JAMES BLACKWOOD
In Concert

By Art Greenhaw
July, 1992

If a James Blackwood Quartet concert is scheduled for 7:30 p.m., beginning at about 6:45 p.m. or earlier, you'll find James noticeably meeting and greeting his public near or behind his "record table" (as it's often called in Gospel music circles), which in the summer of 1992, has only an occasional offering in the classic vinyl format known as a 12" 33 1/3 rpm long-playing record. Instead, there's a virtual flowering of colorful audio cassette tapes, videos, photographs, catalogs, and various other quartet souvenirs and memorabilia that James presides over as the Master's merchant.

No getting out of the bus for James at 7:25 for a 7:30 concert. Come time to sing, the man called "Mr. Gospel Music" has been pressing the flesh for nigh an hour, granting audiences to saints and sinners--any and all who wish to talk--or simply smiling and nodding to the occasional fan who simply wants to bask in the glow of the man, who, like few others in our time, seems to look better the older he gets (Cary Grant comes to mind as another example of this phenomenon). Even though it's been fifty-eight years and some five million miles since James began singing full-time for the Lord, he still wants to be as close to his audience as possible, and vice versa.

Early in the evening prior to the start of the concert, an aged man approaches James proudly holding like the Biblical pearl of great price a few of his prized RCA Victor Blackwood Brothers LPs. After carefully removing the characteristic senior citizen-style plastic bags and rubber bands protecting these recordings that have been his companions for thirty, maybe forty years, the man shyly shows them to James, perhaps for affirmation of his authenticity as a long-time fan, perhaps out of gratitude for the music therein. How easy would it be for a man of lesser spiritual stature than James to not give this humble gesture of homage a second glance. How many times has James seen the album covers Hymn Sing, On Tour, Pearly White City, or Something Old, Something New? But lo, as if on the wings of a dove, the elderly fan's esteemed possessions find their way to a place of prominence near the quartet's record table for all to see and enjoy. Needless to say, the devotee is ecstatic, for by this seemingly small and insignificant gesture motivated by James Blackwood, the fan shares in a bit of the legacy and the glory of the Blackwood mystique, and in doing so, becomes more a part of the music ... more a part of those many mansions promised by our Lord in the Father's house about which James sings ... more a part of the message of inclusion and "room for all" which is the very heart and soul of the Christian faith and that inspires the songs and the singers.

Closer to concert time, the James Blackwood receiving line lengthens to include more fans and friends, church music directors and pastors, an elected official with a proclamation for James, and singers and would-be singers, many of whom have traveled a good distance to hear James sing just as folks have done since 1934 when the music began.

Soon the concert begins, and James Blackwood sings, joined by bass Ken Turner, baritone Ray Shelton, first tenor Larry Ford, and pianist Brad White--music and style-masters all.

Cries of "BRAVO!" and more were heard above the thunderous applause that accompanied the standing ovation after both a James Blackwood signature song, "I'll meet You In The Morning" and the concert's closing song. One of the hardest parts of handling fame is not being changed for the worse by that fame. James seems to have no problems in this area as he cuts short the standing ovation with the response, "I know your praise and applause is not for me but rather for the One about whom we've been singing--Jesus."

Since it's summertime in Texas, the sun was still up when the concert began. It's nighttime now as the concert ends, and the quartet is in the process of moving on to its next engagement.

James Blackwood is still on the scene, looking dapper as usual, even though this makes his third concert/service of the day, and he sung the night before at Fort Worth's legendary "Battle of Songs" until past midnight.

A young man is introduced to James as a graduate of the Stamps-Baxter School of Music. A short discussion takes place about the man's work in the field of Gospel music, and lo and behold, in a spontaneous move, James turns to a nearby pianist and asks for "Walk With Me in G" for the expressed purpose of hearing the young man sing. To many a Gospel singer, the thought of singing for James Blackwood is liken to a preacher preaching for Billy Graham, or maybe even St. Peter, and the young man can scarcely contain his deep excitement. The performance is a quality one, although the delivery and vocal polish are, as of yet, no match for James.

But who knows what effect this gesture on the part of James might have on this young man's life and love of Gospel music? For if a man of the artistic stature of James Blackwood can show this consideration for others, can the pupil not, in turn, be much more motivated by example to do likewise, thereby living more for others and more like Christ?

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