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Clara Ward
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Clara Mae Ward[1] (April 21, 1924 – January 16, 1973)[4][5] was an American gospel singer who achieved great artistic and commercial success during the 1940s and 1950s, as leader of the Famous Ward Singers. A gifted singer and arranger, Ward adopted the lead-switching style, previously used primarily by male gospel quartets, creating opportunities for spontaneous improvisation and vamping by each member of the group, while giving virtuoso singers such as Marion Williams the opportunity to perform the lead vocal in songs such as "Surely, God Is Able" (among the first million-selling gospel hits), "How I Got Over" and "Packin' Up". The album Surely God Is Able by The Famous Ward Singers was the first by a gospel group to exceed sales of 500,000 units.[6]

Career

[edit]

Ward's mother, Gertrude Mae Ward (née Murphy;[1] 1901–1981), founded the Ward Singers in 1931 as a family group, then called, variously, the Consecrated Gospel Singers or the Ward Trio, consisting of herself, her youngest daughter Clara, and her elder daughter, Willarene Mae ("Willa," 1920-2012). Ward recorded her first solo song in 1940, and continued accompanying the Ward Gospel Trio, thereafter.[7]

1931–1952: The Ward Singers

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The Ward Singers began touring nationally in 1943, following a memorable appearance at the National Baptist Convention held in Philadelphia, Pennsylvania, earlier that year.[2] Henrietta Waddy joined the group in 1947. The group's performance style, such as the mimed packing of suitcases as part of the song "Packin' Up", condemned by some gospel music purists as "clowning", was wildly popular with their audiences.

The addition of Marion Williams brought to the group a powerful singer with a preternaturally broad range, able to reach the highest registers of the soprano range without losing either purity or volume, with the added ability to descend "growling low notes" in the style of a country preacher. Williams' singing style helped make the group nationally popular when they began recording in 1948.[2]

In 1949, the Ward Singers toured from Philadelphia to California in their new Cadillac, appeared on national television programs, and recorded for the Miltone Record Company of Los Angeles. The Miltone recordings were purchased in a multi-artist package by Gotham Record Company, which had moved to Philadelphia. Gotham's Irv Ballen recorded some new Ward material, including "Surely God Is Able", and some of the Ward Singers' Gotham recordings were transferred to Savoy Record Company in Newark, New Jersey to settle a contract dispute. When Savoy began contracting with the Ward Singers for new recordings in the 1950s, they were primarily recorded and engineered in Bergen County, New Jersey by Rudy Van Gelder.

In 1950, Clara Ward and the Ward Singers of Philadelphia made their first Carnegie Hall appearance on a gospel program titled Negro Music Festival, produced by gospel music pioneer, Joe Bostic, sharing the stage with Mahalia Jackson, appearing at the famed venue for Bostic's program in 1952, as well.[2]

Gertrude Ward created a booking agency for gospel acts, sponsored tours under the name "the Ward Gospel Cavalcade", established a publishing house for gospel music, and wrote an instructional manual for churches, detailing how to promote gospel programs. Gertrude created and managed a second group, "the Clara Ward Specials", to accompany the Ward Singers. Although as musical director of the Ward franchise, Clara was willing to share the spotlight with her talented co-singers, she and her mother were allegedly reticent about sharing the group's financial rewards with other members, as well.

According to Willa Ward's biography of Clara Ward, with the exception of Gertrude and Clara, Willa and other members of the group were grossly underpaid. In addition, their meager earnings were further reduced as Gertrude and Clara provided the group's housing and charged them for it. Accordingly, stars such as Marion Williams and Frances Steadman not only had to accept second billing and lesser pay for their work, but pay their employers rent out of their earnings.

Williams left the group in 1958, when her demand for a raise and reimbursement for hotel expenses was rejected. She was followed shortly thereafter by the rest of the group — Henrietta Waddy, Esther Ford, Frances Steadman and Kitty Parham — who formed a new group, "the Stars of Faith". Their departure marked the end of the glory days for the Ward Singers, who later alienated much of their churchgoing audience by performing in Las Vegas, nightclubs, and other secular venues in the 1960s. By this time, gospel singer Albertina Walker formed her group, the Caravans, in 1952, following the advice of her mentor Mahalia Jackson,[1] and their group began to grow in popularity.

In 1963, Clara Ward was the second gospel singer to sing gospel songs on Broadway in Langston Hughes' play Tambourines to Glory (the first being her former group members, which were known as the Stars of Faith, which starred Langston Hughes in the first Gospel stage play and first play that featured an all black cast to be produced on Broadway, The Black Nativity.). She was also the play's musical director.

1953–1972: The Clara Ward Singers

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Ward was the first gospel singer to sing with a 100-piece symphony orchestra in the 1960s. The Clara Ward Singers recorded an album together on the Verve label, V-5019, The Heart, the Faith, the Soul of Clara Ward, and the Ward Singers performed their music live in Philadelphia with the city's Symphony and the Golden Voices Ensemble. Ward sang backup for pop artists with her sister Willa's background group, most notably on Dee Dee Sharp's hit, "Mashed Potato Time", which reached No. 2 on the Billboard Hot 100 in 1962.

In 1969, Ward recorded an album for Capitol Records, Soul and Inspiration, consisting of pop songs from Broadway plays, Hollywood movies and the Jimmy Radcliffe song of hope "If You Wanna Change the World". The album was later reissued on the Capitol's budget Pickwick label minus one track. In the same year, she recorded an album in Copenhagen, Denmark on the Philips label, Walk A Mile In My Shoes, which included the pop title song, other pop songs (such as "California Dreaming") and a few gospel songs.

Ward also recorded an album for MGM/Verve, Hang Your Tears Out To Dry, which included country and Western, blues/folk, pop and an arrangement of the Beatles' hit song, "Help". Her 1972 album Uplifting on United Artists, produced by Nikolas Venet and Sam Alexander, included an interpretation of Bill Wither's pop hit "Lean On Me" and a rearrangement of the Soul Stirrers' 1950s recording of "Thank You, Jesus". Also in 1972 Ward, because she was under exclusive contract to United Artists at this time, provided vocals for a Canned Heat's album The New Age, on the ballad "Lookin' For My Rainbow"; it was released on that album and as a single 45 rpm record.

In 1968, the Clara Ward Singers toured Vietnam at the request of the U.S. State Department and the U.S.O. It was a popular war-time tour supported by recorded radio broadcasts of the Ward Singers on U.S. Armed Forces Radio. The Ward Singers narrowly missed death when their hotel in Vietnam was bombed and several guests died. Ward was invited back to Vietnam by U.S.O. in 1969 for several more months. These war-time tours were filmed and all the Ward Singers were given special certificates of recognition by the U.S. Army.

Ward co-starred in the Hollywood movie A Time to Sing, starring Hank Williams, Jr., and Shelley Fabares, Ed Begley. She was cast as a waitress in a Nashville cafeteria who inspires a young singer, played by Williams, to pursue his dream of becoming a country recording artist. There are also several scenes of the Clara Ward Singers performing gospel songs in the film. This movie was released by MGM in 1968 and Clara's picture appears on lobby cards and other movie advertisements.

Other movie appearances include Its Your Thing, starring the Isley Brothers, and Spree, also known as Night Time In Las Vegas. The Clara Ward Singers toured in Australia, Japan, Europe, Indonesia, and Thailand during the late-1960s through the early-1970s. They had a one-day TV special in London, England. They were in constant demand on American television programs and appeared on The Mike Douglas Show over a dozen times. They appeared on Oral Roberts' Country Roads TV special, later released as a soundtrack album. In 1969, The Clara Ward Singers appeared on the Monkees' television special 33 1/3 Revolutions Per Monkee. Clara continued to perform at her mother's church, the Miracle Temple of Faith for All People in Los Angeles, California, as well as at Victory Baptist Church. Her mother, Gertrude Ward, also had a popular religious radio program in the Los Angeles market.

Health, death, and legacy

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Ward collapsed while performing at the Castaways Lounge in Miami Beach, Florida in May 1966. Ward suffered a series of strokes prior to her death. The first occurred in August 1967 which was listed as "massive". Two more strokes followed: one listed as "minor" during a recording session at her home in December 1972;[8] another on January 9, 1973, which left Ward in a coma.[3]

Ward died on January 16, 1973[2] at age 48 as a result of several strokes.[1] Aretha Franklin and Rev. C. L. Franklin sang at her funeral in Philadelphia; Marion Williams sang at her second memorial service held days later in Los Angeles.

Clara Ward is interred in the Forest Lawn Memorial Park Cemetery in Glendale, California.

In 1977, Ward was honored posthumously at the Songwriters Hall of Fame in New York City and her surviving sister, Willa, accepted the award in her honor.

In July 1998, in recognition of her status, the United States Postal Service issued a 32-cent stamp with her image. The stamp can still be purchased with a CD and other gospel singers' stamps online.[9]

Discography

[edit]
  • Soul & Inspiration, Digital download released by Stateside Records
  • Clara Ward and Her Gospel Singers at the Village Gate (1963) Vanguard VRS-9135 (m) VSD-2151 (s)

See also

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References

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Further reading

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Clara Ward

View on Grokipedia
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Clara Mae Ward (April 21, 1924 – January 16, 1973) was an American gospel singer, , arranger, and composer renowned for her powerful voice and innovative contributions to the genre during the mid-20th century. Born in , , to George Ward, an ironworker and handyman, and Gertrude Mae Murphy Ward, a and singer, Clara began performing publicly at age seven as part of the family-formed Ward Trio in 1931, which later evolved into the internationally acclaimed Ward Singers. Ward rose to prominence in the 1940s and 1950s, leading the Ward Singers—featuring her mother, sister Willa, and notable members like Marion Williams and Henrietta Waddy—to breakthrough success with hits such as “Surely God Is Able” (1949), which she arranged, and “How I Got Over” (1950). These recordings, produced by labels like Gotham and Savoy, blended traditional gospel with theatrical flair, waltz rhythms, and dynamic stage presence, expanding the genre's appeal beyond churches to secular venues like nightclubs and jazz festivals. By 1953, after family tensions led to the group's reconfiguration, Ward established the Clara Ward Singers, continuing to tour extensively and compose over 500 gospel pieces while performing at prestigious events, including Carnegie Hall in 1950 and 1952, the Newport Jazz Festival in 1957, and for President Lyndon B. Johnson in 1964. Throughout her career, Ward broke barriers by bringing into mainstream entertainment, serving as backup vocalist on Dee Dee Sharp's 1962 Billboard #1 hit “Mashed Potato Time” and acting in the 1968 film A Time to Sing, while also entertaining troops in in 1968 and 1969. Despite facing criticism from gospel purists for her group's glamorous style and nightclub performances, her influence on artists like and her role in elevating women's voices in earned her posthumous recognition, including induction into the in 1977 and a feature on a 1998 U.S. . Ward's personal life included a brief 1941 marriage to Richard Bowman, with no children, and she succumbed to a in at age 48, leaving a legacy as one of 's most dynamic innovators.

Early Life

Birth and Childhood

Clara Mae Ward was born on April 21, 1924, in Philadelphia, Pennsylvania, to George Ward, a and , and Gertrude Mae Murphy Ward, a , singer, and . Her parents had relocated from , to Philadelphia in search of better opportunities, escaping a life of abject in the rural . The family's financial hardships persisted in , leading to frequent instability as they moved 19 times before Clara reached adulthood due to economic pressures. This constant upheaval shaped her early years in a challenging urban environment marked by limited resources and the broader struggles of African American families during the Great Migration era. From a young age, Clara was immersed in the vibrant scene of Philadelphia's local churches, where she regularly attended services and absorbed the spiritual sounds that would define her life. At just five years old, she delivered her first solo performance in one of these church settings, showcasing an early natural talent for singing. Raised in a strict religious household, her upbringing was deeply influenced by her mother's evangelical background, which emphasized faith, discipline, and musical expression as central to daily life. Clara attended .

Family and Initial Musical Influences

Clara Ward was born into a working-class family in , where her father, George Ward, worked as a and , and her mother, Gertrude Mae Ward (née Murphy, 1901–1981), supported the household as a domestic during the while also pursuing her interests as a and singer. The family, which had migrated from after , faced chronic financial instability, moving frequently and relying on singing as a vital means of economic survival amid the era's hardships. Gertrude emerged as a domineering "stage mother," aggressively managing her daughters' musical talents with a focus on professional discipline and performance, often prioritizing career demands over personal well-being. Ward had one actively involved in the family's musical pursuits: her older , Willarene "Willa" Ward, who shared a close bond with Clara and participated in their early performances. In 1931, inspired by what she described as a divine message to spread the gospel and aid the spiritually lost, Gertrude founded the Consecrated Gospel Singers—later known as the Ward Trio—as a family ensemble to channel their vocal abilities into paid church engagements. The group initially consisted of Gertrude, Willa on piano, and seven-year-old Clara as lead singer, marking the formal start of their collective musical training and rehearsals in Philadelphia's local churches. This formation reflected the family's strategic use of not only for spiritual expression but also as a pathway out of poverty, with Gertrude handling bookings and logistics to ensure steady opportunities. Ward’s early musical style was profoundly shaped by ’s vibrant choirs, where she and Willa first sang as children, honing harmonies and stage presence amid communal worship. Local gospel pioneers, including figures like and , whom Gertrude booked for events, exposed the young Ward to innovative arrangements and emotional delivery techniques during the city's burgeoning scene. Additionally, influences from artists such as Mary Johnson Davis encouraged Ward to blend and elements into her powerful, high-pitched nasal alto voice, fostering her signature improvisational flair and depth that would define her contributions to . These formative experiences in church settings, coupled with the family's rigorous practice, laid the groundwork for Ward's distinctive expressive style.

Career

The Ward Singers (1931–1952)

The Ward Singers originated as the Ward Trio in 1931, when Gertrude Ward assembled her daughters Clara and Willa to perform in churches and at local events. By , the group had expanded and rebranded as the Famous Ward Singers, gaining prominence after a breakthrough appearance at the National Baptist Convention in that year. This evolution marked their transition from a family trio to a professional ensemble managed rigorously by Gertrude, who handled bookings, arrangements, and travel to build their regional following. In the late 1940s, the group further strengthened with key additions that enhanced its vocal depth and appeal. Henrietta Waddy joined in 1947, replacing Willa Ward upon her retirement and bringing robust alto harmonies to the lineup. Marion Williams, a young singer from with an extraordinary range and emotive delivery, integrated in 1947, elevating the ensemble's solo capabilities and contributing to its dynamic sound. These changes solidified the Famous Ward Singers as a versatile unit capable of intricate arrangements and powerful live presentations. National touring commenced in 1943, propelling the group across the to perform at churches, gospel conventions, and major venues. Their itinerary included stops at urban auditoriums and rural fellowships, where they captivated audiences with spirited renditions of and hymns. In 1950, they made their debut at in as part of a gospel program titled "Negro Music Festival," sharing the stage with other prominent artists. They returned to in 1952, performing alongside in a showcase that highlighted gospel's growing cultural stature. Under Gertrude's direction, the Famous Ward Singers innovated a lead-switching style, adapting a technique common in male quartets to allow multiple vocalists to alternate leads within a single song. This approach created fluid, dramatic performances that showcased individual talents while maintaining group cohesion. Marion Williams particularly thrived in this format, her soaring highs and improvisational flair adding intensity to numbers like "How I Got Over," drawing crowds with an energy that blurred lines between and emerging secular rhythms. The group's recording career began with a from Gotham Records in 1948, enabling them to capture their live vigor on wax for broader distribution. Their debut sessions yielded tracks that emphasized close harmonies and rhythmic drive, setting them apart from traditional choir recordings. In 1949, they released "Surely God Is Able," a stately composed by W. Herbert Brewster, which became their breakthrough hit. The single sold over one million copies by 1950, marking the first gospel record to achieve such commercial success and demonstrating the genre's viability beyond church walls. This milestone not only boosted the Ward Singers' profile but also paved the way for gospel's entry into mainstream markets.

The Clara Ward Singers (1953–1972)

In 1953, Clara Ward departed from the family-led Ward Singers amid disputes with her mother, Gertrude Ward, concerning financial management and artistic direction, leading her to establish the independent Clara Ward Singers. This rebranding allowed Ward to assert full creative control as leader, arranger, and conductor of the ensemble, roles in which she was renowned for her innovative compositions and direction that elevated gospel performances. She assembled a new roster of singers, including longtime collaborator Frances Steadman and other talented singers such as Estelle King, to form a tight-knit group that maintained the high-energy style of the originals while expanding its appeal. Under Ward's guidance, the Clara Ward Singers evolved stylistically, incorporating pop-gospel hybrids that fused traditional with secular rhythms and to reach broader audiences beyond church settings. This innovation was exemplified in their recordings with , particularly a landmark 1966 album featuring Ward as the first gospel performer to collaborate with a 100-piece symphony orchestra, blending sacred with symphonic arrangements for dramatic effect. The group's international tours further showcased this versatility, including high-profile USO engagements in during 1968 and 1969, where their uplifting performances provided morale boosts to American troops amid wartime conditions and earned official commendations from the U.S. Army. The Clara Ward Singers also gained visibility through media appearances, co-starring in the 1968 film A Time to Sing alongside and , where they performed gospel numbers that highlighted their dynamic harmonies. Earlier, in 1957, they featured on the television The DuPont Show of the Month, delivering episodes that introduced gospel's emotional depth to mainstream viewers. Ward's multifaceted role as arranger and conductor was central to these endeavors, enabling the group to sustain rigorous touring schedules across the U.S. and abroad until disbanding in 1972, solidifying her legacy in diversifying gospel's reach.

Personal Life

Marriage and Family

Clara Ward married Richard Bowman in 1941 when she was 17 years old. The union was brief, lasting less than a year before ending in , and produced . Ward did not remarry following her from Bowman, opting instead to focus her energies on her burgeoning music career rather than building a traditional life. This decision aligned with the demanding touring schedule of the gospel circuit, which left little room for personal commitments beyond her professional obligations. Throughout her adult life, Ward maintained ongoing ties with her immediate family, including a close yet strained relationship with her mother, Gertrude Ward. She shared an enduring sibling bond with her older sister, Willarene "Willa" Ward, forged in their shared musical upbringing. Having no biological children of her own, Ward prioritized her career over conventional domestic ties.

Friendships and Personal Challenges

Clara Ward maintained a close friendship with , the father of , characterized by mutual support within circles, where they frequently collaborated on performances and shared professional networks. Ward faced significant internal conflicts within her singing groups, particularly over compensation, which led to high turnover among members; for instance, renowned singer Marion Williams departed in to form her own ensemble, the Stars of Faith, amid disputes over low pay and demanding conditions. Reports describe Ward's personal life as unhappy, marked by the emotional strain of relentless touring that isolated her from stable relationships and contributed to ongoing frustrations despite her professional acclaim. Financial mismanagement by her mother and manager, Gertrude Ward, exacerbated these difficulties, as she often underpaid group members, booked substandard accommodations, and failed to distribute earnings equitably, fostering resentment and instability. Ward never remarried after her brief early union and chose not to have children, prioritizing her career demands, though this decision fueled occasional rumors of personal isolation in her later years.

Health and Death

Health Issues

In the late , Clara Ward's health began to suffer from the intense physical demands of her nonstop performing schedule, which included frequent international tours and high-energy concerts. During a show at the Castaways Lounge in , in May 1966, she collapsed onstage from a massive , an event linked to exhaustion from her grueling routine. Rushed to , Ward recovered after three weeks of treatment and was dubbed a "miracle woman" by her mother, Gertrude Ward, enabling her to resume performing shortly thereafter. Despite her recovery, the 1966 stroke initiated a period of ongoing health decline that progressively affected her ability to lead the Clara Ward Singers at full capacity. By the early , Ward's condition limited her touring, with her increasingly serving as the group's pianist and arranger rather than its primary vocalist, relying more on her singers for onstage support. She continued to record and appear in select performances, including a 1969 guest spot on , but the toll of prior illnesses curtailed her once-relentless schedule. Ward suffered a minor stroke during a recording session at her home on December 8, 1972, after which she was hospitalized but made a partial recovery. However, on January 9, 1973, she suffered another stroke at her home, which left her in a coma and marked the end of her active performing career. This final health crisis came amid continued professional commitments, underscoring the physical strain of decades in gospel music.

Death and Funeral

Clara Ward died on January 16, 1973, at the age of 48 in , , following a on January 9 that left her in a at UCLA Medical Center. The occurred at her home in Baldwin Hills, exacerbating complications from an earlier she had suffered about five weeks prior in December 1972. This terminal event came after years of health struggles, including prior s during performances. Ward received two memorial services reflecting her widespread influence in the gospel community. The first was held on January 23, 1973, at the Metropolitan Opera House in , described as a "service of triumph," where performed Ward's signature hymn "The Day Is Past and Gone." A second service took place days later at the Shrine Auditorium in , drawing over 4,000 mourners; it featured performances by Marion Williams, who sang "Surely, God Is Able," and Gertrude Ward, who delivered "When the Storms of Life Are Raging." She was subsequently buried in the Freedom Mausoleum at Forest Lawn Memorial Park in .

Legacy

Musical Influence

Clara Ward played a pioneering role in transitioning from strictly church-based performances to mainstream entertainment venues, performing at secular spaces like showrooms and international concert halls, which helped legitimize as a viable form beyond religious contexts. Her influence extended to subsequent generations of singers, notably shaping Aretha Franklin's vocal style through Ward's distinctive stop-and-start phrasing and emotive delivery, which Franklin emulated during her formative years in . Franklin, who regarded Ward as a key mentor, incorporated elements of Ward's moan and fervor into her secular recordings, bridging traditions with . Ward revolutionized in by developing innovative arrangements that featured lead alternation among singers, a technique she adapted from male quartets to empower female ensembles and create more engaging, theatrical performances. This approach, evident in hits like "Surely God Is Able," allowed for fluid shifts in vocal leadership that heightened emotional intensity and inspired the structure of modern choirs and contemporary groups. Her emphasis on dramatic staging and harmonious interplay not only elevated the Ward Singers' live shows but also set a template for ensemble that prioritized collective energy over solo dominance. Ward's commercial achievements marked a breakthrough for the genre, with recordings such as “Surely God Is Able,” which sold over a million copies and was among the first gospel tracks by a group to do so, demonstrating the genre's appeal to wider audiences and paving the way for gospel's integration into the broader . These successes proved that gospel could achieve mass-market viability without diluting its spiritual core, influencing labels to invest more in the format and encouraging artists to pursue crossover opportunities. In the late , Ward expanded 's reach through appearances in pop culture, including backup vocals for secular artists and roles in films like A Time to Sing (1968), where she portrayed a waitress in a Nashville diner, and (1970), broadening the genre's visibility in Hollywood. Her willingness to engage with non-religious media helped normalize 's presence in diverse settings. As of 2025, Ward's legacy continues to resonate in revival efforts, with recent releases of rare recordings further highlighting her contributions to the genre's evolution.

Awards and Honors

Clara Ward received several notable awards and honors recognizing her contributions to , both during her lifetime and posthumously. In 1977, she was posthumously inducted into the in for her songwriting achievements, with her sister Willa Ward accepting the award on her behalf. In 1992, Clara Ward and the Ward Singers were inducted into the Philadelphia Music Alliance Walk of Fame, honoring their innovative arrangements and role in popularizing beyond church settings. The further commemorated Ward's legacy in 1998 by issuing a 32-cent stamp featuring her image as part of the Legends of American Music: Gospel Singers series, which also included stamps for , , and Roberta Martin. In 2025, Ward's recording of "How I Got Over" was inducted into the . In recent years, Ward's pioneering status in has continued to be highlighted in retrospectives, such as a 2025 article in Deep Roots Magazine that profiled her enduring influence and referenced her prior honors.

Discography

Studio Albums

Clara Ward's studio recordings with the Ward Singers began in the late under Gotham Records, marking a pivotal era in commercialization. Early releases included singles that later influenced her studio work, such as the 1953 album Hallelujah, featuring dynamic harmonies, and the 1957 release Lord, Touch Me, which showcased her evolving arrangements. In the mid-1960s, Ward explored genre-blending with releases like Soul and Inspiration (1969, ), where she interpreted pop standards from Broadway and film alongside elements, showcasing her versatile and broadening her appeal beyond traditional audiences. This album highlighted her ability to infuse secular material with spiritual depth, reflecting evolving trends in gospel's crossover potential. Over her lifetime, Ward contributed to more than 20 studio albums, many achieving commercial milestones that solidified place in mainstream recording history.

Singles and Compilations

Clara Ward's early singles with the Ward Singers marked a pivotal era in , beginning with "The Day Is Past and Gone" in 1948, recorded for Gotham Records and establishing the group's dynamic harmonies and emotional delivery. This track, a reworking of a traditional spiritual, highlighted Ward's soaring lead vocals and helped propel the ensemble to national prominence. Her landmark single "Surely God Is Able," released in 1949 on Gotham Records, became the first million-selling gospel record by an African American group, blending fervent testimony with orchestral arrangements that broadened gospel's commercial appeal. In the 1950s, "How I Got Over," initially issued as a single in 1950 on Gotham and later re-recorded, captured Ward's triumphant phrasing on the Clara Ward composition, resonating deeply during the and achieving enduring popularity as one of gospel's signature anthems. By the , "Packin' Up" (1960, London Records) exemplified her innovative stage presence, with mimed choreography that energized live performances and recordings, though it drew criticism from traditionalists for its theatricality. Other notable singles included collaborations on gospel standards like "Didn't It Rain" and "Joshua Fit the Battle of Jericho" (1958, ), which showcased the Ward Singers' tight ensemble work and Ward's improvisational flair, further cementing their influence on the genre. These releases, alongside tracks such as "Somebody Bigger Than You and I," contributed to multiple entries on Billboard's charts during the and , where the group dominated sales and airplay in the burgeoning market. Posthumously, Ward's singles have been preserved through key compilations that highlight her foundational contributions. The 2014 reissue Clara Ward and the Famous Ward Singers Recordings 1949-1958 on Gospel Friend Records collects over two dozen early Gotham and sides, including "Surely God Is Able" and "The Day Is Past and Gone," offering a comprehensive view of her pre-solo era. In the 2020s, digital collections have revitalized her catalog, such as the 2023 Acrobat release The Famous Ward Singers 1949-62, a 77-track set spanning singles from both labels, and the 2025 retrospective The Magnificent Clara Ward: Just Over the Hill, which features rare recordings and underscores her lasting vocal legacy. Many of these singles also appeared on her studio albums, providing context for their broader thematic development.

References

  1. https://blackpast.org/african-american-history/clara-mae-ward-1924-1973/
  2. https://www.philadelphiamusicalliance.org/walk-of-fame/clara-ward-and-the-ward-signers-2/
  3. https://www.blackpast.org/african-american-history/clara-mae-ward-1924-1973/
  4. https://wbssmedia.com/artists/detail/695
  5. https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/ward-clara-mae-1924-1973
  6. https://www.loc.gov/static/programs/national-recording-preservation-board/documents/HowIGotOver.pdf
  7. https://www.ebsco.com/research-starters/biography/clara-ward
  8. http://www.earlygospel.com/early-gospel-singers-w/
  9. https://timeline.carnegiehall.org/genres/gospel-group
  10. https://timeline.carnegiehall.org/performers/clara-ward-singers
  11. https://www.nomos-elibrary.de/10.5771/9780739167137-133.pdf
  12. http://www.earlygospel.com/miscellany-composers/
  13. https://amsterdamnews.com/news/2018/10/04/along-mahalia-and-aretha-there-was-clara-ward-and/
  14. https://www.imdb.com/name/nm0911462/
  15. https://www.nytimes.com/2012/08/23/arts/music/willa-ward-gospel-singer-dies-at-91.html
  16. https://www.kennedy-center.org/artists/w/wa-wn/marion-williams/
  17. https://deeprootsmag.org/2025/09/24/clara-ward-abides/
  18. https://www.oakpark.com/2013/07/30/the-hard-fast-life-of-clara-ward-told-at-open-door/
  19. https://www.nytimes.com/1973/01/17/archives/clara-ward-gospel-singer-48-leader-of-popular-group-dies.html
  20. https://kids.kiddle.co/Clara_Ward
  21. https://music.apple.com/us/artist/clara-ward/326361
  22. https://pitchfork.com/features/afterword/how-aretha-franklin-earned-her-crown-as-the-queen-of-soul/
  23. https://time.com/archive/6635432/music-lady-soul-singing-it-like-it-is/
  24. https://postalmuseum.si.edu/object/npm_1998.2014.44
  25. https://grammy.com/news/grammy-hall-of-fame-2025-inductees
  26. https://www.discogs.com/artist/527736-Clara-Ward
  27. https://www.discogs.com/release/3555941-Clara-Ward-Gospel-Concert
  28. https://journalofgospelmusic.com/gospel/clara-ward-and-the-famous-ward-singers-gospel-friend/
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