Thursday, January 31, 2008

Gospel Memories - Highlights of the February 3 Broadcast

Start Black History Month on the right note by tuning into 88.7 WLUW in Chicago this Sunday morning, February 3, from 3:00 to 7:30 a.m. CDT for the live broadcast of “Gospel Memories” – the Soundtrack to That Old Time Religion.

Not in Chicago? No problem. Go to http://www.wluw.org/, click the Listen Live button, and enjoy “Gospel Memories” from wherever you are!

Highlights of the February 3 Broadcast:

Benediction: “The Lord’s Prayer” – Liz Dargan and the Gospelettes




Words and Music: An Interview with Cleve Graham of the Pilgrim Jubilees







In Loving Memory:


Freeman Wilson (Victory Choral Union, Gabriel Hardeman Delegation, Philadelphia Mass Choir)




Donald Young (Choir Director, Trinity United Church of Christ, Chicago)




Edgar O'Neal (O'Neal Twins, St. Louis, MO)






Preacher Feature: “Halfway to the Promised Land” by Rev. W.M. Hobson, Pastor – Macedonia M.B. Church, Jackson, TN (circa late 1950s – early 1960s)

From the Vault:
Arizona Dranes w/Rev. Ford Washington McGee
Elder Lightfoot Solomon Michaux
Nazarene Congregational Church Choir of Brooklyn, NY

Plus recordings by pioneers and legends such as:

Rev. Luscha Allen and the Versatile Acapella Choral Group
Mae Gooch and the Gospel Stars
Fellowship M.B. Church Choir, feat. Woodrow Walker
Famous Boyer Brothers
Rev. Morgan Babb
Roberta Martin Singers
Sacred Jewels
Holy Disciples
St. Luke COGIC Choir of Chicago
Spiritual Blind Boys
Doris Akers and Dorothy Simmons
…and many more!

So tune in and turn on to “Gospel Memories”…where every month is Black History Month.

Monday, January 28, 2008

WILLIAM CARSON, 1952 - 2008


From TBGB friend Elder Mack C. Mason. It is so sad to lose such a young and talented man as Billy Carson:

We regretfully announce the passing of our good friend, William "Billy" Carson.

Billy was host of Gospel City Videos telecast and producer of many church telecasts which aired Saturdays and Sundays during the Broadcast Ministers Alliance programming on Channel 25.

Billy's spiritual nurture and career in gospel music began at St. Lawrence COGIC, where he later organized the Billy Carson Singers. This young group traveled with the late Anna Broy Crockett Ford to many COGIC conventions throughout the US.

Billy was also an acclaimed teen percussionist seen on TV's Jubilee Showcase, heard on recordings, and live broadcasts accompanying such ministers and artists as Rev. Maceo Woods, Mahalia Jackson, Rev. James Cleveland, Rev. Clay Evans, Rev. Milton Brunson and the Thompson Community Singers, Dr. Charles Hayes and Universal Kingdom, The Raymond Raspberry Singers and many others. Billy produced several recordings by The Billy Carson Singers featuring Linda his wife of 37 years, as well as his sisters Marla and Sylvia, also Tyrone Dickerson and Serenity, and three albums by Rev. Maceo Woods and Christian Tabernacle.

His radio broadcasting and TV production credits stretch from Radio Station WXFM in 1975, to his own popular weekly telecast Gospel City Videos, which debuted in 1993 and featured music videos and artist interviews. Billy will be greatly missed.

Services will be held Saturday, February 2nd, 2008 at Christian Tabernacle Church, 4712 South Prairie Avenue, Chicago, IL 60615 with Pastor Maceo L. Woods, officiating. Visitation begins at 9:00AM and Funeral Services at 10:30AM.

MACK C. MASON, Author of
"Saints in the Land of Lincoln"

TBGB Pick of the Week: January 28, 2008


“Move!!! (Right Now!)”
The Jimmy Hicks Project
From the Worldwide Music CD The Jimmy Hicks Project 2007
www.gospeltruthmagazine.com

Elder Jimmy Hicks and Diana Hicks Hay are together again on “Move!!! (Right Now!).” Just as they demonstrated on the Jimmy Hicks and Voices of Integrity hit, "Born Blessed," the duo oozes with charisma and chemistry as they trade leads on what amounts to a gospel novella. Even though the performance is steeped in traditional gospel, what the team brings to it in terms of lyrical banter is fresh and inventive.

The three punctuation marks notwithstanding (one is sufficient, thank you), “Move!!!” is likely to be another winner for the “Elder in Charge.”

Sunday, January 27, 2008

Essential Gospel – Classic Recordings: No. 145


“I Can Go to God in Prayer”
Albertina Walker and the Evangelical Choir of the Lighthouse Baptist Church
From the Savoy LP I Can Go to God in Prayer
Savoy SL-14600, 1981

You can’t get much more Chicago than “I Can Go to God in Prayer,” a song written by Chicago’s Calvin Bridges that features Queen of Gospel Albertina Walker (“Miss Caravan”) with an energetically clapping gospel choir from the Lighthouse Baptist Church, founded by former First Church of Deliverance member Rev. Jerry Goodloe. The performance was recorded live in Goodloe’s south side church. Even the album liner notes have Chicago provenance, penned by Elder George Jordan (“Jesus Can Work it Out”) of Rev. Maceo Woods’ Christian Tabernacle, another gospel choir powerhouse.

“I Can Go to God in Prayer” demonstrates why Chicago continues to be the gospel choir capital of the world. The performance will put a smile on your face, warm your heart, and brighten your step. Isn’t that what gospel music is supposed to do?

Plus, the song’s bridge has one of the catchiest call-and-response sections in gospeldom: To Walker’s call, “He can work it out,” the choir’s response is, “Yes He can/Yes He can/Yes He can/Oh, Yes He can.” Like the “sha la la” in Van Morrison’s “Brown Eyed Girl,” you can’t listen to this song without chiming in on the response.

The entire live LP is excellent, especially the workout on the Ward Singers’ famous “We Shall Be Changed,” but “I Can Go to God In Prayer” outshines all of the tracks. It is one of the most remarkable choir performances in gospel music. Given the competition, that’s saying a lot.

Saturday, January 26, 2008

Heavenly Gospel Singer Beatty Nominated for Gospel Music Hall of Fame and Museum


TBGB caught this on the WSPA Channel 7 (South Carolina) website. The Heavenly Gospel Singers were the first to record Thomas A. Dorsey's classic "Take My Hand, Precious Lord." They recorded it on February 16, 1937 in Charlotte, NC for Victor's Bluebird subsidiary, a year before Arthur "Bob" Beatty joined the quartet.

Friday, Jan 25, 2008 - 03:17 PM

A Spartanburg great-grandfather is nominated for the International Gospel Music Hall of Fame and Museum.

Bob Beatty dreamed of becoming a professional boxer but another talent led him out of the ring and onto a stage. He started singing professionally at age 19. Beatty toured with Heavenly Gospel Singers as well as with four other groups over his 75 year career. "It's a soul thing," said Beatty about his music.

Beatty hopes to soon see his name next to legends at the International Gospel Hall of Fame and Museum in Detroit. "It would make my life," chuckled the 95 year old singer.

Beatty is on the ballot for the hall of fame this year. The museum will announce the winners in April.

****************

You can vote! Go to the IGMHF nomination site and vote for Bob Beatty!

Special thanks to Marc Lindy of Vancouver, BC for providing TBGB with information on Mr. Beatty, especially the reminder that Beatty was part of the 1953 Violinaires that recorded "Just Another Soldier" for the Drummond label.

Friday, January 25, 2008

TBGB Reviews...Bishop Gregory M. Davis, Sr. & the Tabernacle Cathedral Choir


Today Is Your Day For a Miracle
Bishop Gregory M. Davis, Sr. & the Tabernacle Cathedral Choir
Greg Davis Ministries International 2007
http://www.gregdavisministries.org/

While Today Is Your Day For a Miracle is the project of Bishop Gregory M. Davis, who pastors two Full Gospel Baptist churches (in Pennsylvania and Delaware), it belongs just as much to guest artist Minister Stephanie Pride.

Pride is chief worship leader and music media and arts director for House of Prayer & Praise in Detroit, and was featured on Brenda Jefferson's 2007 A Time of Refreshing. Pride's lovely and powerful voice captivates throughout the first half of the CD. “There’s a Flow” is her showcase piece: she begins softly and lyrically, but by the end of the nine-minute-plus performance, she has worked up to a full-on gospel growl.

The second half of the CD, recorded live at Tabernacle Full Gospel Baptist Church in Wilmington, Delaware last May, spotlights the singing and ministering of Bishop Davis. Transitioning from the “Prophetic Healing Flow,” during which Davis calls out for healing of the congregation’s struggles with maladies such as diabetes, back pain, ear infection, and depression, he moves into the “Church Medley.” Davis prefaces the medley by explaining to the audience that he grew up in the Welcome Missionary Baptist Church in Detroit, but "slipped off" to the sanctified church. The medley is a mixture of both, with songs such as "Since I Laid My Burden Down," the Soul Stirrers’ "Jesus I’ll Never Forget," and Kenneth Morris' "Joybells Keep Ringing in My Soul." Though the performance goes on for seven and a half minutes, the instrumentalists sound as if they could have played for another thirty minutes!

The second “Prophetic Healing Flow” could have been cut from the final project, as it doesn’t seem to have captured the congregation in the same way as the first. Speaking of the congregation, the crowd microphone was not high enough, and therefore did not catch the audience’s interaction with the Bishop and the singers, an all-important ingredient on a live project. Despite this, the project is well produced and Stephanie Pride is definitely worth a listen.

Two and a Half of Four Stars

Tuesday, January 22, 2008

TBGB Reviews...William Warfield with Bill Carter's Jazz Band


Bill Carter’s Jazz Band Presents William Warfield
Something Within Me
Delmark 2004
http://www.delmark.com/

Jazz and black sacred music have been dallying for many decades. Ignoring for the moment how gospel music was breathed into life by jazz, there have been many examples of the two together. The teams of Bunk Johnson and Ernestine Washington, Duke Ellington and Mahalia Jackson, Chris Barber and Alex Bradford, Chris Barber and Sister Rosetta Tharpe, and the Dukes of Dixieland with Clara Ward come immediately to mind. I’m certain I’m forgetting many more examples.

All things considered, it made sense that when seeking a headliner for a centennial celebration of New Orleans Jazz to be performed in San Francisco in October 2000, conductor and clarinetist William Carter selected the octogenarian William Warfield. Although best known for his “Old Man River,” Warfield performed a great many spirituals in his successful career.

Before teaming up on stage for the centennial celebration, however, Carter and Warfield took their new collaboration into Bay Records in Berkeley to make Something Within Me for Bob Koester's Delmark label. The two take turns in the spotlight: about half of the tracks showcase Carter’s Jazz Band delivering delicious Dixieland jazz; Carter’s clarinet and Leon Oakley’s trumpet are especially strong and effective on the sacred and secular, the slow drags and the stomps. The group’s performance of “When the Saints Go Marching In” is their finest here, following as it does the cadence of the New Orleans funeral march: half somber, half joyous.

The remainder of the project features Warfield singing spirituals, hymns, and gospels, including the Lucie Campbell-penned title track. The great revelation here, one that was thankfully captured for posterity, is Warfield accompanying himself on piano. Like Carter, I did not know Warfield was a pianist, yet he plays with the sensitivity of a career accompanist. In the liner notes, Carter explains that Warfield’s father was a Baptist preacher, and “literally at his mother’s knee [Warfield had] grown up playing churchy piano as much as singing.” And on at least one track, the jazz ensemble and Warfield combine forces to make heavenly music.

True, Warfield’s baritone is more strident than one will remember from Showboat, but let’s all hope we are singing, playing piano, and performing on stage with as much verve as Bill Warfield when we turn 80. And given that Warfield passed away two years later, the timing couldn’t have been better to capture the legend before he was lost to us forever.

Two and a Half of Four Stars

Monday, January 21, 2008

Smithsonian Folkways Releases Classic African American Gospel


Ethnomusicologist and noted quartet historian Kip Lornell helped Smithsonian Folkways select the tracks for the new Classic African American Gospel, a 24-track audio-history of black gospel music.

Offering original recordings of jubilee singing to authentic "shout bands," the collection is reported to give an overview of gospel music as it evolved into one of America's truly great art forms.

Listen to a discussion about the project from NPR's Weekend Edition:
Classic African American Gospel

Saturday, January 19, 2008

Analisa Nominated for a Dove Award


TBGB sends congratulations and best wishes to Analisa, whose project, Jesus...He Brings Me Joy been nominated for a Dove award in the category of "Contemporary Gospel Album of the Year."

The Blog's review of Analisa's nominated CD can be found here.

Friday, January 18, 2008

Edgar O'Neal of O'Neal Twins, Passes Away in St. Louis



From the St. Louis Post-Dispatch. Special thanks to gospel discographer Bob Laughton for alerting TBGB to Edgar's passing.

*****
Edgar O'Neal, one of the O'Neal Twins gospel singers, died Wednesday (Jan. 16, 2008) at Christian Hospital after a short illness. He was 70 and a resident of Spanish Lake.

Mr. O'Neal and his late brother, Edward Vazon O'Neal Jr., began singing gospel at age 12. In 1969, the O'Neals were voted the "World's Greatest Gospel Duo'' by the National Association of Television and Radio Artists. Their duet "Jesus Dropped the Charges'' won them national acclaim in the movie "Say Amen, Somebody'' — a documentary on gospel music pioneer Willa Mae Ford Smith.

In 2004, the duo were inducted into the International Gospel Music Hall of Fame alongside CeCe Winans, Donnie McClurkin and other gospel figures. The duo recorded nearly two dozen albums, including some for Leon Russell's record label.

During the 1950s, the O'Neal brothers performed in churches around St. Louis. By 1960, they were performing outside the area.They performed nationally at Carnegie Hall, Madison Square Garden and the Kennedy Center, and locally at the Fox Theatre, American Theatre, Powell Symphony Hall, Kiel Auditorium and Westport Playhouse.

In a 2005 interview with the Post-Dispatch, Mr. O'Neal spoke about the early challenges. "We always had bookings and recordings, but when we started, black gospel was not readily accepted with the wide range it is today," he said. "And the money wasn't there."

The O'Neals — with Edgar on piano and both brothers singing — challenged gospel tradition. "The main gospel thrust at the time (was) male quartets, and we were a piano group," Mr. O'Neal said. "We were considered in a different category from the male singing groups. But then the quartets got into piano. It took some years as we stayed out there before our style took hold."

Visitation will be from 4 to 7 p.m. Thursday at Kossuth Temple Church of God and Christ, 3801 Clarence Avenue. The funeral service will follow at 8 p.m. at Kossuth. Interment will be Friday, Jan. 25 at St. Peters Cemetery.

Among the survivors are his wife, Lillian O'Neal; a daughter, Chandra O'Neal of Spanish Lake; and a brother, William Crawford of St. Louis.

Thursday, January 17, 2008

TBGB Reviews...Detroit Remembers, Vols. I & II


Detroit Remembers, Vols. I and II
Various Artists
Sound of Gospel 2002 (Vol. I), 2007 (Vol. II)

Gospel historian Professor L. Stanley Davis introduced me to this collection, which contains some of the most thrilling, exhilarating traditional gospel music performances – and I mean gospel with a capital G – that has been released in the past few years.

I have always held Armen Boladian's Detroit-based Sound of Gospel label in the highest regard. Besides releasing some of the earliest albums by the Clark Sisters and extending the Southwest Michigan State Choir’s recorded legacy, Sound of Gospel has been consistent in its superb audio quality and tasteful A&R. The result is that one can pick up a Sound of Gospel album without knowing anything about the artist, and be guaranteed of a satisfying performance.

Detroit Remembers Vols. I and II are a total of three CDs by the self-acknowledged “biological and spiritual offspring” of Detroit’s cadre of gospel pioneers, including Clark, Whitfield, Cleveland, Craig, Smith, Vails, and Nicks. Proving the apple doesn’t fall far from the tree when it comes to the artistic gene, the new generation (many from the Charles Craig Family) mixes with the legends in recreating with uncanny accuracy the energy and excitement of Detroit gospel as it sounded from the 1950s through the 1980s. Thus, Ora Watkins-Jones returns as soloist on Mattie Moss Clark’s “Climbing Up the Mountain,” sounding as if she hadn’t aged a day since the original recording was made for Savoy in 1965. A personal favorite is Rev. Charles H. Nicks Jr.’s prayerful “I Really Love the Lord,” a composition I haven’t heard in more than 15 years. It was like greeting a long-lost friend and catching up as if not a day had passed since our parting.

Other standout moments on the first volume include Hulah Gene Dunklin Hurley – also sounding as if she hadn’t aged a day – reprising her awesome 1959 Voices of Tabernacle performance of “Jesus Will.” Throughout the project, a team of organists coax a marvelous array of chortles, warbles, chirps, and purrs out of the Hammond B3 until it sounds like a member of the congregation overcome by the spirit.

Given the success of the 2002 project, the players regrouped last year to record Volume II, though sadly without Hulah Gene Dunklin Hurley, who passed away in the interim, and in memory of Ron Winans, who also went on home between volumes.

Volume II continues where the first installment left off: song after song of expertly recreated performances, many of which are out and out church wreckers, with the choir singing as if it is the last day on Earth. For example, a rockabilly guitar dances playfully around a strongly voiced “Search Me Lord,” while Harold Smith’s “Work On, Pray On” is reminiscent of the hard-charging workout given to it by Chicago’s Dr. Charles Hayes and the Warriors. Charles Craig’s arrangement of “Down by the Riverside” sounds just like the theme to the short-lived 1960s program “TV Gospel Time,” and Mattie Moss Clark’s “I Thank You Lord” is as invigorating as the 1963 original.

Detroit Remembers is a must-have two-volume set for those who love traditional gospel, or who want to hear what gospel sounded like back when the pioneers were yet among us. A standing ovation for Detroit Remembers!

Four of Four Stars

Just the Gospel Truth for Byrnes and the Sojourners


TBGB has reviewed Byrnes' House of Refuge and the Sojourners' own project Hold On. Here's a photo and an informative article from Vancouver's Vue Weekly about the Original Sojourners of Vancouver.

*****
EDEN MUNRO / eden@vueweekly.com

When Jim Byrnes began working on his 2006 album, House of Refuge, he knew that he wanted to add some gospel music into the mix.

He’d performed live with gospel groups over the years, but hadn’t recorded an album with one until he mentioned the idea to his producer, Steve Dawson, and the two of them agreed to make it happen.

For the requisite voices, Byrnes turned first to Marcus Mosely, one of the directors of the Good Noise Vancouver Gospel Choir. Mosely then brought in a couple of the choir’s members, Will Sanders and Ron Small, and the singers began something that has now taken on a life of its own beyond Byrnes’s album.

“We had so much fun singing together and doing this, and we were laughing it up,” Byrnes explains. “So at the end of the thing I said, ‘Listen, man, you guys need to stay together. This has got to be a real thing, and I’m going to give you a name.’ And I named them the Sojourners.”

“When he said, ‘I’m gonna call you guys the Sojourners,’ it was just perfect,” Mosely elaborates. “In fact, the complete name, if you want to say it, is the Original Sojourners of Vancouver, which is sort of an homage to a lot of those quartet and quintet groups in the South—they always have names like that: the Original Five Blind Boys of Alabama or Mississippi. Plus I understood what [Byrnes’s] sentiment was. Number one, the name comes from the idea of people ... who aren’t in their homeland but they are passing through on their way to another land, so that has real strong significance in African-American history and also with the whole idea of the gospel music, the idea that we are just travellers here on this planet on our way to a better place.“

And also, there was a woman who was formerly a slave,” he continues, “who gained her freedom and then became quite a strong abolitionist and outspoken person for women’s rights, back at the turn of the century—her name was Sojourner Truth. So the name is just packed with meaning and significance.”

That Byrnes would come up with a name that is rich in history and powerful metaphors is not surprising considering that his own background is one with tendrils reaching all the way back to his youth in St Louis, where he says that he grew up listening to radio stations that played the blues on Saturday nights and nothing but gospel music on Sundays.

The three singers in the Sojourners know their way around gospel music, too, although their own approaches to the style have been tailored by the geography of their pasts, something which came into play when the trio recorded its own album, Hold On, last year.

"The three guys got together—Will, Ron and myself—and we started just making lists of songs that we could potentially do and then we narrowed them down to the few that we chose,” Mosely recalls. “It was a fun process, because Will comes from Louisiana, Ron originally comes from Chicago and I was born in Texas, so although we all grew up with various exposures to gospel music, regionally we come from different places, so the songs have their own character depending on what region you come from. So in our rehearsals when we were working on the music it was a fun process, too, just sort of to synchronize all those, to bring all those different regional idiosyncrasies together to create each song.

“With Will, he comes from Louisiana ... so he grew up around Cajuns, people who speak that sort of French patois,” he continues, explaining the combination of regional gospel sounds that came together in the Sojourners. “With Ron, coming from Chicago it’s more industrialized, so the music has that sort of Chicago blues, Chicago jazz sort of sound, and me being a Texan, I grew up actually with a lot of country and western influences, and cowboy music and of course gospel—but the gospel had more guitar sounds to it and so on—so we brought all of those together.”

Sat, Jan 19 (7:30 pm)
Jim Byrnes and the Sojourners
Festival Place, $28 - $32

Tuesday, January 15, 2008

Monday, January 14, 2008

TBGB Pick of the Week: January 14, 2008


“Lift Him Up”
Dexter Walker & Zion Movement
From the Found Sound Music CD Move (2007)
http://www.zionmovement.org/

Rev. Dr. Stanley Keeble says that what makes the Chicago gospel choir special is its attack: attack on the melody, attack on the lyrics, and attack in its physical movement. That said, Dexter Walker’s vivacious Zion Movement chorale is Chicago through and through, exciting to watch and invigorating to hear.

So what better way to get 2008 off to a great start than to hear Walker and fellow Chicagoan VaShawn Mitchell singing the latter’s own composition, “Lift Him Up,” supported by the wave of high-intensity kinetic energy that is Zion Movement.

Sunday, January 13, 2008

The 2008 Stellars Belong to Detroit, Clark/Moss Family


The 23rd Annual Stellar Gospel Music Awards, held last night at the Grand Ole Opry House in Nashville, Tennessee, was an evening to remember, especially for Detroit. Artists from two of the Motor City’s most beloved gospel music families – the Moss/Clarks and Winans – together tallied wins in 11 of the Stellar’s 28 categories.

The Clark Sisters were the evening’s big winners with five Stellars, including top honor, Artist of the Year. Dorinda, Jacky, Karen, and Twinkie said that their farewell performances and CD, Live One Last Time, had garnered so much enthusiasm that they might just have to do it one more last time. The Clark Sisters performed their current hit, “Blessed and Highly Favored,” at the awards ceremony (see photo).

The Clark Sisters’ nephew J Moss earned Stellars for Contemporary CD of the Year for V2... and Music Video of the Year for a hit from V2..., “Operator.” Maurette Brown Clark and her daughter Jada Simone Clark each received Stellars, for Praise & Worship CD of the Year (The Dream) and Children’s Performance of the Year, respectively.

Meanwhile, one of the show’s co-hosts, CeCe Winans, received the Chevrolet Most Notable Achievement Award for her career in gospel music and philanthropic ventures. Her sister Vickie’s Woman to Woman: Songs of Life won Recorded Music Packaging of the Year.

DeWayne Woods of Chicago also had plenty of cause to celebrate, with Stellars for New Artist of the Year and Male Vocalist of the Year. In addition, “Let Go,” a single from Woods’ debut project and one he performed live at the ceremony, earned a Stellar for Urban/Inspirational Single of the Year, and one for the song's composer, P Morton, son of New Orleans’ beloved Bishop and Mrs. Paul S. Morton. Bishop Morton himself collected Traditional CD of the Year honors for Still Standing.

Besides winning in the categories of Female Vocalist and Traditional Female Vocalist, gospel legend Tramaine Hawkins was honored with the Allstate James Cleveland Lifetime Achievement Award. A teary Tramaine recalled for the audience the controversy surrounding her 1986 release of “Fall Down” (which became a dance hit), how none other than James Cleveland silenced the naysayers by publicly embracing her as “my girl” at a GMWA gathering, and how her husband, a retired schoolteacher, sacrificed his life savings to invest in her latest hit CD, I Never Lost My Praise.

The Ambassador Dr. Bobby Jones Legends Award went to two iconic Chicago female groups: the Caravans, and DeLois Barrett Campbell and the Barrett Sisters. Both groups have been singing for more than 50 years and were present in the front row, alongside Jones, wearing bedazzling dresses and beguiling smiles, providing plenty of inspiration for the artists onstage.

Among the show’s many live performances, Chicago’s Ricky Dillard and New G tore the roof off the Grand Ole Opry House with its spirited singing and choral choreography.

A complete list of the 2008 nominees and winners can be found at the GOSPELFlava website:
http://gospelflava.com/stellar/stellarresults-2008.html

Friday, January 11, 2008

TBGB Reviews...Wess Morgan


Look At Me Now
Wess Morgan
Oak Tree Productions 2006
http://www.wessmorgan.com/

I must admit that when I first saw the dapper, bow-tie adorned Wess Morgan in a crowd at the Gospel Music Workshop of America last year, I thought he might be a CCM singer trying to get into gospel. Hearing his Look At Me Now, released in April of 2007, I realize that first impressions aren’t always the right ones. Morgan is true blue-eyed urban inspirational. In fact, if you close your eyes and just listen, you’d think he is right out of John P. Kee’s choir.

With a moderately husky voice that fits somewhere between George Benson and Michael McDonald, the Nashville-based Morgan is a soulful singer, capable of balladeering as well as shouting. As if to confirm his authenticity to the skeptic, Morgan opens with an effective harmonica and bottleneck guitar backed gospel blues. The rest of the project, however, is infused with cool, uptempo, jazzy arrangements. For example, “Sing Unto the Lord” has a salsa flavor, while “Love My Hurt Away” and “Can’t Stop Thinkin’” owe debts of gratitude to ‘70s Earth, Wind & Fire.

The entire project is musically adventurous in a Winans sort of way, while the lyrics stay focused on the redemptive power of belief in God. While the title track and "He Brought Me Out," the latter sung with Daryl Coley, are the radio picks, “You May Not Know Me” contains the project’s most bracing lyrics. Morgan sings about a life of substance abuse and other anti-social behaviors that could well be based on what he witnessed during his time as a street minister.

Morgan closes Look At Me Now by singing a medley based on “I Won’t Complain” in traditional gospel solo fashion, complete with church-wrecking vocal runs. He passes the baton to his mother, Yolanda, to handle the project’s final moments by completing the medley.

In addition to those who like some bounce in their sacred music, fans of Canadian gospel singers Danny Brooks and Jim Byrnes will find Look At Me Now an agreeable listen. A companion DVD is available as well.

Three of Four Stars

Thursday, January 10, 2008

Bishop Ozro Thurston Jones, Jr. (COGIC) Passes Away

TBGB learned from Minister J.J. Bell that Bishop Ozro Thurston Jones, Jr., General Board Member Emeritus and former Second Assistant Presiding Bishop of the Church of God in Christ, passed away Wednesday, January 9.

Bishop Jones' homegoing information will be forthcoming at the COGIC main website: www.cogic.org.

Joshua Nelson: "Kosher Gospel"




From The Miami Herald, 1/9/2008

BY ADAM PLAYFORD
Special to The Miami Herald

Joshua Nelson is a black Jew who sings Kosher gospel music. "You hear 'kosher gospel,' and you're like, 'What is this, Jews for Jesus?' '' he said. "But I take everything from more of a cultural background than a religious standpoint.''

He and the Kosher Gospel Singers will bring his music Sunday to Pinecrest's Bet Shira Congregation -- the site of Nelson's first professional performance, more than 12 years ago.

Since then, Nelson has performed on The Oprah Winfrey Show and before President Clinton. He has finessed his style of mixing Hebrew and English to sing gospel music with a Jewish message.

His family traces their ancestry to Senegal, Africa. They are Orthodox, and he grew up eating kosher collard greens (cooked in turkey, not swine) and macaroni and cheese (but either before dinner or with fake cheese, so not to eat milk and meat together).

When he was young, he stumbled upon one of his grandmother's records. It was by Mahalia Jackson, whom he called "the most famous gospel singer, ever.''

He loved the music. But, he said, "being a little Jewish boy, I guess I wasn't the best candidate for being a gospel singer.''

So he started researching gospel and discovered that it was merely the bridging of African culture and religion.

''What I do in Judaism is just marrying an African style of music with Hebrew. And if you know history real well, it's not even odd at all. It's only odd if you're looking at it from a European prospective,'' Nelson said.

And so he became a gospel singer.

Now he performs around the world. Some people, he said, compare him to a reincarnated Mahalia Jackson.

But for him, success is about making a connection with people, not about celebrity or praise.

''If someone's uplifted by my music, then that's successful,'' he said.

He wants his music to educate people, and he thinks his unique style teaches people about what it means to be Jewish.

The most frustrating part of being a black Jew, he said, is having to explain himself; he said he can only hear so many jokes about Sammy Davis Jr.

Once, after a concert, a woman came up to him and asked if he had ''Jewish blood,'' he recalled.

''What is Jewish blood? I've heard of type O. I've never heard of Jewish type,'' he said. 'And she says to me, 'Oh, I'm so embarrassed.' And you should be!''

Nelson is a member of both a Reform and an Orthodox synagogue. He follows Orthodox laws but said he increasingly identifies with the Reform movement, which he describes as "saying I would rather do good for someone than do a ritual.''

''Perfect example: I saw a woman who was on the street corner talking to a beggar guy -- didn't have much clothes on, looked hungry,'' Nelson added. 'She was giving him a tract about Jesus, a little pamphlet. And I said, 'Excuse me, ma'am, why don't you show him God instead of telling him about it?' She said, 'How am I going to do that?' And I said, 'Why don't you take him to McDonalds and get him something to eat?' ''

A few minutes later, he's on to the musicians and singers he plays with -- some black and some white.

''Some of the blacks are Jewish. Some of the whites aren't. And vice-versa,'' he said. "That's the amazing thing about it, because people come to the concert, they don't know who's Jewish and who's not.''

IF YOU GO
• What: Concert by Joshua Nelson and the Kosher Gospel Singers.
• Where: Bet Shira Congregation, 7500 SW 120th St., Pinecrest.
• When: 4 p.m. Sunday.
• Cost: $36; student tickets $12; sponsor and patron tickets cost $180 and $72 respectively and offer reserved seating and a special reception with Nelson after the concert.

• Info:http://www.betshira.org/ or call 305-238-2601.


TBGB NOTE: Joshua Nelson's website is www.joshuanelson.com. Amazing --you have to hear him do "When the Saints Go Marching In" in Hebrew, complete with bluesy gospel accompaniment!

Those of you familiar with the 1950s vocal group the Flamingos ("I Only Have Eyes for You," "Mio Amore") will be interested to know that the original members were black Jews from Chicago. They credited their haunting, minor key harmonies to their Jewish musical upbringing.

Tuesday, January 08, 2008

TBGB Pick of the Week: January 8, 2008


“Lion of Judah”
John Francis & The Ruach Choir
Shekinah International 2007
www.johnfrancis.org.uk

Bishop John Francis, Founder and Senior Pastor of Ruach Ministries in Brixton, South London, England, visited the Gospel Announcers Guild meeting during the 2007 Gospel Music Workshop of America, and proved to be a riveting, powerful presence as he ministered to the gathering.

“Lion of Judah,” the single from Bishop Francis and the Ruach Choir's 2007 release, Welcome In This Place, demonstrates that the choir is just as riveting and powerful as the church leader.

False ending after false ending, the Ruach Choir and Francis transform what could have been an unremarkable leader-ensemble performance into a heart-pounding gospel experience. As the radio single fades, the musicians are moving at full throttle, propelled by the presence of the Holy Ghost, suggesting that the real excitement was just beginning.

Sunday, January 06, 2008

BMI to honor gospel trailblazers the Mighty Clouds of Joy

From the Tennessean, Sunday, 01/06/08

BY BILL FRISKICS-WARREN
Staff Writer

They have opened for or toured with Paul Simon, Ray Charles and the Rolling Stones. They were the first gospel quartet to appear on Soul Train and one of the earliest to don bright costumes and choreograph their stage moves, a practice that earned them the nickname "The Temptations of Gospel." They even had a disco hit with their 1976 single "Mighty High."

For nearly a half-century now, the Mighty Clouds of Joy have adapted their sound, style and repertoire to keep current with emerging trends even as they have remained steadfast to gospel music and the classic quartet format.

In recognition of this fusion of persistence and innovation, BMI will be saluting the three-time Grammy winners at its ninth Trailblazers of Gospel Music Awards Luncheon at Rocketown Friday [January 11].

"We've been singing together as a professional group for 46 years," said Joe Ligon, the Clouds' lead singer and cofounder, by telephone recently. "Recognition like this makes us feel that we have some kind of importance with the career that we've had. It makes you feel like all your work, your travel and your singing, hasn't been in vain."

Being honored with the Mighty Clouds of Joy at BMI's invitation-only event are award-winning singer Vanessa Bell Armstrong and Pastor Marvin Winans.

Quartet model endured
Black gospel music was at a crossroads when Ligon and the late Johnny Martin formed the Clouds in Los Angeles in 1960. The golden age of quartets like the Soul Stirrers, the Pilgrim Travelers and the Swan Silvertones was in its twilight years, with star soloists like Sam Cooke and Lou Rawls crossing over from gospel to pop. Even powerhouse singers who remained in the gospel fold such as Shirley Caesar and Marion Williams were abandoning the vocal groups that nurtured them to pursue solo careers.

Through it all, including the ascendancy of mass choirs, the Clouds have stayed the course, proving that the classic quartet model was durable and elastic.

"We were making our first record, 'Steal Away to Jesus,' and they told us it was too short," Ligon explained. "The owner of the record company said to me, 'I like your song, but can you make it a little longer? Maybe you could do a little build-up, a little talk before you start singing?'"

Hence the origin of what has come to be known as Ligon's "preaching" style of singing, a declamatory form of gospel shouting inspired by Julius Cheeks, the lead vocalist of the Sensational Nightingales who would also prove a major influence on the late Wilson Pickett.

"He was my idol," Ligon said of Cheeks, who died in 1981. "I saw him in Los Angeles before I ever made a record. He was very emotional. He would run across the stage and jump. He would do all kinds of stuff when he got on stage and I said, 'I want to be like that when I start making records.'

"Later, I got to meet him and even got to make a record with him. That was one of the highlights of my life."

Clouds upstage Godfather
Another highlight of Ligon's career came when the Clouds were on a bill at L.A.'s Shrine Auditorium with James Brown and almost upstaged the Godfather of Soul.

"He wanted an opening group and he wanted it to be a gospel group, so he called us," Ligon said. "He had seen us at the Apollo, but I don't think he really knew how devastating and powerful we could be on stage. They used to call us housewreckers.

"Anyway, that night we were doing so good opening his show that he actually told the road manager to close the curtain when we were in the middle of one of our songs.

"The road manager said, 'I can't do that to them.' But God bless him, James Brown, he went and pulled the curtain on us. We were bringing down the house and he couldn't take that."

Saturday, January 05, 2008

TBGB Reviews...The Victory Travelers


He’s a God (25th Anniversary Edition)
The Victory Travelers
Rapture 2007

Just about every one of the eight tracks on the 25th Anniversary CD Edition of the Victory Travelers’ He's a God, their debut album for Gene Strawhun’s Rapture Records, is hard-charging, powerful, going-to-church quartet excitement. The rest of the songs are deep and bluesy, suggesting that the quartet hails from the Deep South when, in fact, it is from Chicago.

Deacon Reuben Burton leads on most of the songs, with “(I Signed a) Contract with Jesus” being the best on the set. Cris Johnson (of the Righteous Singers) provides killer electric guitar behind this and other songs throughout the project. Aubrey Morris is no slouch on the drums, either. His energetic playing and cymbal crashing add a dramatic flair to the session.

What’s especially gratifying about this reissue is to hear an honest-to-Pete horn section, complete with trumpet and saxes, not the keyboard-produced synthetic horn sound that is de rigour in gospel music today and seems out of place in a genre that shouts authenticity. The difference is significant: real brass adds color and character to the music in ways the electric synthesizer cannot.

Deacon Burton has weathered many personnel changes in the Victory Travelers to keep the quartet going strong well into the new century (for example, Joyce Collins, a vocalist on this project, has since passed away). With some young fellows in its roster keeping the tradition going, the Travelers still dump house on its competition. Listening to He’s a God, you know the group was dumping house 25 years ago, too.

Four of Four Stars

Tuesday, January 01, 2008

TBGB Reviews...The Pilgrim Jubilees


Jesus Got Me Off
The Pilgrim Jubilees
Malaco 2007
www.malaco.com

Jesus Got Me Off is the Pilgrim Jubilees' latest offering in a string of recordings going back to when Eisenhower entered the White House. The Jubes’ singing has been preserved on every type of recording medium (except for cylinders) and span as many decades as record labels. For some time now, however, they have been with the quartet-friendly Malaco Music Group of Jackson, Mississippi.

And as if they drank a long, tall glass from the Fountain of Youth, the Pilgrim Jubilees – Clay and Cleve Graham, Major Roberson, and Ben Chandler – sound timeless, their harmonies as tight and youthful as ever.

The new project opens with the title track, which struts along as the quartet praises Jesus as a lawyer who frees the unjustly accused from a “jury with stones in their hands.” The second track, “She’s All I’ve Got,” is a Mother Song, a thematic staple of quartet singing since the late 1940s, when the Five Blind Boys of Alabama hit a string of home runs with their expressive tributes to mother for the Gospel and Specialty labels. The Jubes perform their tribute to mother with all of the coolness of the Impressions, while scents of the 1971 country hit, “(Don’t Take Her) She’s All I Got,” seep out of the chorus.

Anyone familiar with the Jubes knows their song-stories are legendary. On Jesus Got Me Off, it’s “Amazing Grace” that provides the backdrop for a nearly 8 minute account of church-going women who sing the hymn loudly and passionately enough to lure their gambling husbands out of the woods and into the church.

One of the best tracks on the project, “Jesus Gave Me a Light,” is a variation on “This Little Light of Mine,” with new lyrics, that strutting beat that some call the “quartet stomp,” and a superb vamp.

Although Clay Graham is currently recuperating from lung cancer surgery, my money is on the Jubes continuing on as they have for nearly 60 years, traveling the gospel highway, singing their songs, telling their stories, satisfying their audiences, uplifting the name of Jesus, and preserving the gospel quartet tradition for future generations.

Three of Four Stars