The Four Tops, Jazz Vocalists?

[Dan Gould]

I was looking through a discography of the obscure and highly sought after Motown subsidiary label Workshop Jazz and discovered that "Breaking Through" was supposed to be their very first LP for the label. Just like a handful of Blue Notes, the LP was pictured on inner sleeves but never released, apparently pulled by Berry Gordy. It was issued on CD in 1999 as Lost and Found: Breaking Through .

Here's the AMG review:

The Four Tops' early years as a jazz-vocal group are generally glossed over in capsule histories. Long before they signed to Motown — nearly a full decade as a matter of fact — they had been one of the popular Detroit jazz-vocal groups, earning the admiration of such luminaries as Smokey Robinson and Billy Eckstine, whom the group supported. After some persuasion, the group signed with Motown on the condition that they could record jazz. Over the course of a year, they cut nearly two albums' worth of material, which boiled down to one album, Breaking Through. Berry Gordy pulled the record at the last minute, believing that it would have been a commercial failure. Gordy's fears were not unfounded — indeed, had the album that comprises Breaking Through (1963-1964) been put out in 1964, it likely wouldn't have found much of an audience. Still, Breaking Through is a strong record, firmly within its tradition and working well on those terms. The Four Tops may not sound as distinctive singing jazz as they did with pop-soul, but they are convincing, as are the Motown house band. Neither of them take many chances, however. The songs are primarily standards, plus four new songs that feel like standards, all given good generic arrangements. This may sound like a dismissal, but it isn't; it's hard to do this kind of music right, but the group most certainly does. And it's not just one member that shines; everyone gets to take a lead, and the results are uniformly strong. Even so, Breaking Through appeals primarily to hardcore fans of the group, plus a handful of straight-ahead vocal-jazz aficionados. Reminiscent of a cross between Eckstine and the Four Freshmen, it's good stuff, but it's essentially a curiosity. — Stephen Thomas Erlewine

Anyone ever hear this?

[Alexander]

I haven't heard it, but it doesn't surprise me. Many of the house musicians at Motown were, indeed, jazz musicians who agreed to work there on the understanding that they would be allowed to record jazz as well as soul. I don't know what Gordy's intentions were, but he never came through. Marvin Gaye wanted to sing jazz, too, and attempted to convince Gordy to allow him to make a jazz album. The closest he ever got, I think, is "What's Goin' On" which is very jazz-influenced, if not actual jazz.

I did know that the Four Tops started out as "supper-club" singers, as was the term back in the day.