Jul/Aug 2006

Songs Of The Father

The Paschall Brothers keep the jubilee gospel tradition-a talent passed down through the generations-harmonizing in Hampton Roads.

By Don Harrison

"With spirituals, there are no boundaries," the Rev. Tarrence Paschall maintains. "All it takes is an ear."

The lead singer of the Chesapeake-based Paschall Brothers has been talking about his late father, Frank Paschall, Sr., a man who had a legendary ear.

"I remember when I was younger," the minister recalls, "the members of Dad's group would call him in the middle of the night ... I mean, really, two and three in the morning ... to have him give them their pitch." He tells the story to make a point. "You see, that's how bad they wanted to get it right."

In 1981, Frank Sr. began "giving the pitch" to his five sons-Frank Jr., Tarrence, Wendell, Dwight and William-and his ear is still working for the Lord, even though he passed away in 1999. Three of his sons have come in and out of the Paschall Brothers performing outfit as the years have passed, but the singing in this family has never stopped. It only got stronger with the arrival of Renard Freeman, Tarrence Paschall's son-in-law. He has been with the group since he passed Frank Sr.'s audition in 1984.

Today, after a quarter century of instrument-free praise singing, the group has been strengthened by the addition of two younger members, the sons of Tarrence and Renard.

As for the patriarch, founder and former lead singer of the group-remembered fondly as smiling, gracious and wise, but insisting firmly that church came before basketball-Frank Paschall Sr. is still the anchor, the foundation for what the Brothers does on stage ... and in life.

"I tell you, really, my father was everything," says Rev. Paschall. "He was a disciplinarian, counselor-a father in every way. If you wanted protection, he'd give it too you. If you needed provision, he'd give it to you. If you deserved praise, he'd give it to you. He wore every hat."

With and without Frank, Sr. as vocal leader and arranger, the hours spent rehearsing around the kitchen table has been time well spent. Among appearances at colleges, folklife societies, county fairs and-yes-churches, the Paschall Brothers group has enjoyed feature appearances at the prestigious National Folk Festival (twice); presented acclaimed shows at The Kennedy Center and Lincoln Center; enjoyed popular tours of Turkey and Greece; and recorded a debut CD, Songs For Our Father, that keeps the rich tradition of Tidewater-styled vocal quartets-not to mention Dad's original pumping, soulful arrangements-alive and thriving.

A forthcoming collaboration with poet Nikki Giovanni on a multi-media production that explores the influence of black music on white culture will see the vocalists expanding into social commentary and wrapping their harmonies around secular music, including songs by Elvis Presley.

"Yes, you heard that right," Rev. Paschall beams.

In a word, the Paschall Brothers quartet is celebrating 25 years of making Tidewater jubilee gospel music joyous and, yes, relevant again. Somehow you have to think that Frank Paschall Sr. is somewhere above, smiling his trademark smile and giving out ample praise.

"Persistence and consistence," says Rev. Paschall. "It will pay off in the end. My father used to say that all the time."

The Paschalls-or what they do-could be likened to an exotic, sweet-cooing bird that was once plentiful in number, but one day, inexplicably, finds itself on the endangered species list.

Their rhythmically intricate, harmonically inventive a cappella vocal music is a throwback to a time when African-American churches across Hampton Roads-and especially the Norfolk area-were filled with jubilee gospel quartets. Some of the best helped to develop a form of rhythmic style of vocal music that would bring them national fame and worldwide influence. -

For the rest of this story, see the Jul/Aug 2006 issue of Hampton Roads Magazine, currently available on newsstands.