Tuesday, November 30, 2010

Chicago Churches: Faith-Based Film Seeks Dancers, Actors


Chicago, IL -- Dreams on Screen director, Joel Kapity is giving Chicago area churches the opportunity to be a part of a major youth movement by being involved in the film DREAMS, it was announced today.

Inspired by true events, DREAMS, a faith-based-friendly film tells compelling stories of a dancer, rapper, ex-boxer, singer, and hustler struggling through everyday life to make their “dreams” come true.

“We have secured top talent for this film,” states Kapity. And we’d like to include up and coming talent from churches to be exposed and learn from some of the best.”

Some of the actors and entertainers to star in and work on the film include Tommy Ford (Martin Lawrence Show, N.Y. Undercover) Geoffrey Owens (The Cosby Show), former rap starMason “MA$E” Betha, well-known gospel star Vickie Winans, and international choreographer Dave Scott.

“So often major film productions come into town, shoot their film, and very seldom give people the opportunity to experience their dreams,” states co-executive producer and actor in the film, Marvin Winans Jr. “We want to give back and help people live their dream and be a part of the DREAMS Movement.”

If you have talented dancers or actors in your ministry that would like to be a part of this film, let them know about this great opportunity.

To be considered send in a photo or take a simple picture with your mobile device, with your name, age, complete contact information and email to info@dreamsonscreen.com. Individuals under the age of 18 years of age, please have your legal guardian submit your information.

The Blind Willie Johnson Artwork

If you liked the artwork that accompanied the Texas Monthly's Blind Willie Johnson article, check out artist Marc Burckhardt's description of how he created it.

Read the story on Marc's blog:
http://www.drawger.com/marcart/?article_id=11623

"Rebuild - The Remix" - J Moss

“Rebuild – The Remix”
J Moss
Original from the Gospocentric CD Just James

The critical line in J Moss’s “Rebuild” – “we’ve taken what you’ve made and thrown it's value away” – is a cry skyward to reestablish a broken life.

In some respects, however, the lyric also applies to the remix.

On the remix of “Rebuild,” PAJAM removed the song’s extended emotionality and replaced it with its trademark snap and pop to enhance the rhythm. It worked, because the song is charting.

I much prefer the original version from Just James: its delicate tempo and the buildup of gospel intensity, with J Moss moving from a sensitive, heartbroken vocal to Marvin Sapp-like shouting by the end.  Don’t get me wrong, I typically love what PAJAM does, but this track didn’t need rebuilding.

Monday, November 29, 2010

The Soul of a Man: Who was Blind Willie Johnson?

Blind Willie Johnson was one of the greatest slide guitarists ever.

Musicians from Bob Dylan to Eric Clapton have taken cues from Johnson’s music. Despite his influence, little is known about the man who spent his life roaming Texas, making music on the streets.

TEXAS MONTHLY senior editor Michael Hall spent months trying to answer a simple question: Who was Blind Willie Johnson?


Note: catch this article in the first couple of days after this posting and you can read the entire piece for free!

Here's a video of Austin musician Steve James playing the slide guitar and discussing the incomparable Blind Willie Johnson (this will be available for free all the time):

www.texasmonthly.com/multimedia/video/home/15304

Illustration from Texas Monthly by Marc Burckhardt

TBGB Pick of the Week: November 29, 2010

“I Will Praise & Worship You”
Just Friends
From the Lacy Boys Music album Fulfillment (2010)
www.myspace.com/justfriendsjf

Earlier this month, I chanced to hear this praise and worship song performed live by the vocal ensemble Just Friends.  I was among dozens of people who were charmed by the song's brisk, bubbly tempo and the group’s unrestrained enthusiasm.

The Chicago-based Just Friends includes Richard Gibbs on organ, Donald Alford, Jr. on bass and additional vocals from Faith Howard. Bonus: Gibbs’ mother, gospel icon Inez Andrews, guest solos on "Living in a Place," a track on the group’s full-length album, Fulfillment.

Saturday, November 27, 2010

Leanne Faine to Receive Lifetime Achievement Award

The Chicago Music Awards announced that legendary gospel singer Leanne Faine will receive a Lifetime Achievement Award during the CMA's 30th Anniversary awards ceremony.

The 30th Anniversary Chicago Music Awards will be held on Sunday, January 16, 2011, at the historic Excalibur, located at 632 North Dearborn Street, Chicago, Illinois. For more information call 312/427-0266 or visit http://www.chicagomusicawards.org/,

TBGB congratulates Leanne on her well-deserved honor and knows that the best is still yet to come!

Online Degree Lists Top Ten Gospel Singers of All Time

TBGB thanks Anna Miller of Online Degree for sharing their picks for top ten gospel singers of all time.  Check out the videos associated with each artist.

http://www.onlinedegree.net/top-10-gospel-singers-of-all-time/

Readers: who would you add to the list?

Friday, November 26, 2010

Aaron Neville - I Know I've Been Changed

Aaron Neville
I Know I’ve Been Changed
EMI Gospel 2010
http://www.emigospel.com/

Reviewed by Bob Marovich for The Black Gospel Blog.

While listening to Aaron Neville's latest religious release, I Know I've Been Changed, I decided that one thing hasn't changed at all: his unmistakable voice. Neville's distinctive vodel and vibrato are as bright and musical as they were on his 1966 breakout hit “Tell It Like It Is.”

Neville grew up amidst the musical gumbo of New Orleans.  He listened to a variety of music on the radio, especially gospel, notably the Dixie Hummingbirds, Soul Stirrers and Sister Rosetta Tharpe.  He emulated the yodeling cowboys of Saturday morning B-pictures. Neville's voice envelopes all of these influences, which gives him the flexibility to deliver soul love ballads with the same fluidity as sacred songs, which he has already demonstrated on his previous gospel collections, Devotion and Believe.

For this latest work, Neville reunites with New Orleans piano legend Allen Toussaint, whose keyboard mastery is reason enough to give the album a listen. Whether laying down a steady boogie-woogie or tossing in playful riffs, as he does on the album’s best track, “I Want To Live So God Can Use Me,” Toussaint is as omnipresent and compelling on the album as Neville.

The album's selection of songs includes gospel hymns such as Charles A. Tindley’s “Stand By Me,” the spiritual-cum-Civil-Rights-anthem “Oh Freedom,” and gospel songs like the lovingly rendered but all too brief “There’s a God Somewhere.” Neville covers “I Done Made Up My Mind,” an early hit for the Swan Silvertones; and “Don’t Let Him Ride,” a bluesy, sassy piece also known as “Don’t Let the Devil Ride.”

The accompanying rhythm is so easy and relaxed, the album sounds recorded during an impromptu jam session in the basement of a church. It is this rootsy, comfortable ambience that will endear the CD to traditional gospel enthusiasts as well as fans of blues, folk, soul and roots music.

Four of Five Stars

Picks: “I Want To Live So God Can Use Me,” “I Know I’ve Been Changed.”

Thursday, November 25, 2010

"Blessings" - John P. Kee feat. Rance Allen

“Blessings”
John P. Kee feat. Rance Allen
From the forthcoming Verity album The Legacy Project
(available January 11, 2011)
http://www.verityrecords.com/

What better day than Thanksgiving to review a song called “Blessings!”

Here, John P. Kee hangs with the loping ostinato riff while Rance Allen all but steals the show. Kee is thinking about, and patiently waiting for, his blessing. Allen is a little less patient, exclaiming in his raw, soulful tenor that sounds wrenched from the earth’s core, “Sure as I’m born to die/I’m gonna get a blessing today.”

Blessings on them both, Lord!

Wednesday, November 24, 2010

Micah Stampley - Release Me (EP)

Micah Stampley
Release Me - EP
Music World Gospel/Interface Entertainment (2010)
http://www.musicworldentertainment.com/

Reviewed by Bob Marovich for The Black Gospel Blog.

Contemporary gospel balladeer Micah Stampley joined forces recently with Mathew Knowles’ Music World Gospel imprint. The EP Release Me is a product of the partnership and an expeditious way to introduce Stampley to gospel music enthusiasts who may not have heard him yet.

Despite the title, Stampley is not covering Englebert Humperdinck’s 1967 hit record, "Release Me" (thankfully)! Actually there are no songs named “Release Me” on this set whatsoever. What the seven-track EP does contain are two new recordings and five previously released tracks, the latter a “best of” selected from the singer's current catalog.

The EP showcases Stampley’s ability to use his multi-octave tenor to inject several ccs of gospel into prayerful and delicate CCM melodies and arrangements. Examples include the new tracks, “Heaven on Earth,” with its flowing praise and worship feel; and the classic hymn “There is a Fountain Filled with Blood,” which is given a lush, rapturous orchestral makeover.

Stampley’s rendition of V. Michael McKay’s “Corinthian Song,” culled from Ransomed, is the project’s highlight, with top-shelf musicians such as Joey Woolfalk and Jonathan DuBose, and vocalists Rachel Bethea-James and Latrice Pace supporting the singer. “I Believe,” from A Fresh Wind, is a lovely ballad written by Micah’s wife and songwriting partner, Heidi Stampley.

Release Me concludes with a jazzy version of “Angels We Have Heard on High,” featuring fine piano and brush work on drums, and background vocalists (Stampley multi-tracked?) navigating Take 6-like jazz harmonies.

Most importantly, the songs on Release Me demonstrate the singer’s estimable vocal capabilities, which go from a whisper to a croon to bright and energetic flights high above the stave.

Four of Five Stars

Picks: “Corinthian Song,” “There Is a Fountain Filled With Blood.”

Bishop Morton Celebrates 25 Years of Music

Various Artists
Bishop Morton Celebrates 25 Years of Music
Light Records/Tehillah Music Group (2010)
http://www.lightrecords.com/

Reviewed by Bob Marovich for The Black Gospel Blog.

If imitation is the highest form of flattery, Bishop Paul S. Morton must be feeling ten feet tall.

Some of gospel’s most popular artists gathered in Atlanta to celebrate the pastor’s silver anniversary in music. They sang traditional and neo-traditional songs associated with Morton’s ministry, such as “Cry Your Last Tear” and “Don’t Do It Without Me.”

The event was captured on CD and DVD, and it’s a good thing. Quality singers, quality songs and an atmosphere of love and respect for the angel of Greater St. Stephen make this project exquisite, a masterpiece, one of the best gospel albums of the year.

It is as if each singer was giving the performance of his or her life when stepping up to the microphone. One powerful presentation follows another on the compilation as Kurt Carr, Byron Cage, Mary Mary, the Williams Brothers and others render selections to honor the man of the hour. Morton himself duets with son PJ on “Let Go,” the Stellar Award-winning song the latter wrote for DeWayne Woods.

Besides Pastor Shirley Caesar’s poignant moments of preaching, the highlight of the album comes from vocalist Russell White. White’s explosive performance of V. Michael McKay’s “That’s Reason Enough,” complete with powerful choral backing, is spectacular. Similarly, Crystal Aiken tears the roof off the church on the standard “His Yoke Is Easy.”

Mary Mary’s “Let It Rain” is drenched in irony. The duo call for the flood gates of Heaven to open and the rain of blessings to flow, though “flood gates” evoke images of the damage that Hurricane Katrina wrought on Morton’s New Orleans flagship church. Indeed, as the CD opens, Kurt Carr pays tribute to Morton’s ability to survive elemental and physical trials. The most hard-hearted person would find it difficult not to feel a pang of emotion during this opening sequence.

Bishop Morton Celebrates 25 Years of Music is near flawless, an example of all that is wonderful about gospel music.

Five of Five Stars

Picks: “His Yoke Is Easy,” “That’s Reason Enough.”

Tuesday, November 23, 2010

Q & A with Lecrae

Christian hip hop artist Lecrae Moore of Houston, Texas is one of the first – if not THE first – Christian rap artists to reach the number one position on Billboard’s Top Gospel Albums chart with two consecutive projects.

TBGB had a chance to catch up with Lecrae last week. We talked about his influences, his latest releases, and whether Christian rap and hip hop is making inroads in churches.

TBGB: How did you get started in Christian rap?

L: I got started when I was volunteering at a juvenile detention center and doing music for them on a regular basis. Then a friend of mine had an idea to start a label. We started the label and from there just traveled around, ministering to juvenile detention centers, prisons, camps. The music just spread from there.

TBGB: Why did you start Reach Records?

L: When you have a vision for the music you want to put out there, it’s very important to be independent. It allows you to carry out the vision and have spokespeople on the label who you agree with and who you share a philosophy with. Sho Baraka, Trip Lee, Tedashii, they are all on the label. We just signed a new artist, KB. The beauty is to have a group of individuals who can share the weight of this mission to impact the world through the medium of music. It doesn’t all land on one person’s shoulders.

TBGB: As an innovator in Christian hip hop, you are an influence to many artists, but who are your influences?

L: I was highly influenced in terms of Christian hip hop and Christian rap by the Cross Movement, based out of Philly. I had the opportunity to travel with them for about a year and a half when I was co-signed to their label.

TBGB: I understand your album, Rebel, was the first Christian rap album to reach number one on the Billboard Gospel Album Charts.

L: It’s beyond me! I think the album’s success is due to the intensity of the messages, which are very gospel-centered. And when I say “gospel,” most people think of a genre, but I mean an eternal truth that changes people’s lives. I think people gravitated to the project because it centers around really gripping truths. The album resonated within urban culture and then transcended urban culture to an international level.

TBGB: Rehab made it into the top twenty of Billboard’s Top 200 immediately after release and is now your second number one on the Top Gospel Albums chart. What does the title of the album refer to?

L: Rehab is a play on words. Obviously, it’s a strong title, and when most people think of “rehab,” they think of drugs or a clinic, which is what draws them in. But the picture I wanted to paint is that the world itself is fractured. It’s broken, it’s addicted to self. The only way to have the fracture restored, to have that addiction to self adjusted, is for there to be a rehabilitation that can be found through Jesus alone, through the gospel.

TBGB: What are the current singles off of Rehab?

L: Right now, “High” is one of them. “High” articulates that we are not in need of drugs to find satisfaction. Another one is “Just Like You,” about the quest for masculinity as found in Scripture.

TBGB: I hear that a second part of Rehab will be released in January.

L: Right, January 11, 2011, Rehab: the Overdose, which I explain to people as like a shot of espresso in your coffee!

TBGB: Are churches becoming more amenable to having Christian rappers come in and minister?

L: I am seeing it become more acceptable. Not only are churches allowing us to come in and minister, but they are also raising up their own [hip hop] artists. My encouragement and challenge [to artists] is to consider the accountability of the ministers at these churches. When you say you are coming to minister, we expect you to be serious about what you say, and that there are people in your life who will hold you accountable to the truths you speak.

TBGB: It seems as if Christian rappers are the twenty-first century equivalent of the street corner evangelists of the twentieth century. They also took the message of Christ to the streets. The only difference is that they played bottleneck guitar and sang, and you rap and use other instruments.

L: I think they are very similar. Both of them were birthed out of a desire to communicate truths within the culture. Rap is the way cultural views are expressed, but when you articulate what’s going on in the world, and counter with truths that will change people’s perspectives on life, then rap becomes a tool.

TBGB: Tell us about your recent trip to Sudan.

L: I went to Sudan because of the things that have been going on there for the past fifteen years. Tedashii, another friend of mine, and I, the three of us had a great opportunity to serve, to teach and encourage leaders and work with some orphanages. It was two weeks of teaching, training and serving. The Christians there are so passionate in their desire to serve the Lord. The oppression and the war and the pain and the turmoil are what drives them to depend on the Lord. We were more encouraged by them than I think we could ever have expected. It’s a really incredible story of war and peace, religion and race. It was life-altering.

I just started a campaign with another label called Collision Records with their first artist, Swoope. We put out a song called “Actions Speak Louder,” which is actually the number one downloaded song on iTunes right now. All the proceeds go to Sudan and the orphanages.

TBGB: What is next for Lecrae?

L: I am doing a "Rehab Series" where I will visit some juvenile detention centers, prisons, homeless shelters. These will be small, free concerts and speaking engagements where we will articulate some of the themes behind Rehab.

On the non-profit side, ReachLife Ministries finished a film project called Man Up. There is a curriculum with that, and that will all come out later on in 2011. The plan is to travel with the guys on the label and discuss what it means to be a man from the Bible’s perspective.

TBGB: Last month at the Chicago Area Gospel Announcers Guild Anniversary Summit, panelists cited you as someone who knows how to use social networking to expand your ministry. What advice do you have for other artists who want to use social networking to expand their ministries?

L: When it comes to social networking, people are looking for consistency. They want to know what to expect when they connect with you on line. There are a lot of artists who have a presence on Facebook, MySpace, Twitter but they don’t really use them. When people find out that you are visible and touchable, they will come to you and want to know more.

If you are consistent in who you are and what your perspective is, then people know what to expect. You can use that platform for the building trust and glorifying God.

For more information on Lecrae, go to http://www.reachrecords.com/.

Sizwe Zako Crowned New King of Gospel

The Sowetan announced that producer Sizwe Zako was honored with a Lifetime Achiever Award and crowned the new King of Gospel at the Crown Gospel Awards in Durban on Sunday.

Zako's work with Rebecca Malope, Pure Magic and the late Vuyo Mokoena celebrates the rich, vibrant and rhythmic harmonies of South African gospel.  You hear it once and you never forget it.

TBGB extends congratulations and a "well done" to Mr. Zako for his many years of service to the gospel music industry.

Read more here:

Monday, November 22, 2010

TBGB Pick of the Week: November 22, 2010

“He Knows”
Karen Clark Sheard
From the Karew Records/EMI Gospel CD All In One
http://www.karewrecords.com/

Asking herself the rhetorical questions that trouble those in need, Karen Clark Sheard wonders whether God knows about her tears, her sleepless nights, her joys and dreams, even “does he know my weakness when I feel like I want to choke somebody?”

Of course, the answer is “He knows,” and by the conclusion, Sheard gets blessed assurance of the affirmation through a vocal assist from Dorinda Clark Cole, who charges in like an evangelist to comfort her sister with the good news.  It's an emotional performance from two ladies who know what it takes to sell a gospel song.

Cole is not the only family member involved in “He Knows.” J Moss wrote the song and PAJAM produced.

Sunday, November 21, 2010

Patrice Wilson - A Christmas Blessing

Patrice Wilson
A Christmas Blessing (2010)
www.cdbaby.com/cd/patricewilson2

by Bob Marovich for The Black Gospel Blog.

Stellar Award-nominee Patrice Wilson returns after a five-year absence from the recording scene to offer a toast of Yuletide cheer with A Christmas Blessing.

Wilson’s first seasonal CD includes two original songs and nine classics, the latter  “some of the songs I sang in my school choirs,” the singer explains.

You may well have sung some of these selections in your choirs, too, because they come from the traditional songbook. On chestnuts such as “White Christmas” and “O Come All Ye Faithful,” Wilson blends jazz and gospel vocals with light instrumentation, such as piano, drums and strings. Two exceptions are the clever Afro-Caribbean percussion supporting “The Little Drummer Boy” and a soulful, funky “Joy to the World.”

Familiar songs seems to be the trend for Christmas albums this year. We should not be surprised. In a world  turned topsy turvy, people grasp for the familiar, the carols that bring to mind better days. The arrangements on Wilson's CD are like the smell of freshly baked goods in grandma’s kitchen.

Of the two original compositions, “Christmas Like This” gives the holidays a hip hop feel. The single, “Everyday is Christmas,” is about letting the spirit of the season resonate throughout the year. It fits in quite comfortably with the other selections.

Wilson’s project is in capable hands with producer Claude “Deuce” Harris, Jr., whose own project made TBGB’s list of top albums last year.

Patrice Wilson is planning a new project for 2011 called A Psalmist for Christ. In the meantime, grab some hot chocolate: A Christmas Blessing is a cozy, comfortable soundtrack to the season.

Four of Five Stars

Picks: “Everyday is Christmas,” “Joy to the World.”

Saturday, November 20, 2010

Take 6 - The Most Wonderful Time of the Year

Take 6
The Most Wonderful Time of the Year
Take 6 Records (2010)

Reviewed by Bob Marovich for The Black Gospel Blog.

The most wonderful time of the year is upon us, and with it come new musical projects to celebrate the season.

The first to be featured on TBGB this year is the new Christmas album by the multiple award-winning vocal group Take 6. It is the human swing orchestra’s third holiday project but their first since 1999, when they released We Wish You a Merry Christmas.

The Most Wonderful Time of the Year offers ten familiar carols and songs delivered in the sextet’s complex but captivating polyrhythmic harmonies. Classics such as “Jingle Bells,” “It Came Upon a Midnight Clear” and the doo-woppy “I’ll Be Home for Christmas” are ideally suited to the group’s zesty singing style. Their wordless version of Tchaikovsky’s “Dance of the Sugarplum Fairy” (called “The Sugarplum Dance” here) is fascinating; it is a made-for-stereo version of the type of vocal interplay that made the Mills Brothers famous eighty years ago.

The group’s playful melodrama on “You’re a Mean One, Mr. Grinch” is hilarious. Hearing them harmonize on the phrase “stink, stank, stunk” just about makes my Christmas.

It is fitting that one of the best songs on is Vince Guaraldi’s “Christmas Time is Here.” Take 6’s signature sound has the same light, cool swing of Guaraldi’s soundtrack to A Charlie Brown Christmas. Shelea Frazier’s lovely lead vocals and piano work add bright textures to the group’s rich harmonies.

The Most Wonderful Time of the Year is a finger-popping journey over the river and through the woods to Christmases long, long ago.

Four of Five Stars

Picks: “I’ll Be Home for Christmas,” “It Came Upon a Midnight Clear."

Friday, November 19, 2010

South Carolina Gospel

The Original Golden Stars of Greenwood, SC/
Reverend Norris Turner
South Carolina Gospel
Gospel Friend (2010)
http://www.gospelfriend.com/

Jonas Bernholm and Per Notini’s Stockholm-based Gospel Friend label has been an invaluable resource to the gospel music community.

It’s inexplicable that Golden Age stars such as J. Earle Hines and the St. Paul Baptist Church Choir of Los Angeles, Wings over Jordan and Georgia Peach lacked a decent reissue for years, but thanks to Gospel Friend, their music and story live on.

On Gospel Friend's latest compilation, South Carolina Gospel, producer and historian Notini turns his attention to Rev. Norris Turner and the Original Golden Stars of Greenwood, South Carolina. The CD essentially serves as a retrospective of the first twenty one years of Turner’s recording career (1958-79). The first half of the album contains Turner and the Golden Stars’ work for Hoyt Sullivan’s eponymously-titled label and Waymon Jones’ Pitch Records. The second half focuses on additional Turner collaborations.

The Golden Stars’ high, tight harmonies, propelled by insistent electric guitar work, are especially notable on “Jesus’ Blood” and “What a Friend We Have in Jesus.” These recordings are excellent examples of how gospel quartet’s influence on pop music boomeranged in the late 50s and early 1960s to bestow its parent with the street-corner rawness of rock and soul. All the while, Turner yodels with the elasticity of Sam Cooke (whom he knew personally) and the rawness of Spencer Taylor.
The 26-track compilation includes two tracks from Turner’s brief stint as a member of the Selah Singers.  On the group's bluesy arrangement of the hymn, "Softly and Tenderly," Turner enters Claude Jeter territory with rocket-like launches of falsetto. Several examples of Turner’s late 1960s and early 1970s collaboration with the Mt. Moriah Gospel Church Choir close out the album. What the 1970s tracks demonstrate, more than anything, is that Turner’s voice remained amazingly vibrant after more than three decades on the gospel highway.

Notini’s liner notes are fascinating and informative, assisted greatly by personal reminiscences he collected while visiting Turner and other members of the Original Golden Stars, such as Alphonso and Rev. George Devlin.  Alphonso's hard-shouting lead is featured on several of the tracks, including a gorgeously-rendered version of "There is a God Somewhere."

South Carolina Gospel is a musically rich journey along the blue highways of traditional gospel singing. 

Five of Five Stars

Picks: “What a Friend We Have in Jesus,” “Stop, Get Religion,” “Softly and Tenderly.”

Reviewed by Bob Marovich for The Black Gospel Blog.

Thursday, November 18, 2010

"Real Real Mad" (prequel) - Freshaun

“Real Real Mad” (prequel)
Freshaun
From Commercial Bricks: I.R.A. (2010)
Commercial Bricks Records
http://www.commercialbricks.wordpress.com/

On the prequel to his single, “Real Real Mad,” Freshaun “Fresh” Porter puts all haters on alert: make him mad – “real real mad” – and see what happens.

The self-proclaimed “King of Rap” from the Washington, DC area raps in a determined monotone that no matter what anybody says about him (“crazy people holler at me, try to see what I’m about”), “Father God got my back, the Messiah got my back, archangels got my back.”

The steady, emotionless percussion without a melody gives the prequel its hardcore intensity.

Freshaun’s archangel reference hearkens to a dream he had “that the angel Gabriel had a message from Jesus Christ: Freshaun shall lead the urban people, or the urban people he loves will fall to Satan's worldly eternal death trap.” Something tells me “Lord’s Top Servant” is just getting started.

"You Are My Everything" - Immeasurable

“You Are My Everything”
Immeasurable
http://www.immeasurablesings.com/

Immeasurable, a female gospel trio, was formed in 2002 in Columbia, Maryland. Members are Ronnie Brooks, Yanna Foster, and Victoria Coleman. They sing in the style of Witness and RiZen.

The vibrant hip hop-influenced “You Win” is Immeasurable's single, but I find their contemporary gospel selection,“You Are My Everything,” to be a better example of their capabilities. It is a solid song with steady pacing, emotional dynamics, and well-polished, tight harmonies, something the group can sing anyplace and anytime they are called upon.

Incidentally, if you are in the Baltimore area, check out Immeasurable Chicken and Waffles. Not only do the ladies sing, but they also have their own restaurant! Immeasurable talent indeed!

Wednesday, November 17, 2010

"In the Heart of a Hero" - Lee Cooks

“In the Heart of a Hero”
Lee Cooks
From the Tate Music Group album Enlightened (2010)
http://www.tatemusicgroup.com/

“In the Heart of a Hero” is a faith-based tribute to veterans – alive and fallen – from contemporary gospel balladeer Lee Cooks, himself a veteran of the armed forces. The heartwarming song describes heroes as anyone with “honor, faith and hope” and, most importantly, those who “never count the cost…they just go.”

Cooks was born in Flint, Michigan but lived in Cleveland before relocating to Waukegan, Illinois, a city north of Chicago. He recently signed with Oklahoma-based Tate Music Group and performed at the Chicago Area Gospel Announcers Guild Anniversary last month.

Here's the video:

Tuesday, November 16, 2010

Charles Martin - Mary's Son

Charles Martin
Mary’s SonChuck’s Room 2010
http://www.charlesmartinmusic.com/

Praise and worship leader Charles Martin’s debut CD Mary’s Son is an outstanding example of the New Detroit gospel style.

What is the New Detroit style, you ask?

It’s that edgy-cool, electrifying, melodic, R&B-soaked sound that informs the work of Damita, Deitrick and Gerald Haddon; Fred Hammond (his more recent work); and J Moss and Bill Moss Jr. Martin cut his musical teeth as a member of Haddon's Voices of Unity, so it’s not surprising he picked up some of his techniques along the way.

Emerging artists Daniel Young and Claude Deuce also work within this new D-Town groove, and as I was listening to Mary’s Son, I couldn’t help but draw positive comparisons between Martin’s work and theirs, as well as with Chicagoan Aaron Sledge. All are smart, bright musicians who stand head and shoulders above most who populate today’s pop top 40.

The album -- the title is a play on the fact that Jesus and Charles both have mothers named Mary -- opens with high-energy tracks such as “This Joy” and “Thank You.” The latter features a stellar vocal contribution by Yolanda Harris-Stover.

Martin comes into his own on the slower numbers. These include “Have Your Way,” on which the singer pleads for the Lord’s complete presence in his life; “Back to You,” about running back to Jesus like a modern-day Prodigal Son; and the encouraging “Don’t Ever Give Up.” “Secret Place” is the current radio single, but a memorable melody and intense beats give “Don’t Ever Give Up” radio potential, as well.

Mary’s Son benefits from tight, biting production courtesy of Rachard “Chardyroc” Williams, who injects every track with equal parts urgency and intimacy. Williams and Martin co-wrote the songs, with assistance from Harris-Stover on "Thank You."

It's a bracing listen.

Five of Five Stars

Picks: “This Joy,” “Don’t Ever Give Up,” “Secret Place.”

Reviewed by Bob Marovich for The Black Gospel Blog.

Monday, November 15, 2010

Awakening in Indy: Brian Reeves & Heart After God

By Bob Marovich for The Black Gospel Blog.

When you think of great cities for gospel music, what places come to mind?

Chicago, Detroit, Philadelphia, Cleveland, Cincinnati, Houston, Atlanta, Los Angeles, Oakland...

…Indianapolis?

Yep. The capital of the Hoosier state has a special place in gospel music history.

Beatrice Brown, one of the earliest organizers of the Dorsey Convention, came from Indianapolis. Keyboardist-arranger Kenneth Woods, Jr. was a vocalist in her Brown’s Inspirational Singers ensemble; he went on to work with Brother Joe May, Sallie Martin and Mahalia Jackson, among other famous singers. The late Robert Turner and the Silver Hearts were another group to put Indy on the gospel map.  Then came Al “the Bishop” Hobbs, Tyscot Records, and the list goes on and on.

Singer-songwriter Brian Reeves is another Indy-based artist aspiring to the national gospel music scene. His debut album, Awakening, features his own compositions, his smooth singing and his vocal group, Heart After God.

Reeves was born in Indianapolis and attended Greater New Hope, a Pentecostal church. “Greater New Hope was where I got my start in music ministry,” Reeves told TBGB during a telephone interview last week. “I was a choir director at the age of sixteen, and everyone was older than me, but the pastor really allowed me to operate within the music ministry as well as in the youth department.”

The young artist attended Indiana University, where he studied voice and earned a concentration in choral directing. It was at IU where Reeves wrote his first song. “I took a Midi technology course, and we had to compose our own music. I think my song was called 'He is God,' or something like that. My first little song,” Reeves laughed.

Summoning a variety of influences – from Israel and New Breed to Ella Fitzgerald and Tony Bennett – Reeves began working actively within the gospel music industry. He continued to write music and started recording, the culmination of which is the independently-released CD Awakening.

“[Awakening] is about the believer’s ‘a-ha’ moment,” Reeves explained. “It is about the time when we question God’s plan for us, when our faith is challenged, but then we understand who God is and his authority over our life. We realize that God is always looking out for our best interest, even when he says ‘no.’ Every song on the album has that thread of recognizing God’s ability in our lives.”

Awakening features Reeves’ seven-member vocal group, Heart After God, also from Indianapolis. “They are individuals I selected not just because they possess a phenomenal singing ability,” Reeves said, “but because everyone in the group understands music ministry. They have the compassion it takes to reach God’s people, to deliver music in a way that touches them, and they allow people to fill them up, as well.”

Brian Reeves & Heart After God are currently touring the Midwest to promote Awakening. They have been featured on gospel music websites Nuthin’ But Gospel and BET.com’s The Gospel According to Torrence. The ensemble received the Dorinda Clark Cole Conference Best Group Award in 2007.  Last year, Reeves was named Tyscot Records’ GEM Male Vocalist of the Year.

The title track is one of the album’s early singles. “It is about the times when we experience trials and tribulations,” Reeves said of the single. “The lyrics remind us that when things weigh us down, and after we’ve called on everybody for help, we can call to the God who has all wisdom and power. We can call to the God whose voice alone can move anything. He is the one who has the solution.”

The ensemble's appreciation for the CCM-gospel fusion of Israel and New Breed is especially evident on another single from Awakening, "Remind Me," TBGB's November 8 "Pick of the Week."

For more information on Brian Reeves & Heart After God, go to http://www.heartaftergod.org/.

TBGB Pick of the Week: November 15, 2010

“Jesus is My Rock”
Gaye Arbuckle
From the CD Holy
http://www.gayearbuckle.com/

“Jesus is My Rock” is a traditional gospel blues hand-clapper given a seven plus-minute live workout by Dallas Texas-based Gaye Arbuckle.

Accompanied by her church choir, the United Voices of Concord, the beauty pageant contestant and singer-songwriter with a distinctive shock of red hair pays tribute to her GMWA membership by leading a piece with clear ties to the churchy Chicago gospel chorus style. You'd think you were hearing Fellowship or the Warriors! Arbuckle's relentless vocals keep the temperature high and the spirit higher.

The single comes from Arbuckle's CD Holy, recorded live in April 2008 at the Concord Church in Dallas, where Rev. Bryan L. Carter is Pastor and Arbuckle is Minister of Music.

Sunday, November 14, 2010

Sweet Honey in the Rock Comes to Chicago - Get a 10% Discount!

The legendary Sweet Honey in the Rock will appear at Chicago's Christ Universal Temple Sunday, December 5.

Tickets for this powerful performance are going FAST!  

Visit www.champagneconnection.com and click events, or call 800-595-4TIX /TTY 800-526-0844 to purchase yours TODAY! (service charges apply).  

Get a special 10% discount if you use the promo code: memories at check out!  Offer expires December 3, 2010 at 12:00pm.

3 Central - A Feelin' Inside

3 Central
A Feelin’ Inside
3 Central Management (2008)
http://www.threecentral.com/

Several years ago, saxophonist Russell Moore of St. Louis recruited his multi-instrumentalist brother Everett and keyboardist Ken Anderson to perform as a wedding band. The trio began picking up more gigs, morphed into 3 Central, and in 2002 was named St. Louis’s Best Contemporary Jazz Artist.

Leaving standard wedding fare far behind, the trio now combines their estimable skills to produce gospel jazz, a new-ish genre that has planted its standard firmly on the sacred landscape.

On its debut CD, A Feelin’ Inside, 3 Central demonstrates tight musicianship, undoubtedly the result of countless hours performing together. Russ Moore leads most of the tracks, his syrupy sweet sax technique reminiscent of Kenny G and Mindi Abair. The album’s production is top-notch, the melodies are round and bright, and the overall vibe is pleasant and comforting, like a Sunday evening chill-down.

Here's the rub: for those (like me) who think too much, what constitutes “inspirational jazz” or “gospel jazz” is challenging. One could argue that all jazz is inspirational, if it moves you in the right way.

My assessment is that the appellation best fits music that either jazzes known hymns or gospel songs, or new jazz compositions that incorporate religious lyrics.  When it comes to instrumental selections, however, it is difficult to distinguish between gospel, or inspirational, jazz and smooth jazz. It all sounds pretty much the same to me.  Vintage instrumentals with a religious theme, such as Horace Silver’s whimsical “The Preacher,” were classified as jazz, sans clarifier.

On A Feelin’ Inside, “You Are Lord” and “In Your Presence” squarely fit the above definition, as they feature an ambient chorus of females that chants prayerful phrases in hypnotic harmony. So does “I Think of You,” a lovely song about finding God in nature that features the lithe vocals of Pamela Major. Otherwise the album's instrumentals are well-orchestrated and relaxing but sound like standard-issue smooth jazz. 
Nevertheless, whether you like smooth or inspirational jazz, you will like 3 Central's A Feelin' Inside.

Three of Five Stars

Picks: “I Think Of You,” “You are Lord.”

Reviewed by Bob Marovich for The Black Gospel Blog.

Friday, November 12, 2010

Daughter Chronicles Father’s Life in Gospel Quartet

Anne’ DuBois and her brothers Kenneth and Jonathan, Jr. began compiling a patron’s program to distribute at the 70th birthday celebration of their father, Jonathan “Papa Joe” DuBose, Sr. of the Sensational Starlights quartet.

But the more Anne’ researched and contributed information to the program, the more the project “took on a life of its own,” she reflected.

Now, complete with an introduction by award-winning historian Anthony Heilbut (The Gospel Sound), 70 and Beyond: The Evolution of Quartet Music in the Life of Papa Joe is a handsomely-illustrated history of the Senational Starlights of Bridgeport, Connecticut.  Anne' hopes that it will become an educational resource for youth and emerging gospel artists.

Besides biographical information on DuBose Sr. and the Sensational Starlights, the booklet details the Bridgeport area’s place in gospel music history. For example, it includes interesting tidbits about other local gospel stars, most notably Mother Marie Wiggins and the True Light Gospel Singers. A sampling of the recorded output of quartets with whom the Sensational Starlights shared the stage – groups such as the Caravans, Soul Stirrers and the Original Five Blind Boys of Mississippi – is included, as well.

70 and Beyond also provides contact information for music-related organizations such as the National Convention of Gospel Choirs and Choruses, BMI, ASCAP and SESAC. 

The booklet is available for purchase online at http://aeotv.biz/resources/QuartetPapaJoe.html.

Learn more about the booklet and the Senational Starlights -- hear their music, too! -- on WLUW’s “Gospel Memories,” Saturday, November 13 at 10:00 a.m. CT.  Anne’ and Jonathan Sr. will be guests on the program, which is hosted by Bob Marovich. 

In Chicago?  Tune into 88.7 FM.  Not in Chicago? Listen online at http://www.wluw.org/.

Note: collectors should not confuse the Sensational Starlights and True Light Gospel Singers of Connecticut with Philadelphia’s Sensational Starlights (Melron) and the True Light Gospel Singers (Simpson).  They are different gospel groups.

Outreach 24/7 - Get Off the Pew

Outreach 24/7
Get Off the Pew (2010)
http://www.outreach247.com/

If Sly and the Family Stone had produced a gospel album, I suspect it would have sounded like the first half of Get Off the Pew.

This new CD by the Washington, DC ensemble Outreach 24/7 is the very definition of “praise party,” or in the terminology of one of the album’s cuts, a “jubilee party.”

Amidst pumping psych soul musicianship and a plethora of percussion instruments, the ensemble laterals vocal leads to one another like a rugby team headed downfield. The live vibe is magnified by the fact that it is an intimate gathering. Individual voices are heard audibly enjoying the music.

The title track sets the tone.  Outreach 24/7 bursts forth like a religious Fantastic Four, God’s Superheroes, seemingly busting down church doors, entering en masse and mandating its people to act like a church: “get off the pew” and “let your light shine” by helping those less fortunate. The high-spirited energy of this opening piece bleeds into successive praise songs such as “God is Power,” “You Better Recognize” and the hypnotic, Caribbean-styled “You Are My King.”

The second half of Get Off the Pew cools into a prayerful, contemplative worship service, the kind one hears on Shekinah Glory Ministry projects. The standout track on the second half is “We Really Need You” a passionately rendered reflection on the need for divine presence in the midst of natural and unnatural disasters that have befallen the world in the past decade. It is sure to get arms waving in unison.

“I’ll Be Ready” is Outreach 24/7’s nod to “old school style,” but what they mean by old school is the 1980s. Outside of the “will you be ready when the great day comes” lyric, the music is quintessentially new school.

Get Off the Pew is a fascinating project by a fascinating gospel ensemble.

NOTE: Outreach 24/7 will enact a dramatization of “Get Off the Pew” on Bobby Jones Gospel. The telecast is slated for November 21, 2010 at 9:00 a.m. on BET.

Four of Five Stars

Picks: “Get Off the Pew,” “We Really Need You,” “God Is Power.”

Reviewed by Bob Marovich for The Black Gospel Blog.

Thursday, November 11, 2010

"He's Been Faithful" - Elder E.L. Williams

“He’s Been Faithful”
Elder E.L. Williams
Available on http://www.amazon.com/

Elder E.L. Williams of Philadelphia is a bass who sings sub-basement notes with the ease of Jimmy Jones and Dickie Freeman while crooning like Bishop Charles Watkins.

In fact, after hearing him, Philly radio personality Linda Timmons of WHAT nicknamed the smooth-as-silk singer the “Barry White of Gospel.”

Although he is working on brand new material, Elder Williams is best known for “He’s Been Faithful,” a song he's sung for years.  It is a lushly orchestrated number in the style of a Broadway love ballad. Williams has the ability to melt hearts and save souls at the same time as he pours forth his love for Jesus. Comparisons to legendary Basie song stylist Joe Williams are likely to follow.

"Prayer is the Key" - The Alabama Boys

“Prayer is the Key”
The Alabama Boys
Malaco/4 Winds Records (2010)
http://www.thealabamaboys.org/

I’m going against the grain here, because “Never Alone” is the single that the Montgomery-based Alabama Boys are promoting. It is a well-rendered, soulful, muscular contemporary quartet piece about believing in God’s unchanging hand. It will make a fine single.

But as for me, I really love a good old hip-slapping, quartet drive song like their “Prayer is the Key.” The quartet moves this selection forward like their B-selection at a quartet program. It is sure to get the audience on its feet, clapping to the strong beat, and singing along with the antiphonal vamp.

RIYL: Lee Williams & Spiritual QCs, George Dean & the Gospel Four

Wednesday, November 10, 2010

"Yesterday is on a Missile" - PK

“Yesterday is on a Missile”
PK
From the CD 7UP
http://www.pkallday.com/

PK is Ace, Motown and Finance, a three-man urban group based in Atlanta and Los Angeles. They met at Georgia State University and after graduation entered -- but eventually escaped from -- Corporate America, finding their life’s passion in the groove of Christian hip hop.

Confirmation of PK's decision: the trio produced three songs and co-wrote two on Lecrae’s latest album, Rehab, which hit number one on Billboard’s Top Gospel Albums chart. ‘Nuff said.

PK's “Yesterday is on a Missile” is a metallic hip hop anthem about how God can take you higher. Just forget about the troubles of yesterday and today, and focus on the promises of tomorrow.

The track can be found on 7up, PK’s appropriately titled CD that features seven new tracks.

RIYL: Lecrae, J Moss, Half Mile Home

BMI, GMA Hall of Fame to Honor Gospel Stars

January 2011 promises to be a special month for gospel music.

In addition to the 26th Annual Stellar Awards…

On January 14, 2011, BMI will honor gospel music artists Commissioned and Pastor Shirley Caesar (right) at its 12th Annual Trailblazers of Gospel Music Awards Luncheon.

The event will be held one day before the 26th Annual Stellar Awards. The invitation only event will take place at Rocketown in Nashville and will welcome gospel music’s premier songwriters, recording artists, executives and gospel music legends.

Also in January, the GMA Foundation will induct the Golden Gate Quartet (below) and longtime WLAC gospel announcer Bill “Hoss” Allen into the GMA Gospel Music Hall of Fame. The event will take place on Monday, January 24, 2011, at Trinity Music City Auditorium in Hendersonville, TN at 6:00 PM. Admission is free to the public.

Tuesday, November 09, 2010

"Things Are Gonna Get Better" - Zak Williams & 1/Akord

“Things Are Gonna Get Better”
Zak Williams & 1/Akord
http://www.zakwilliams.com/

Zak Williams & 1/Akord is a 40-member, multi-denominational gospel choir whose members hail from several states on the east coast. The group has existed in its current iteration since 2005.  Its sophomore CD, recorded in 2008, is scheduled for release sometime this year.

The first single from the album is “Things Are Gonna Get Better,” an uncomplicated song with a message common to many gospel songs these days. “Things are gonna get better if you hold on,” sings Williams and 1/Akord in full-throated passion, James Hall-style, repeating the title like a mantra by the conclusion.

To TBGB’s ears, however, “Presence,” another selection from the group’s forthcoming CD, is far more interesting, due largely to some powerfully dramatic gospel singing by a female lead.

Joe Pace: Serving "The Front Line of Worship Ministry"

By Bob Marovich of The Black Gospel Blog.

Joe Pace is a busy man these days.

He just released Praise for the Sanctuary, his first CD for Tyscot Records and the latest in the popular Joe Pace Presents series. Listening parties around the country are giving fans a chance to meet the artist and sample the new album.

Meanwhile, Pace participated in the Stellar Award 2011 Nominee Press Conference. It was the first time the annual announcement aired live on television, broadcast on the Gospel Music Channel.

Pace took a breather to visit with TBGB and share his gospel music journey to date.

Praise for the Sanctuary is doing pretty well,” Pace said. “It is the first CD we’ve done in about three years, after taking some time off, and so we’re pleased that it was number eleven on the charts in its first week.”

Pace said that the listening parties serve a dual purpose. “They give us an opportunity to talk with people who are being blessed by the project, but also with worship leaders and music ministers and choir directors who want to use the project as a resource.

“That’s one of the underlying aspects of the project, and of the Joe Pace Presents series,” he explained. “Praise for the Sanctuary is not just something to bless the body, but something the church can use to teach a praise team or choir, and in fifteen or twenty minutes be singing from it that Sunday morning.

“The series harkens back to the days of the Tommies and choirs like that. For example, when the Thompson Community Singers put out an album, every minister of music of every church grabbed the album because you knew you had at least eight or nine songs’ worth of material you could do at church. I wanted [Joe Pace Presents] to be something that ministers of music, choir directors, worship leaders and musicians could get excited about and help them move their ministries to the next level.”

Pace added, “Most people are not on a stage in front of ten or twenty thousand people. They just do what they do every week, but they want to do it better. They want more choices and resources to enhance the worship experience right where they are called. Part of my call, therefore, is to serve those on the front line of worship ministry. We want to walk them through an order of service and do fresh music for all areas of the worship experience.”

While "And We are Glad" is the album's first and current single, listening parties are giving Pace feedback on other album tracks touching his audience. One is “Forever.”

“’Forever’ is a cross-cultural CCM-type mix that is grabbing the hearts of worshippers,” Pace said. “‘Speak a Word,’ with Tonya Baker, is also impacting people as the perfect song for a sermonic selection, something to set up the preached word on Sunday morning. I wouldn’t be surprised if it becomes the second single.”

Gospel music has been part of Pace’s entire life. “I grew up a ‘PK,’ a pastor’s kid,” said Pace, “and so I have been in church all my life. I also played in the band at school, but when I was about twelve or thirteen years old, one of the mothers of our church threw me on the piano. She said, ‘You play in the band in school, don’t you? Well, then you ought to be able to make music.’ And you don’t ever tell the mother of a church ‘no,’ so I jumped on the piano, and it’s been a love ever since.

“I never dreamed at that point I’d be able to do what I’m doing full time, but the seeds were planted many years ago. I’m thankful for the opportunity that God has opened up for me to be a part of what He’s doing.”

Pace came to national attention through his work with the Colorado Mass Choir.

“The Colorado Mass Choir started in the Colorado Springs area as a choir workshop with the late Rev. James Moore,” Pace explained. “Rev. Moore made a call to Benson Records and said we have a pretty good combination of people here in Colorado and have you ever thought about recording a choir? Things moved pretty fast after that. I think we did the workshop in late September, and we were recording the first project in January.”

Pace was writing songs in those days, “but there were multiple producers on the first couple of [Colorado Mass Choir] projects, and I was still paying my dues. I got to produce and write more on or around the third project. Now, with the Joe Pace Presents series, we’ve probably done fourteen projects in fifteen years.”

Of all the songs that define the Joe Pace sound, such as “Stir Up the Gift” and “We Worship You” – the latter with Fred Hammond – “Speak Life” was the tipping point, the composition that transformed the singer-songwriter’s life.

“’Speak Life’ was born out of personal angst and turmoil, a time when I was questioning God. I was watching what seemed to be others being blessed ahead of me, and I was about to give up on all the dreams I had. But I audibly heard God say, ‘Who told you that it was finished, that it was over? Did I ever tell you that?’ And the words to the song just began to come out of that [experience], not as some magic words or hocus-pocus, but as a realization that nothing is finished until God says it’s finished.

"God has demonstrated that to me throughout the years."

Read more: TBGB review of Praise for the Sanctuary.

Monday, November 08, 2010

TBGB Pick of the Week: November 8, 2010

“Remind Me”
Brian Reeves & Heart After God
From the CD Awakening (2010)
http://www.heartaftergod.org/

“Remind Me,” from Indianapolis-based Brian Reeves & Heart After God, is a sensitively but powerfully wrought vocal ballad set to a lovely CCM melody.

The song is about God’s promise to never let His creatures down, no matter what. Thus, “when the pressures of life seem to weigh me down,” Reeves & Heart After God sing with eyes-closed passion, “remind me who I belong to.”

"Remind Me" is on the group's CD Awakening.  Look for an interview with Reeves later this week on The Black Gospel Blog.

Sunday, November 07, 2010

R.I.P. Calvin Williams: Member of Deep Tones, Golden Gate Quartet

From Charlie and Pam Horner of Classic Urban Harmony:

In a year filled with bad news, we are extremely saddened to report the passing of our close friend Calvin Williams.

Calvin was born in Bucksport, SC, on November 8, 1921. Calvin began singing Gospel music and at the age of 15 joined with a local quartet called the Southern Four Gospel Singers. During World war II Calvin worked at the Wilmington, NC, shipyards where he sang with National Four.

After the war, Calvin moved to Trenton, NJ. By 1947 Calvin formed a new group called the Deep Tones. The Deep Tones recorded three fabulous spiritual records, done in the style of the Golden Gate Quartet. Two records were released on the King Solomon label (later on Savoy) and one on Muzicon.

The Deep Tones turned to secular music in 1951, recording "Just In Case You Change Your Mind" and "The Night We Said Goodbye" for the Coral label. The Deep Tones also did uncredited backup for Ella Fitzgerald ("Trying"), Slim Galliard ("Oh Lady Be Good") and Bill Kenny.

Changing their name to the Hi Lighters, the group recorded for the Celeste and their own HiCo label. Calvin sang with the Four Knights before joining the Stereos who recorded on the Robins Nest label during the 1960's.

In 1972, Calvin Williams was asked to join the world famous Golden Gate Quartet, now based in Europe. He spent the next 14 years with the Gates, touring numerous countries. Upon leaving the Golden Gate Quartet, Calvin returned to the United States where he joined Johnny Smith's Ink Spots. The group made one album (CD).

Calvin spent the final years of his life living in Far Rockaway, NY.

Photo courtesy of Charlie and Pam Horner and Classic Urban Harmony.

Saturday, November 06, 2010

G.L.O. - Breakthrough

G.L.O.
Breakthrough
Narrow Path Records (2010)
www.myspace.com/godsloveonly

San Antonio’s Kim Ruiz, aka G.L.O. (God’s Love Only), is a rarity: a female Christian hip hop solo artist. Even rarer: this female Christian hip hop solo artist is already on her third CD, Breakthrough.

To a soundtrack of pounding industrial beats, Breakthrough features memorable, sing-song choruses with body-jerking repetition. G.L.O. is a rapid fire rapper with plenty of fashion style who stuffs more syllables into a beat than what seems possible. She sings, too, but where her singing voice is sweet and vulnerable, her rhyming is fierce and uncompromising.

Christian hip hop projects are often centered on gritty testimonies of being saved from the mean streets, but on Breakthrough, G.L.O. eschews the backstory and gets right to the point. She preaches and teaches as if her testimony is a given.

That is not to say that G.L.O. doesn’t have a testimony. Her life changed in 1998 when, after having written 250 secular songs, she heard a voice in Bible study that said to her, “You can’t have one foot in the World and one foot out.” This principle is explicitly articulated in “7 Days” and “Lukewarm.” On “7 Days,” G.L.O. and guest artist Maurice Irons remind the listener that Christianity is not just for Sunday. “Lukewarm” posits that you have to plant both feet in the game to be saved.

One of the most interesting pieces on Breakthrough is the opener, “Who Is Like God?,” where G.L.O. sings God’s praises like an agent touting her latest champion prizefighter. Another highlight is “Unpopular,” where G.L.O. mimics the squeaky OMG chatter of an in-crowd girl. She admits she is “hated” for Christ’s sake, and she may never walk the red carpet as a result, but she loves it. It’s “not about the bling, I’m about to glorify the Lord.”

Breakthrough is praise and worship with a bite.

Four of Five Stars

gPod Picks: “Who is Like God?,” “Unpopular.”

Reviewed by Bob Marovich for The Black Gospel Blog.

Friday, November 05, 2010

Kassandra McGhee - Completely

Kassandra McGhee
Completely (2007)
http://www.mypower4living.com/

Singer-songwriter Kassandra McGhee of Forest Park, Illinois, a suburb west of Chicago, has sung background or shared the stage with such notable contemporary gospel and praise and worship artists such as Edwin Hawkins, Phil Tarver and Vanessa Dukes of the Brown Sisters.

Not surprisingly, given McGhee’s performance experience and service as a praise and worship leader, her self-produced debut CD Completely is an assemblage of P&W songs she composed. Her sweet, breathy soprano reminds me of Deniece Williams, who started singing gospel as a member of the COGIC church in Gary, Indiana before moving into the pop scene. During “Song of Moses,” a track from her debut album, McGhee even hits some Williams-style off-the-stave high notes.

McGhee has an astute ear for melody and, like John Denver, favors a high tessitura in her songs. But she is more vocally flexible than such a tessitura would suggest, since the lower-toned sopranos who handle the contrapuntal background vocals appear to be McGhee multi-tracked.

The best compositions on Completely are the melodic P&W ballads, particularly the title track and “Whole in You,” though the mid-tempo “Sunshine From Here” has an appealing repetition.

“You’ve Been Right There,” with Leon Dubose accompanying on piano, is the album’s attention-getter and crown jewel. As is often the case in gospel, whether contemporary or traditional, less is more. Such minimal and flexible accompaniment lets a soloist feel her way emotionally through a song, and that is what McGhee does here. A follow-up album where McGhee sings more of her songs with only piano or organ and bass as accompaniment would showcase her music the best.

Overall, Completely is a fine debut and introduces a promising new P&W songwriter.

Three of Five Stars

gPod Picks: “You’ve Been Right There,” “Completely.”

Reviewed by Bob Marovich for The Black Gospel Blog.

Thursday, November 04, 2010

Lynda Hodges - Free

Lynda Hodges
Free
Asaph Productions 2010
www.lyndahodges.com

In addition to her music-loving father, Washington, DC singer-songwriter Lynda Hodges cites Richard Smallwood, the Voices Supreme and the Hawkins Family as among her early musical influences.

On her debut CD, Free, Hodges combines these contemporary gospel influences in her smooth, gentle-to-soaring pop-influenced alto, tender (and tenderly expressed) songs of encouragement and praise, and penchant for smooth, intimate jazz music as accompaniment.

While most of the eleven selections on Free are from Hodges’ own pen, two are classic congregational hymns: “What He’s Done for Me” and “Great is Thy Faithfulness.” Both are supplied with Hodges’ atmospheric treatment, and “What He’s Done” even has a touch of Sade's refined, Latin fusion sensibility.

Perhaps no song captures the album’s overall feel better than “My Everything.” It contains all of the components noted above and showcases Hodges' creamy dark alto.

The album’s real standout is “Bright Side.” Its lovely, memorable melody and expert song craftsmanship emphasizes the importance of keeping the faith because a brighter day is ahead.

A delightful surprise is Hodges’ expressive rendition of the spiritual “Give Me Jesus,” with only Hiram Swain’s delicate piano work as accompaniment. She interpolates the Gaithers’ “There’s Something About that Name,” and gives the spiritual an evangelistic flourish at the end.

Eddie Hicks handles most of the production. He gives the project an understated vibe well suited to the sensitive song styling and musicianship.

Free is inspirational music for the quiet moments of the day. It is available at www.CDBaby.com/CD/LyndaHodges2


Three of Five Stars

gPod Picks: “Bright Side,” “Give Me Jesus.”

Reviewed by Bob Marovich for The Black Gospel Blog.

Tuesday, November 02, 2010

Teddy Cross - Family Healing, Vol. 1

Teddy Cross
Family Healing, Vol. 1
Mega Faith Records

Many know Teddy Cross as a member of the iconic Gospel Keynotes. His CD, Family Healing, Vol. 1, showcases the quartet specialist as a solo artist, allowing him room to experiment with styles and songs that might not necessarily fit in the Gospel Keynotes repertory.

Still, much of the CD is rooted firmly in the traditional, soulful style of the Keynotes, and that’s a good thing. Also a good thing: the magnitude of guest vocalists who participate on the project, most notably Cross’s pastor, Bishop Paul S. Morton, Sr. The two duet on “Through Prayer,” a tribute to the power of prayer to bring you out of trouble. The men's voices are so well suited it’s hard to tell one from another.

In addition to Morton, fellow Keynote Paul Beasley (he of the sky-high falsetto) and quartet maven Bishop Neal Roberson assist Cross on “Heal the Land” and “Lift Jesus” respectively. The emotional tension between the hard-shouting singers sells both songs. “Heal the Land” addresses the album’s premise: troubles such as drugs, prostitution and violence that not only threaten individual families but also the global family. Cross suggests that the wrongdoing has gone on for far too long and it is time for healing to begin.

A Teddy Cross album has to have a couple of drive songs, and “See What the Lord Has Done” and “Battle Ax” fit the bill. The latter sounds like a medley of COGIC congregational songs.

Cross performs American Gospel Quartet Convention founder Rev. George W. Stewart’s “It’s Good,” a simple and melodically compelling conversational song reminiscent of “I Won’t Complain.” The seven-plus minute rendition could have been shortened by two minutes for an even more effective presentation.

Family Healing, Vol. 1 is honest-to-goodness traditional gospel music with quartet-style singing and more than capable musicianship from the band and background vocalists.

Four of Five Stars

gPod Picks: “Lift Jesus,” “Heal the Land.”

Reviewed by Bob Marovich for The Black Gospel Blog.

Monday, November 01, 2010

TBGB Pick of the Week: November 1, 2010

“You That I Trust”
The Rance Allen Group feat. Paul Porter
From the forthcoming CD/DVD: The Live Experience II
(scheduled release: Jan 25, 2011)
www.tyscot.com

Remember our interview with Rance Allen regarding his 40th anniversary celebration in Detroit? While the audio and video fruits of the historic live program will not be available until early 2011, the debut single was released recently.

"You That I Trust” features Christianaires lead singer and solo artist Paul Porter trading explosive hard-shouting vocals with Allen. The singers are backed by a lovely, simmering soul soundtrack reminiscent of the Rance Allen Group’s days in Memphis recording for Stax Records.

A gospel ballad about trusting in God completely, “You That I Trust" is from the group’s forthcoming CD/DVD project, The Live Experience II: Celebrating 40 Years of Music & Ministry. In addition to Porter, the project will feature guest solos from the likes of Shirley Caesar and Vanessa Bell Armstrong.