How It All Began

Clara Mae Ward was born in Philadelphia, Pennsylvania on August 21, 1924 after her mother and father, hoping to find a better life in the north, relocated to Philadelphia attempting to escape the poverty and hard times they experienced in rural South Carolina. Gertrude Ward, a great vocalist herself, proved to be an even better business woman as she and her husband struggled through the Depression years to come upon a vision which commanded her to begin a singing career utilizing her family. Willa Ward, Clara’s older sister by three years, mentions in the prologue of her book How I Got Over—Clara Ward and The World-Famous Ward Singers, that in 1931, while pressing clothes in a Philadelphia dry cleaners, her mother Gertrude heard a voice that said, “Go sing my Gospel and help save dying and lost men and women;” and she did just that!

During these early years, Clara along with her mother sang in the Baptist church with her older sister, Willa, playing the piano. Although the Ward’s had no formal training, they sang from the heart and it seemed everyone listening could feel it. Some people said they performed their music with such passion it was impossible not to be moved by it and though Clara was just a child, her angelic voice was still vibrant and full of soul.

In 1934, at age ten, as Clara’s voice began to mature, she and Willa, now thirteen, would join their mother on the gospel stage as Gertrude followed her vision to form a family group, which at various times was billed as The Consecrated Gospel Singers and Madame Gertrude Ward and Daughters, before finally settling on the name, the Ward Singers. Madame Gertrude has said on many occasions that she was inspired by and started her singing career along side the Reverend Thomas A. Dorsey, considered by many to be the “Father of Gospel Music.” With her entrepreneurial spirit shining ever so brightly, Gertrude became the textbook stage mother and quickly emerged among the most forceful promoters in the gospel business.

After a stunning performance at the 1943 National Baptist Convention, held in Philadelphia that year, the Ward Singers gained nationwide attention and burst onto the gospel scene as one of its top attractions. After gaining such prominence, the Ward singers were the most talked about act touring the gospel circuit in the mid 1940s. Clara was the centerpiece of the group’s success and was fast becoming a teen phenomenon, which was challenging for her on both fronts. She admitted that while she truly enjoyed singing and performing gospel music, without the persistency of her mother she probably would have discontinued.

Though the Wards were extremely popular and the very best at exciting an anxious crowd of music lovers and churchgoers, there were times when they wished their success didn’t attract so much attention. Willa states in her book that there were occasions that racist whites called them, “black shitty niggers,” “nigger bitches,” “thieving black bitches,” “wormy fucking nigger scum,” while sarcastically offering them watermelon and fried chicken. Whites often scoffed at their Cadillac calling it a “whites mans car.” Though they were traveling the highway seeking streets paved with gold, the road to glory wasn’t always smooth sailing, tree lined and picturesque.

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The Glory Years

After achieving great success on tour, in 1947-48 the Ward Singers added two outstanding vocalists to the group, Marion Williams and Henrietta Waddy and became known as the Famous Ward Singers. Clara, now sharing the spotlight with these two virtuoso singers, gave her more time to focus on her talents as a songwriter and arranger resulting in several hit singles. Along with Clara’s beautiful alto voice, Henrietta added a rougher alto and the enthusiastic stage manners taken from her South Carolina church background. Marion, a Miami teen sensation, who came out of the Southern Pentecostal tradition, brought even more sizzle to the group. A powerful singer with an extraordinarily broad range, able to reach the higher registers of the soprano range without losing pitch, purity, volume or clarity, she could also swoop down to growling low notes in the style of a country preacher. In 1949 with this combination of extraordinary female gospel talents, Marion Williams would sing lead along with Clara on Surely God Is Able, a song written by W. Herbert Brewster, Sr., (1897-1987) a Memphis Baptist minister, which introduced a new waltz rhythm into the gospel genre and would go on to become the first gospel recording by a Black singing group to sell more than a million copies. Another song that featured Marion’s lead vocal was the outrageously popular Packin’ Up. While condemned at times by some gospel purists as “clowning” the group’s performance imitating the packing of suitcases as part of the song was really a showstopper with most audiences. The Ward Singers went on to record How I Got Over and The Old Landmark, which were also mega hits with these featuring Clara’s gorgeous alto voice, truly establishing her as a singer extraordinaire. Clara was also well known for her outstanding renditions of Methodist hymns of the eighteenth century and the group was the consensus pick as the best hymn singers in the business. During this period of triumph two more outstanding vocalists, Frances Steadman and Kitty Parham joined the group.

With such skillful lead vocalists in the Famous Ward Singers, Clara did something quite unique for a female vocal group at that time, she took the lead-switching style used by male gospel quartets and incorporated it into the vocal arrangements of these talented ladies, allowing spontaneous improvisation and vamping by each member of the group.

Having successfully employed the style of the shouting male quartets, the Ward Singers would continue always keeping at least four vocalists in their ranks at all times. With bold arrangements and creative ideas Clara was able to keep her Ward Singers in high demand throughout the gospel music world.

During the late 1940s and 1950s the Famous Ward Singers reached the pinnacle of their success and were among gospel’s elite, scoring more hits and making more money than any group before them. It can easily be said that the Famous Ward Singers inspired all the other popular female gospel groups at that time, including the Sallie Martin Singer’s and the Original Harmonettes; the Angelic Gospel Singers; the Davis Sisters and the Caravans. When they toured the country they emphasized glamour and style. The Famous Ward Singers were known to travel in limousine-styled, chauffeur driven Cadillac cars and was widely popular and highly influential. The Wards’ controversial use of glamorous costumes with sequined gowns, exotic hairstyles and glitzy jewelry instead of just wearing plain choir robes, along with emphasizing showmanship over the traditional religious performance gave them a pop-style commercial appeal that had never been seen before in gospel music. According to legend, on one occasion their wigs grew so tall that they actually touched the ceiling. The Famous Ward Singers’ flamboyant show style was said to have been the influence and driving force behind some of the most successful gospel and secular entertainers of all time. The King of Gospel, the Reverend James Cleveland, the Supremes, the Hawkins’s family of gospel artists and even younger gospel talents like Kirk Carr have acknowledged being influenced by the Ward Singers.

In 1950 Clara Ward and the Famous Ward Singers made their first appearance at Carnegie Hall in New York City on a gospel program entitled: "Negro Music Festival", produced by gospel music pioneer Joe Bostic. She shared the stage with Mahalia Jackson and appeared at Carnegie Hall on Bostic's program again in 1952.

During this same time, the Wards began regularly touring with the Reverend C.L. Franklin of Detroit, a gifted singer and preacher who was also gaining in popularity—and as his gospel star began to shine, the group's fame continued to grow. Willa Ward attests that Gertrude worked to prevent Clara from forming any romantic attachments. However, the “Queen of Soul,” Aretha Franklin, who is an admitted disciple of Clara Ward and whose father was the Reverend C. L. Franklin, developed a very warm and caring relationship with Clara and spent much time together as her dad and Clara were romantically involved for some time. Clara’s only real happiness seems to have come from her loving romance with Rev. C. L. Franklin. Aretha later adopted Clara’s signature moan and used them very effectively in her secular recordings and has said on numerous occasions that she modeled herself after Clara. Aretha was so fond of Clara that she saluted her in the gospel album she made with James Cleveland in the early 1970’s.

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Troubled Times

In 1958 the Wards’ golden era was seemingly unraveling. Marion Williams, Henrietta Waddy, Kitty Parham, Esther Ford and Frances Steadman quit the Ward Singers to form their own group, Stars of Faith, and the bottom fell out—all over their notoriously low salaries, and although new recruits including Thelma Jackson, Carrie Williams and Jessie Tucker were quickly brought in, the Wards' popularity somewhat nosedived.

Yet, with what seemed like the end was actually just a new beginning. By 1961, amid considerable hoopla, Clara with a new group, which included another extraordinary teen talent, Madeline Thompson, made a successful comeback. She moved the group into the secular club circuit and what appeared so controversial and a shock to gospel traditionalist proved to be extraordinary, intriguing, unique and groundbreaking to white audiences. Clara, along with her business–minded mother, had successfully propelled gospel music out of the church and into the nightclub.

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The Sweethearts of Philadelphia

Though Madeline was just one out of a 100 or so talented singers that performed with the many traveling groups of Ward singers, Gertrude Ward felt that there was something very special about this 17 year old gospel phenom—but that would come later.

Madeline Thompson was born on November 5, 1942 in Hamilton, North Carolina as the last of 12 children by Catherine and Crisloures Thompson. The Thompson’s were hard working farmers, and though they had been married for over 30 years, they split up shortly after Madeline’s birth. Her mother, Catherine, relocated to Philadelphia, Pennsylvania her family and her two youngest children, Janice and baby Madeline in tow.

Madeline, along with Janice, who was two years older, seemed to be blessed with talent right out of the womb. Both girls were brought up in a strict church environment and attended St. John’s Pentecostal Church where their mother served as a Missionary and a Deaconess. Believe it or not, Madeline and Janice were surprising most church goers as they were actually performing live on their church’s weekly Sunday night radio broadcast at 3 and 5 years old, respectively. Subsequently, the darling little Thompson girls were affectionately called The Sweethearts of Philadelphia and would sometimes perform right outside the church. Amazed at their vocal abilities, passersby would pay tribute and show their appreciation by throwing money at their feet.

As her talented little daughters began to mature, Catherine, even though not a vocalist herself, strongly encouraged them to carry on singing the praises of the Lord and what she lacked in vocal ability, she more than made up in teaching young Madeline and Janice proper manners, respect and etiquette; the Thompson girls had a reputation for being very poised and polished.

Being that Philadelphia was also the home of the Famous Ward Singers, Madeline and Janice looked forward to attending the Ward Singers Anniversary Concert on May 30th, each year. People came from all over to see them. The gala event was treated like a national holiday and was always held at the biggest venues in town, such as the Philadelphia Convention Center and the Sports Arena. The eagerly awaiting massive crowds would be twisted around corners in anticipation of the grand arrival of the Ward Singers. They were the first gospel group to attract such huge attendees and perform at such large venues. The Ward Singers truly set a new trend and opened many doors for other gospel groups to do the same.

Unlike most young girls, it didn’t take much to get Madeline and Janice to go to church; they loved it. Whenever Catherine wanted to make sure her girls did what she asked, she need only threaten them with the worst of all punishments, which was to not allow them to attend the Ward Singers Anniversary concert or not permit the girls to sing in church—times have surely changed.

When these two extraordinary young gospel singers were in their teens, they were brought to the attention of Anna Smallwood, a noted gospel singer who was leader of the successful group, The Imperial Gospel Singers. They were gaining popularity after the success of their hit song, Everything Is Alright in My Father’s House. With Madeline just turning 15 and Janice 17, Anna approached Mrs. Thompson and asked if her girls could join her group. With Catherine’s blessings the girls began singing with Anna’s group. Ironically, it was through Ms. Smallwood that the Thompson girls would have their first serious introduction to Madame Gertrude Ward and Clara. Anna knew that Gertrude was interested them also and felt a little nose rubbing would be fun. Anna being so excited to have the Thompson girls, she took them over to brag to the Wards. Gertrude complimented Anna telling her, “You beat me to the punch this time,” and then told Madeline, “Girl you’re gonna have to stop letting your sister do all the singing and learn how to step out front yourself.” Clara showed a great deal of interest in Janice, but expressed to her mother that even though Madeline had a pretty smile, could sing, dance and play the tambourine well, she was much too shy and bashful to perform on the big stage.

For a short time, the two Thompson girls went on to sing and travel locally with The Imperial Gospel Singers, and then Catherine insisted that the younger Madeline discontinue so she could pay more attention to her schooling. Schooling and singing, however, were not the only things on Madeline’s mind, she also wanted to be a cosmetologist. So Madeline continued her schooling, studied cosmetology, and yet, in the end, singing still took the cake.

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Madeline Becomes a Ward Singer

Madeline now approaching 18 and having done fairly well in both her schooling and cosmetology didn’t sway her away from her first true love, which was singing and performing gospel music. On that note, Gertrude and Clara Ward graced her life again, and this time it would be forever… Having gotten over her bout with shyness, Madeline was becoming quite a dynamic performer. Now Gertrude really wanted her as a Ward Singer and Clara agreed; but of course not until mother Gertrude reminded her that she once thought Madeline to be too shy and bashful. After Gertrude made her point, they both expressed excitement that Madeline was now going to be a Ward Singer. To this still “wet behind the ears teenager,” this was a dream come true; there could be no greater honor for Madeline then to be performing on the same stage with her childhood idols—and that was only the beginning.

There were always several different vocal ensembles traveling under the banner of a “Ward Singers” group. But because Madeline was so versatile, for a long time she was considered a “floater” and sang with just about all of the various groups. Madeline’s list included, the Clara Ward Singers, the Famous Ward Singers, the Gertrude Ward Singers, the Willa Ward Singers and the Willa Moultrie Singers.

Throughout the 1960’s the Clara Wards Singers went on to be the first gospel group to perform at the Newport Jazz Festival, the Monterey Jazz Festival, the German Jazz Festival, the Paris Jazz Festival, the Santa Monica Jazz Festival, and the International Jazz Festival in Washington, D. C.

Though Clara Ward did not regularly sing secular music as a soloist or with her groups, she did sing backup for pop artists with her sister Willa's background group, most notably on Dee Dee Sharp's smash hit, “Mashed Potato Time,” which reached #1 on Billboard's pop chart in 1962. In 1963, Clara was also credited with bringing gospel music to Broadway with her starring roll as Birdie Lee in Langston Hughes’ play Tambourines To Glory, along with well known actors, Lou Gossett Jr. and TV’s Benson star Robert Guillaume. Though seldom mentioned, Clara was also musical director for the play. Further, Clara was the first gospel singer to sing with a 100-piece symphony orchestra and later they recorded an album together on the Verve label, entitled "The Heart, The Faith, The Soul of Clara Ward", and the Ward Singers performed their music live in Philadelphia with the symphony and the Golden Voices Ensemble.

In addition, in 1963, Madeline, while singing with the Willa Moultrie Singers was the first gospel group to perform at the Radio City Music Hall in New York City. The Clara Ward Singers entertained the troops in Viet Nam; Okinawa, Japan; Sydney, Australia; Manila, Philippines and Bangkok, Thailand. The Ward Singers narrowly missed death when their hotel in Vietnam was bombed and several guests died. However, Clara was never afraid because she knew she was bringing some momentary joy, consolation, and a religious message to soldiers, many of who would not return home alive, and they really showed their appreciation and enthusiasm for her style of gospel music. When asked during a TV interview what was her favorite concert, Clara responded that these tours in Vietnam during the war were her favorite. Clara Ward was invited back to Vietnam by U.S.O. in 1969 for several more months. These wartime tours were filmed and the U.S. Army gave all the Ward Singers special certificates of recognition. They toured much of Europe, Asia, the Middle East, performed at the inaugurations of Presidents Kennedy and Johnson, and performed at some of the world’s most famous venues: including the Hollywood Bowl; Yankee Stadium; Madison Square Garden; O’Keefe Center, Toronto, Canada; the Copacabana; the London Palladium; the Village Vanguard; the Apollo Theater; the Golden Horseshoe Club in Disneyland Anaheim, California and most of the major hotel showrooms on the Las Vegas strip just to name a few. The Ward Singers had a one-day TV special in London, England and were constantly in demand to appear on American TV shows. (See the menu for a more complete list of TV & Film Appearances)

In 1967, during a performance in Miami in the main room at the Castaways, after comedian Rodney Dangerfield opened for them, Clara slumped to the stage while singing, When The Storms Of Life Are Raging, Stand By Me. Later at the hospital, she was diagnosed with a severe aneurysm and stroke. After their initial evaluations, the doctors felt the prognosis was not very good and was preparing the family for the worst—they told them if she recovered she would never sing or walk again. All the members of the group and everyone near the situation was quite concerned for Clara’s well being, even the Reverend C. L. Franklin came to the hospital and stayed with Clara very affectionately encouraging her back to good health. Gertrude Ward also telephoned Mother Dabney; a spiritual healer in New Jersey, and soon after Clara was miraculously restored to health.

Willa stated in her book, “Two and a half weeks after Clara’s collapse, she was up and dismissed from the hospital. The doctors were dumbfounded; they had never seen such a recovery. They told Mom, ‘This is one for the books’.” Subsequently, according to Willa, forever taking advantage of every opportunity, for promotional purposes, mother Ward dubbed Clara the “Miracle Girl” as a result of her miraculous recovery in Miami. Also, as per Willa, Clara began drinking a lot at that time.

In the late 1960’s, Clara along with Madeline and the Ward Singer’s worked tirelessly. They performed shows to overflow crowds in Geneva, Switzerland; Rome, Italy; Australia, Japan, South America and taped TV shows in Germany, London, New York and Los Angeles. While in the middle of negotiations with NBC for a weekly television show, on December 8, 1972 Clara had a second stroke. Clara never fully recovered and died January 16, 1973 at the age of 48.

It’s been quite controversial as to the true causes of Clara’s demise. Though the medical diagnosis was clear, Willa Ward seems to suggest in her book that it was the pain and stress caused by her mother’s constant pressure and overworking of Clara that led to her bouts with depression and alcoholism, which all together was ultimately responsible for Clara’s death.

Willa Ward, in remembering the last time she saw her sister, Clara, adorn a stage was the previous November at the Apollo Theater celebrating the Harlem Homecoming of the Dance Theatre of Harlem. She stated, “The list of performers included singer Lena Horne, actress Cicely Tyson, opera star Leontyne Price, jazz singer Carmen McCrae, gold record pop group the Fifth Dimension, Oscar-winner Sidney Poitier, singer and TV star Diahann Carroll, movie star Raymond St. Jaques, band leader Cab Calloway, the Clara Ward Singers, and the Peter Duchin Orchestra.”

Thousands of dignitaries, fans and mourners attended Clara’s funeral services, which were held in Philadelphia and Los Angeles. Aretha Franklin sang at her services in Philadelphia, and the Reverend James Cleveland and a mass choir of hundreds of voices, in addition to the former Ward Singer, Marion Williams sang at Clara’s second memorial service held days later at the Shrine Auditorium in Los Angeles. She is interred in the Forest Lawn Memorial Park Cemetery in Glendale, California in the Freedom Mausoleum.

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Madame Gertrude Ward and Madeline

After Clara’s death, mother Gertrude Ward started a church, the Miracle Temple of Faith for All People in Los Angeles and attempted to book many more dates as the Clara Ward Singers with Madeline as a member. Although promoters and agents showed plenty of interest in the group, many of them didn’t want to deal with the overbearing Gertrude and many of the performers felt she was much too strict. There were also other areas where Gertrude’s judgment was called into question. Though Gertrude was a savvy negotiator, her understanding of the value of music copyrights was limited. According to Willa Ward, Gertrude was misled into believing that the songwriting royalties from Clara's compositions would be minimal and accordingly sold them. The effects of that ill-advised decision were now being made manifest. In her book Willa said the music ended up under the control of Herman Lubinsky, founder of Savoy Records (who was known for his unscrupulous exploitation of recording artists), and became owned by Planemar Music Company.

Without the income generated by Clara, it was difficult for Mother Ward to maintain the small church she had started and the large house where she and Clara resided—she soon lost them both. She tried to capitalize another way by starting the Male Ward Singers group. Even though the group comprised some of the best male gospel vocalists, received lots of notoriety and was seen to have all the pomp and circumstance that accompanied all the “Ward Singer” groups, they never really drew very large crowds.

Gertrude traveled back and forth from Los Angeles to Philadelphia and eventually tried living in Philadelphia for short time. However, by that time Philly didn’t suit her very well and she would soon find herself back in Los Angeles living in a modest apartment.

On occasion Madeline put together various groups using the Ward Singer name and performed some shows, which completely infuriated mother Ward to the point where she threatened to sue Madeline. However, they worked things out, became quite close, and eventually mother Ward gave Madeline her permission to use the name and encouraged her to carry on. She told Madeline, “You have the charisma to continue the legacy of the Clara Ward Singers, and though you’ll never be able to sing like Clara, you must keep on keeping on, because somebody’s gotta do it.”

As mother Ward’s health began failing, Madeline would remain by her side personally caring for her until she passed away on November 27, 1981. Mother Ward was buried in the same mausoleum as Clara, at Forest Lawn Cemetery.

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Madeline Carrying the Torch and Keeping It Lit

After the passing of Madame Gertrude Mae Murphy Ward, there were spot dates here and there, but things quieted down quite a bit. However, towards the mid 1980s, Madeline began to get several requests for the Clara Ward Singers—and like mother Ward said, Madeline carried on the legacy.

Being one of Clara’s hand picked protégés, Madeline continues in her mentor’s footsteps as the group’s leader performing at a variety of venues worldwide; including Disneyland, Las Vegas, New York, various House of Blues locations throughout the United States and of course at many major gospel events. As Madeline still performs her showstoppers, Traveling Shoes, I’m A Soldier In The Army Of The Lord and If I Had A Hammer, The Legendary Clara Ward Singers never ceases to amaze the crowds and still excites audiences everywhere they perform.

The Clara Ward Singers are also permanent fixtures at the Rock and Roll Hall of Fame as well as The Smithsonian in Washington DC. They also have an unending list of awards, accolades and achievements. (See Menu for a List of Awards, Honors and Tributes)

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Sources:

African America: Portrait of a People, p 561
All Music Guide.com
American Roots Music: The Songs and the Artists (PBS)
Black Firsts: 2000 Years of Extraordinary Achievement, p. 20
Encyclopedia Africana
Gospel City
How I Got Over (Clara Ward and The World-Famous Ward Singers)
Wikipedia

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