BLACK SOCIAL HISTORY : AFRICAN AMERICAN " ANDY AND THE BEY SISTERS " ONE OF THE GREAT UNSUNG HEROES OF THE JAZZ SINGING WITH HIS COMMANDING INTERPRETER OF LYRICS WHO HAD A WIDE VOCAL RANGE AND BIG RICH FULL VOICE : GOES INTO THE " HALL OF BLACK GENIUS "

                                       BLACK                  SOCIAL               HISTORY                                                                                                                                                                                                                                                                                        One of the great unsung heroes of jazz singing, Andy Bey is a commanding interpreter of lyrics who has a wide vocal range and a big, rich, full voice. Bey enjoys a small following that swears by him; nonetheless, he isn't nearly as well known as he should be. Born and raised in Newark, NJ, not far from New York, Bey was exposed to jazz as a child and started singing in front of local audiences as early as eight. At some gigs, an eight-year-old Bey was accompanied by tenor sax great Hank Mobley. Bey was 13 when, in 1952, he recorded his first solo album, Mama's Little Boy's Got the Blues; and he was 17 when he formed Andy & the Bey Sisters with his siblings Salome and Geraldine in 1956. The group did a 16-month tour of Europe and recorded three albums (one for RCA Victor in 1961, two for Prestige in 1964 and 1965) before breaking up in 1967. In the 1960's and 1970's, Bey's vocals were featured by Max Roach, Duke Pearson, andGary Bartz (for whom he delivered very socio-political lyrics, including some searing condemnations of U.S. involvement in the Vietnam War). The 1970's also found Bey recording Experience and Judgment for Atlantic and beginning a long association with pianist Horace Silver, who featured him prominently on many of the religious-themed albums he put out own his own Silveto label in the 1970's and 1980's. The LPs contained what Silver termed "metaphysical self-help music" and preached a sort of religious self-help philosophy that wasn't unlike Reverend Ike's message -- unfortunately for Silver and Bey, this approach meant limited distribution and little commercial appeal. Bey continued to work with Silver into the 1990's, when he was featured on Silver's 1993 Columbia date It's Got to Be Funky (which marked a return to hard bop's mainstream and did much better commercially than his "self-help music"). Labels Bey recorded for as a leader in the 1980's and 1990's included Jazzette, Zagreb, and Evidence, which, in 1996, released the superb Ballads, Blues and Bey. The success of Blues, Ballads and Bey set-up a position for the pianist to stretch out a little and explore his more intimate side. Bey followed with Shades of Bey in 1998 and Tuesdays in Chinatown in 2001, choosing to explore outside the world of jazz with covers of Nick Drake and Milton Nascimento and others. American Song followed in early 2004.