an ad for Washington D.C.'s Club Bali that said they'd be opening on May 25, 1945. Usually dated much later, it shows Gene Smith, Tommy Adams, Frederick Johnson, and James Sapp. The next day, the whole cast entertained soldiers at Fort Belvoir, a bit south of Alexandria, Virginia.
By that time, I suppose, they'd already recorded four songs for Premier, a St. Louis label: "Coffee Five - Doughnuts Five", "Jungle Twilight", "You Sure Look Good To Me", and "I'd Do It All Over Again". The last two were released first, in June 1945. "I'd Do It All Over Again" was a popular song that was recorded by a few other artists. The publisher, Shapiro, Bernstein & Co. took out an ad in the July 7 Billboard listing four versions, including the Four Notes'. However, it took Billboard until December 1 to report that they'd been signed by Premier.
The other two songs ("Coffee Five - Doughnuts Five" and "Jungle Twilight") were released around October 1945. That same month, the 4 Notes appeared at the Rio in Baltimore.
An article in the December 19, 1945 Baltimore Evening Sun was titled "SUIT FILED AGAINST THE FOUR NOTES":
Four entertainers, known professionally as "The Four Notes," today detected a definitely sour note in the "short-note-and-attachment" proceedings brought against them in the Superior Court.
They were defendants in the claim for $137.50 filed by Dave White, trading as the Nation-Wide Theatrical Agency, for commissions allegedly due as a result of appearances at night and supper clubs in September, October, and November.
"The Four Notes" were named individually as Eugene Walker, James Sapp, Gene Smith, and Thomas Adams.
From this, we learn that Frederick Johnson was gone, replaced by Eugene Walker.
Eugene Curtis "Bunny" Walker was born August 11, 1918 in Asheville, North Carolina and died February 1, 1967 in Harlem. ("Bunny" was a childhood nickname; his birth record called him "Jean Curtis Walker".) The August 31, 1940 New York Age said: "And don't forget the Battle Of Swing on the 29th at the Elks Hall . . . . the battling bands will be Al Browne and his Sultans and Bunny Walker and his boys." Since he didn't really play any instrument, I don't know what he did with the band, unless he was their singer.
This was a pretty stable lineup. From sometime in 1945 through at least February 1947, the 4 Notes were Gene Smith (tenor), Bunny Walker (second tenor), Tommy Adams (baritone), and James Sapp (bass and guitar).
However, there don't seem to be any photos taken with Bunny Walker. Until late 1947, all photos used had Frederick Johnson in them, although he was no longer in the group. For example, there was a Premier Records ad (with the company name spelled wrong) in January 1946 that had a photo of the group with Freddie Johnson, who might have been on the Premier recordings.
When they appeared at Manhattan's Le Ruban Bleu in April 1946, they were named as Tommy Adams, Bunny Walker, Gene Smith, and James Sapp. A review of their performance in the April 16 New York Sun liked their singing, but said "Their stage presence in this small room, however, leaves something to be desired, but once those who have to retire a few steps, while others are at the microphone, learn to wait their turn without distracting the attention of the audience by mugging, the boys will probably be formidable competition for other such units." On April 11, they were one of the acts that entertained at the U.S. Marine Hospital.
They were still at Le Ruban Bleu in June 1946 (and the ad, touting their 11th week, still had Freddie Johnson's photo). They did some more entertaining at the St. Albans (Queens) Naval Hospital sometime in June.
The July 13 Billboard said: "The Four Notes, coming from New York, set for Hollywood's Radio Room." On their way to California, they stopped off for an appearance at McVan's in Buffalo, NY in August.
While I can't find them appearing at the Radio Room, they (and Muriel Gaines) opened a two-month engagement at the Clover Club in Los Angeles on September 2. This was a "breakfast club", which opened late at night (midnight in this case) so that war workers could see a show; they seemed to have kept going after the war. It's possible that they were at the Radio Room earlier in the evenings, but there were no ads.
On November 9, they were at The Jade, in Los Angeles, but there was only the single ad. After that, it was back to New York and Le Ruban Bleu.
The December 21, 1946 Billboard said: "Four Notes, now at Le Ruban Bleu, waxed album for International Records, which will hit counters this week." This confuses me, since the album (a 3-record 78RPM set, called The Four Notes Album) was in Billboard's own Advance Record Releases column back on September 21. However, I guess I have no choice but to date it in December. The International label was from Long Island City, Queens, New York. The six songs were "Re-Bop", "When Day Is Done", "Deep River", "Eileen", "The House I Live In", and "Moonlight Bay". The only one of these I've ever heard is "Eileen".
Billboard reviewed their Ruban Bleu show in their January 18, 1947 issue:
Four Notes (four voices, one guitar) used two mikes. Team showed little except willingness. Routine, consisting of harmony and overdrawn comedy, was devoid of showbiz savvy. Boys eventually may make the grade, but not on the basis of the material shown.
However, Ruban's audiences didn't read Billboard, as evidenced by this in the January 29, 1947 Brooklyn Citizen: "Our favorite quartet, the Four Notes (Gene Smith, Jimmy Sapp, Tommy Adams, and Bunny Walker), at Le Ruban Bleu, have been held over due to their popularity with the nightly dancers. They're on International Records, too."
International would release a single in February (it wasn't mentioned prior to that): "St. Louis Blues", backed with "Foolishly Yours". The Brooklyn Citizen of February 17 had this:
Speaking of records, the Four Notes, whose International platters are clicking in a big way, celebrate their second year as an organized group tomorrow. Personnel remains the same as two years ago: Gene Smith, Tommy Adams, Bunny Walker, and Jimmy Sapp.
Well, they were close. They credited Bunny Walker with being there at the beginning, when it was actually Frederick Johnson. Also, their first noted appearance was at the Apollo Theater, starting on February 6, 1945, not February 18.
Another Shapiro, Bernstein ad, from late February 1947, showed that the Deep River Boys and Savannah Churchill, as well as the 4 Notes, had released "Foolishly Yours". This is the earliest mention of that 4 Notes recording.
The February 22 New York Age talked about the Ruban Bleu show:
That entertainment bill at Le Ruban Bleu is on the beam, and why wouldn't it be.... Four Notes, distinctive Quartet with harmony and personality personified. Their "Foolishly Yours", "You Sure Look Good To Me", and "I Get The Blues When It Rains" stopped the show right in the beginning. Not bad for Bunny Walker, Tommy Adams, James Sapp, and Gene Smith.
At some point after this (prior to September), Freddie Johnson rejoined, replacing Bunny Walker, who'd go on to join the 3 Riffs.
The week of July 25, 1947, the 4 Notes were back at the Apollo, along with the bands of Sid Catlett and Arnett Cobb. On the screen was the world premiere of "Sepia Cinderella" (with the Brown Dots). This is the only time that Apollo owner Frank Schiffman commented on their performance: "Harmony quartette with guitar, sang fairly well, not near as good as they were on their last performance." He probably regretted the $350 he paid them for the week.
The article in the September 13, 1947 Washington Afro-American was titled "The Four Notes Stardom Bound":
The Four Notes, current rage on the Eastern Seaboard, are skyrocketing to the top of the ladder in the show under the leadership of Washington's own Gene Smith.
The Four Notes are a "dream come true" for Gene, who while a member of the famed Mills Brothers, dreamed up the idea of some day heading his own group.
The group recently played a hold-over engagement at the 845 Club in New York and are scheduled for a tour which will include Philadelphia, Washington, Detroit, and Chicago.
Before hitting the road the Notes are booked for a recording session with Gotham Records.
The quartet has been collaborating with composer Shep Shephard on two of his tunes, "Five Sided Square" and "Shadows in the Night" [sic; should be "Shadows Of The Night"]. They were dubbed by [opera singer] Lawrence Tibbett "the wonderful Four Notes".
Besides Gene, members of the group include, basso Jimmy Sapp,. formerly with the Vagabonds, Freddie Johnson, and Abie Levy [sic; should be "Levi"].
The Gotham recordings were: "Away" (a vocal version of Earl Bostic's theme song), "Shadows Of The Night", "All By Myself", and "East Side, West Side".
As I said, Freddie Johnson had come back to replace Bunny Walker. In addition, Abie Levi had replaced Tommy Adams (although the labels make it clear that it's Tommy Adams on the Gotham recordings, not Levi, indicating that they were made prior to mid-September). Note that I can't find anything that ever placed Jimmy Sapp in the 4 Vagabonds; there's no evidence that any of the Vagabonds was ever drafted.
Abie Levi was born on November 18, 1917 in Huehuetenango, Guatemala. At the time of his 1940 draft registration, he was living in Chicago and working for the Chicago Operetta Company.
When they appeared at the Club Three 666 in Detroit, for the two weeks beginning October 16, they were also named as Gene Smith, Jimmy Sapp, Freddie Johnson, and Abie Levi.
In November 1947, when Gotham released "Away", coupled with "Shadows Of The Night", they were billed as "Gotham's Four Notes".
The February 10, 1948 Tampa Tribune said: "The Four Notes, sepia carbon-copies of the Ink Spots and Mills Bros., worked on a midway show five years ago for $100 a week (the whole combo) but now are holding out on their next contract for $1500 per week."
Also in February, Gotham re-released "Away", this time backed with "All By Myself". They then joined Leon Claxton's "Harlem In Havana" revue (still part of the Royal American Shows). This was in the February 21, Billboard:
As usual, Leon Claxton's Minstrel Show is getting a big run. This show, for some reason, has always been a drawing card at the fair here [Tampa]. Lineup, costumes and lighting this year are tops.
The Four Notes, a versatile quartet that has been heading for fame on the networks, recordings, and television, are outstanding. Claxton, an old friend of Jimmy Sapp, one of the quartet, signed up the team for the road. With Sapp are Tommy Adams, Ollie Johnson [sic; should be Jones], and Gene Smith. Their take-off on the Ink Spots is terrific. The Four Notes came to Royal American from the Club Ebony in New York.
So, Abie Levi's short stay is over and Tommy Adams has returned. In addition, Freddie Johnson is gone again and has been replaced by Ollie Jones.
Henry Oliver "Ollie" Jones was born on December 9, 1923 in Philadelphia. When he registered for the draft on June 3, 1942, he was working in a Horn & Hardart automat. In 1946, he became an original member of the Ravens (and does the lead on the Hub version of "Out Of A Dream", along with Jimmy Ricks).
Ollie Jones said: "They [the Ravens] hired me and I stayed until Maithe Marshall came along. After that I went with another group of three guys looking for a fourth. We called ourselves the Four Notes and I worked a summer carnival circuit with them before coming back to New York. I think Ricky [Jimmy Ricks] felt a little guilty about the way I was let go by the Ravens and he helped me put together the Blenders."
Aside from being a singer, Ollie was also a song writer. His credits include Nat King Cole's "Send For Me", Fabian's "Tiger", the Crests' "Step By Step", and Damita Jo's "I'll Be There" (as well as some 200 other titles).
The May 29, 1948 Chicago Defender had this:
With unique and novel handling of black lighting, latest in theatrical staging, Leon Claxton's Harlem in Havana revue sets the pace for another successful season with the Royal American Shows.
Moving into its second hectic week here [St. Louis] on the midway, the veteran showman is presenting this year some of the best talent in the business.
Tops among his hit acts are the Four Notes, a well-balanced quartet, who can give a take-off on the Ink Spots' "If I Didn't Care" or the Ravens "Write Me A Letter" that draws applaudits [sic] nightly. Billed as stars of radio and television, the young lads are proving a favorite.
Somewhere along the line, they snuck in a recording session for Detroit's Paradise label (owned by Mrs. Delmar Ray). In June 1948, Paradise released "Rockin Chair", backed with "Whiffenpoof Song" (listed in Billboard's June 26 Advance Record Releases column). This is all you need to know about "Whiffenpoof Song":
If you've never listened to it, it's about a bunch of college students who are getting to the overemotional stage in their drinking. The song, based on a poem by Rudyard Kipling called "Gentlemen Rankers", contains one of the saddest thoughts ever to hit a student: "we'll pass and be forgotten with the rest". (And, in case you're wondering, a "gentleman ranker" was a member of the British upper classes who voluntarily joined the army "in the ranks", rather than as an officer.)
When they played Regina, Saskatchewan, the July 27 Leader-Post said:
Headlining the brilliant musical production is a group of four comparative newcomers to the quartette field, The Four Notes. Reading from 'do' to 'fa', the Notes are Gene Smith, Tommy Adams, James Sapp, and Ollie Jones, and their interpretation of such numbers as "The Whiffenpoof Song" provides justification for their stage, radio, television and recording popularity in the United States.
Although their rich tones and perfect harmony mark the Notes as fine musicians, the boys are expert showmen as well. One performance of their hilarious takeoff on the Ink Spots is proof positive of that. [Tommy Adams was famed for his satire of the Ink Spots' Bill Kenny.]
The same edition of that paper had a big article titled "Four Notes Lonely For Gotham Scenes":
"Man, we're gonna make a bee-line for The Apple when the season's over."
The quote was a unanimous one and it came from the Four Notes, featured singers with Leon Claxton's "Harlem in Havana" revue on the midway at the fair.
It meant they were homesick. They can hardly wait to get back to New York or, as they term it, "The Apple."
Not that they're fed up with their first season as carnival troupers. No, just homesick, that's all.
They do admit, though, that the life is a rugged one - early to work, late to quit, nine to 14 shows a day. It's quite a difference from night club work where they start late, sing three or four times nightly and get plenty of sleep in the daytime.
But they're not complaining. They're having fun and rounding out their show business experience which already includes radio, records and television.
Tall, smart looking Gene Smith, who used to be with the famed Mills Brothers, is the leader of the group and sings tenor. James Sapp plays guitar and sings bass, Tommy Adams is tenor, and Ollie Jones baritone.
Ballads, semi-classics, comedy numbers, swing, South American tunes and spirituals - they take 'em all in their stride and toss in a terrific take-off on The Ink Spots besides.
The story of the quartette goes back to Chicago when Gene Smith was with the Mills Brothers, filling in for one of the brothers who had gone to war. He had been with the group 14 months when he met. Jimmy Sapp, of the Four Vagabonds, on NBC. [Again, I can't find anything that places him with the 4 Vagabonds.] Plans were made to start their own outfit and Tommy Adams and another fellow [poor forgotten Freddie Johnson] were signed. Adams was just out of high school [at age 21???]. With two months rehearsal, the group started night club work.
Ollie Jones, an alumnus of another noted singing outfit, The Ravens, joined later.
Their career includes dates with the bands of Andy Kirk and Jack Teagarden; 20 weeks at New York's famous Ruban Bleu, appearances at a score of other night clubs and theatres; recordings for two New York companies; television appearances in the New York area and guest spots on a number of radio programs including Arthur Godfrey and Henry Morgan shows and Reader's Digest. Lawrence Tibbett heard them on the latter, described. them as the "Wonderful Four Notes" and invited them to be his guests on the program.
Ollie Jones has definite views on Canada. The nights are too short, he says. With daylight saving time, it's light when he gets up and light when he quits work.
The Minneapolis Star-Tribune of September 5, 1948 had the last-ever mention of the group in an article about Leon Claxton: "He pays a group of his performers - the Four Notes singing quartet - $750 a week plus hotel and traveling expenses."
In October 1948, there were two 4 Notes releases. The first was on Paradise: "May It Be Christmas", coupled with "Auld Lang Syne". The other was on Gotham, a third release of "Away", this time backed with "East Side, West Side". This disc was reviewed in the October 16 Cash Box and the October 30 Billboard [note that this was the only 4 Notes release ever reviewed]:
(CB; no ratings): Pair of sides spilling in the light vein here by The Four Notes shows as wax ops can use as top notch filler material [I swear that's word for word]. Titled "Away" and "East Side, West Side", the vocal combo display some great harmony on the pair to egg on coin play. Top deck, well known as Earl Bostic's theme song gets a nice send-off as the group purr the soft, flowery wordage. On the flip, with the standard "East Side, West Side", the combo bounce back with some stuff that makes for pleasant listening. Wax is there for the asking - ops take it from here. [My observation: this was written by someone from England or a part of the British Empire. In the U.S., we would have said "combo displays", "group purrs", and "combo bounces". In England, "combo" and "group" tend to use the plural form of the verb.]
Away (BB; 77): Rather attractive handling of a fair tune.
East Side, West Side (BB; 72): Dressed in rhythm garb and with singing more like the Ravens might do, the oldie may draw some juke biz.
But by the time of those reviews, the 4 Notes were no more. Ollie Jones and Tommy Adams had formed the Blenders, who had first recorded in October. I can find no further references at all to James Sapp.
The May 15, 1949 Munster, Indiana Times had an article about the Hennies Brothers Show, seemingly a rival to Royal American Shows. It said, in part: "On the stage of the Showboat [the name of one of the Hennies revues] is Gene Smith, formerly tenor with the radio team of Mills Brothers and during the past winter with the Four Notes."
Since it mentioned "winter", I suppose it's possible that Gene Smith and Jimmy Sapp somehow kept the group going through early 49, but there's no proof of that. On May 16, the Times had a photo of Gene singing with the show's band. He toured with them for the whole season, and was mentioned as late as October 2, in Muskogee, Oklahoma.
Nothing exciting in 1950 or 1951, but in late 1952 there was a record, on Blue Key, by Gene Smith's Four Notes: "I Didn't Mean To Be So Mean", paired with "Wicked City Woman". The members were listed on the label as: Gene Smith (vocal), Ted Queen (tenor sax), Roy Magee (guitar), and Earl Thomas (piano). However, it's a strange record. "I Didn't Mean To Be So Mean" sounds like it's a precursor to Rock 'N Roll, with all of them singing (although the Red Caps could sound like that). But the flip is clearly a "hillbilly" sound. I believe the label was from Baltimore.
The October 25, 1952 Cleveland Call And Post talked about a new group called the 4 Notes, headed by William "Jo Jo" Jones. While there were no members that ever sang with Gene Smith or Jimmy Sapp (as far as I could tell), they were from Baltimore also.
In an ad dated December 19, 1954, "Gene Smith & His Five Notes" appeared at the Club Ambassador in Baltimore. However an article in the Baltimore Afro-American of the same date called them the Four Notes:
SOFT-SPOKEN Gene Smith and his Four Notes are at the club Ambassador, Washington and Fayette Sts., and here is a talented group which stands up under repeated listenings.
When the column caught the show last week. the outfit started off with the ballad "Little Things Mean A Lot" and then in rapid fire fashion turned their attention to a mambo and then a jump tune.
All of the numbers were done with style and taste, which gave a fair indication of the group's talent and versatility.
The boys have a top notch outfit that blends together well, and they earn our warmest recommendation as one of the best new outfits in the business.
The leader, Gene Smith, sang with the Mills Brothers for several months and had his own group which played a number of name spots including the Waldorf Astoria, Le Ruban Bleu and Hollywood's Clover Club.
A native of Baltimore, Gene's principal concern is providing the type of music people want to hear, when they want to hear it, and that aim is being accomplished at the Club Ambassador, where the group has enlisted scores of new fans.
One of the shining lights of the group is Ted Queen, an alto saxophonist, who handles a number of the singing chores in fine fettle. On the bass is Paul Brown of Severn, Md., Roy McGee is featured on guitar, and the group is rounded out by Roosevelt Wardell, another native Baltimorean who plays a lot of piano.
They are really impressive and we suggest you visit the popular Club Ambassador where George Nason will be on hand to welcome you.
Again, nothing in 1955, but there was another ad for the 4 Notes at the Club Ambassador in January 1956. The last known listing for Gene Smith & the 4 Notes, was at the Carnival Lounge (Baltimore) in August 1957.
The 4 Notes didn't have hit records and today many of their discs are rare (which accounts for the fact that I still haven't heard half of them). They also got mixed reviews from papers and trade journals, yet they remained popular with the audiences of the day.
DECCA (4 Southerners)
7291 Trouble In Mind / Dan The Back Door Man - 4/37
PREMIER (4 Notes)
29000 You Sure Look Good To Me / I'd Do It All Over Again - 6/45
29002 Coffee Five - Doughnuts Five / Jungle Twilight - ca. 10/45
INTERNATIONAL (4 Notes)
The Four Notes Album (three 78 RPM records) - 12/46
451 Re-Bop
452 When Day Is Done
453 Deep River
454 Eileen
455 The House I Live In
456 Moonlight Bay
215/216 St. Louis Blues / Foolishly Yours - 2/47
GOTHAM (Gotham's 4 Notes)
153 Away / Shadows Of The Night - 11/47
157 Away / All By Myself - 2/48
164 Away / East Side, West Side - 10/48
PARADISE (4 Notes)
115/ 116 Rockin Chair / Whiffenpoof Song - 6/48
113 / 114 May It Be Christmas / Auld Lang Syne - 10/48
BLUE KEY (Gene Smith's Four Notes)
1001 I Didn't Mean To Be So Mean / Wicked City Woman - 52
