With the tradition of quartet bass singers all but lost it should come as no surprise that we take time to review the solo project of basso Legend Isaac "Dickie" Freeman.  Known throughout the quartet industry for years as one of the best bass singers, Freeman has proven his skills throughout the years.  Having first made a name for himself in the Legendary Kings of Harmony, Freeman moved on to the Fairfield Four in 1949.  For 12 years the Fairfield Four were heard on Nashville's WLAC 50,000 watt station every Sunday morning from 6:45-7:00 AM.  Their voices became synonymous with quartet in the south.  With hard times and other circumstance the year of 1950 found Freeman, James Hill and Preacher Thomas  in yet another Nashville group called The Skylarks. 

It was in the Skylarks that Freeman's bass vocals really caught the attention of quartet fans.  In fact most of their hit selection were lead by Freeman himself.  Who can forget the beautiful arrangements of "Crying In The Chapel", "Baptism of Jesus", and so many others?  At the ripe age of 73 Isaac Freeman has given the industry yet another jewel in the form of this new CD release.  Though the CD was released in late 2001 overseas it has finally become available at all major outlets in the United States.  However, due to the obscurity of the Dead Reckoning label we will present this release under the independent section. 

Enlisting the help of Mike Henderson & The Blue Bloods world famous Nashville aggregation one would expect a heavy blues sound.  While this is the case with some selections, for the most part this is Dickie Freeman at his best.  It would seem though that the title of the CD should read "Isaac Freeman & The McCrary Sisters", for the background vocals are handled by the great Rev. Sam McCrary's daughters.  As many Fairfield Four fans know, Rev. McCrary was the backbone of the group during the early years and his daughters literally carry on his tradition.

From the opening bars of the first selection the listener is blown away by the bass range of Mr. Freeman.  His ability to not only sing the deepest registers of the music scale but sing expressively is an art all to itself.  The project opens with one of Freeman's earliest selections "Standing on The Highway".  Though this song was made famous during the 1940s by the Angelic Gospel Singers and Dixie Hummingbirds, Dickie places his own unique stamp on this classic.  The song moves flawlessly from a slow ballad like tempo to a rocking hand clapping shout song in no time. 

Freeman then shows his ability to adapt to the smooth blues sounds of the Blue Bloods on "Because He Lives".  While listening to this soothing selection it becomes apparent that this combination of blues band and Freeman is definitely history in the making.  Complete with swooping moans by the McCrary Sisters Regina an Ann, Dickie gives this classic hymn new life in true bass fashion.  As the project moves on it becomes evident that Freeman has not only left us with great singing but also an up close portrait of his life.  Selections such as the aforementioned "Standing On The Highway", "Don't Drive Your Child Away", and "Beautiful Stars" begin with great monologues about various life experiences of the quartet Legend. 

Other songs of note include the head bobbing version of "Jesus Is On The Mainline".  The Bluebloods are in rare form on this classic selection.  While listening to this selection you can't help but realize the real importance of having live musicians and not the obnoxious sounding programmed instruments.  My only complaint on this great selection is it's length.  Though it lasts a comfortable three minutes and twenty nine seconds I really could have handled another four or five minutes of quartet bliss.  Since it's debut on the Gloryland Quartet radio program about three or four months ago "Beautiful Stars" has been one of the most requested selections by you the listeners.  This beautiful ballad is fashioned to fit Freeman's style to perfection.  After the first verse of this ballad Dickie directs each of the band members with all of the professionalism of a 1920s big band leader.