There was always a natural spring of gospel feeling that bubbled up from the center of Donny Hathaway’s music. From grounded anthems like “Someday We’ll All Be Free” and “Thank You Master (For My Soul)” to fun loving songs like “Magdalena” and “This Christmas,” all of them sound as if they were recorded from the pulpit. One could surmise that the same feeling churns inside Lalah Hathaway, because it comes to the surface ever so often.

Kirk Whalum featuring Lalah Hathaway –
“He’s Been Just That Good” (2009)

For the third installment of his The Gospel According To Jazz series, Kirk Whalum invites Lalah Hathaway to sing the original composition “He’s Been Just That Good.” The saxophone dominated radio single stands strong in its simplicity. Everyone knows that often the simple songs minister the strongest in church. Lalah’s smoky, rich contralto voice brings to the song the same weight and strength that we might have seen had Donny himself been invited to the party.

The Winans featuring Lalah Hathaway –
“It’s Not Heaven If You’re Not There” (1993)

This bouncing pop/gospel ditty too often gets overlooked. Though The Winans’ All Out album featured contributions from R. Kelly, Gerald LeVert, Michael J. Powell, and Kenny Loggins, it stalled out at #15 on the Billboard Gospel charts and #9 on the Billboard CCM charts in 1993. Regardless, who wouldn’t want to hear two voices as dynamic as Marvin Winans and Lalah Hathaway trading lines on wax?

“It’s not a leopard if it doesn’t have spots. It’s not plethoric if it’s not a lot. Wouldn’t be an eagle if it didn’t soar through the air. It’s not Heaven if you’re not there.” It’s hard to sing along (or even hear it) and not smile.

Israel & New Breed featuring Lalah Hathaway –
“Silent Nocturne” (2006)

Easily the highlight of the A Timeless Christmas album, Israel & New Breed masterfully embellish on the perennial carol commemorating Jesus’ birth, “Silent Night.” It’s nothing short of amazing to hear the way both voices interplay flawlessly with the ensemble of musicians like swirling wind currents in a snow storm. Such an amazing performance is a joy to the world all year around.

Joe Sample & Lalah Hathaway –
“When Your Life Was Low” (1999)

“When Your Life Was Low” was never a gospel song. The lyrics tell of a loyal friend or lover who is embraced when times are hard and abandoned once success comes. The song spent nearly two decades as a beautiful, but obscure ballad buried at the end of a 1980 Randy Crawford album. Co-writer Joe Sample convinced Lalah to re-record the song for their duo album The Song Lives On, and the single helped push the album to #2 on the Billboard Jazz charts.

Always a favorite at live shows with Hathaway’s fanbase, gospel audiences began to take notice of the song as well. Lalah was asked to render the song as an a capella encore during a Pre-Stellar Awards BMI Trailblazers Luncheon as well as Kierra Sheard’s 2009 Bold Right Life conference, both times driving crowds wild.

The song was recently cemented into the pantheon of gospel music since being covered by contemporary gospel quartet Men of Standard on their Greatest Hits album. Their cover recasts Christ as the faithful friend and lover who is not to be abandoned once hard times pass.

Donald Lawrence featuring Lalah Hathaway & Ramsey Lewis –
“Don’t Forget To Remember” (2004)

For Donald Lawrence’s debut solo album, he called upon Lalah & the incomparable Ramsey Lewis to reframe a classic song from his 1995 smash album Bible Stories with the Tri-City Singers. This straight-ahead jazz interpretation, warmed by the subtle ambience of smoldering choir vocals has become a definitive song for both Lawrence & Hathaway.

Though Hathaway has never positioned herself as any radical or outspoken evangelical, she still serves to inspire even without preaching. She has always presented the class and modesty of a woman with standards and principles. One would be hard pressed to hear vulgar or explicit material performed at a Lalah Hathaway concert. This is a likely reason Hathaway remains accessible to audiences on both sides of the church’s walls.

On a recent visit to BET’s Lift Every Voice talk show, Lalah admitted to maintaining a personal relationship with God marked by quiet time and contemplation. Whether she jumps, shouts, and speaks in tongues every Sunday is of little concern. Matthew 7:16 says that we will be able to recognize trees by their fruit, and by Lalah Hathaway’s fruit, she looks to be family.

Lalah Hathaway was recently nominated for a Grammy for Best Female R&B Vocal Performance this year for “That Was Then,” a single from her 2008 solo album Self Portrait. For more info about Lalah, visit her website www.lalahhathaway.com or follow @lalahhathaway on Twitter.

Written by Mark Chappelle Coston for Elev8.com.
Add him on MySpace or follow @MarkChappelle on Twitter.

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Singer/songwriter Adrianne Archie started 2004 with a bang. Drawing from rich influences like Kim Burrell, Erykah Badu, and D’Angelo, she carved a unique niche with her debut album He That Hath An Ear, Let Him Hear. The independent release garnered rave reviews and was a #1 selling release at CD Baby. After touring domestically and overseas, the Louisville, KY native returned with the holiday release Warm Winter. Rather than make another investment in music ministry, she opted to invest in herself. Adrianne put her career on hold to go to seminary, earning a master’s degree in Christian Education in the fall of 2009.

The move proved an effective muse as one can easily hear on Heart Soul Mind & Strength, her sophomore release proper. Though the ebullient collection of 17 songs keeps close to a jazz-savvy core of R&B, hip-hop and neo-soul, HSMS grabs the gospel and ventures bravely into go-go and dance territory with some exciting results.

The album’s title comes was taken from a passage in Luke 10:

“He answered: “‘Love the Lord your God with all your heart and with all your soul and with all your strength and with all your mind’; and, ‘Love your neighbor as yourself.’”
“You have answered correctly,” Jesus replied. “Do this and you will live.”

To that effect, Adrianne’s mission is to promote holistic living through healthy relationships with both God and man.

WHY NOT TAKE A CHANCE?

Heart Soul Mind & Strength launches out boldly with the embraceable opening track “Also” where Archie enumerates the many ways God’s glory and creativity appear in the Earth. Don’t be misled by the twinkly, atmospheric intro though. “Also” quickly grows into a funky, spacey gem with a fluid, Moogish bass line percolating perpetually beneath.

The mid-tempo single “Strong” starts like the first thrilling dive of a rollercoaster. It roars out of the gate blooming with a cluster of Archie’s vocals and a kick-clap combo as wide as anything Zapp & Roger ever recorded. The slinky banger stays sparse with the exception of the perforated bassline that caps each phrase and starts the rollercoaster ride all over again. A catchy reference to Isaiah 40:28 in the lyrics assures that the song is as good for your spirit as it is for the subs in your car.

The lead single “Extra Credit” is a neatly fashioned guitar-driven winner that gives a cute wink to the Bacharach/David classic “Don’t Make Me Over” during the verses. Archie’s trademark contrapuntal backgrounds wind playfully through and around her lead vocal as she guarantees God that he’ll get all the praise due in every situation.

When in ballad mode, Adrianne handles relaxed numbers like “Friends” and “Word & Testimony” gently. The latter provides an early peak on the album sequence as Archie’s voice lifts confidently into a tender, flute-like upper register.

By contrast, “Love” takes no prisoners entering with a stomping straight-ahead beat. The verses exhale with slow color-shifting chord changes, the handiwork of longtime musical collaborator Joel Goodwin who places his indelible stamp on each of Archie’s albums. “Love” also reaches back to her debut to reprise “Why Not Take A Chance” and invite her best friend Monique back for another cameo.

A highlight in the 4th quarter of Heart Soul Mind & Strength is “Sad,” a matter-of-factly delivered exhortation that gives a few really good reasons to choose joy. Hinging on a few unassuming piano chords, electrified fretless bass, and a lone rim shot, you can’t help but pay attention to Archie as she adopts a humorous preach-speak tone throughout.

“School stresses me out. All these classes. Went from wanting straight A’s to wanting passes… The workload is heavy. The market isn’t steady. If they lay me off, I hope I’m ready. Employment? I got some. And it’s been payin’ me in this recession. I don’t want to be sad!”

POP ROCKS

Midway through, HSMS shifts gears from jazzy neo-soul to hard-thumping electronica. “All I Need Is Love,” “Nothing for Something,” and the ironically hypersonic “Slow Down” make an application of 1 Corinthians 9:22 that is to be applauded. The title track of He That Hath An Ear, Let Him Hear flirted briefly with dance music. HSMS, however, jumps into it head first and presents a woman hungry to step onto rarely tread upon ground in order to reach the lost with the gospel of Jesus Christ.

“Go Pop” is an Outkast-dusted rave-up focused in its intent to keep the gospel relevant. She also keeps it fun while taking to task anyone who might still be uncomfortable with the gospel moving outside of traditional channels. She sings, “It’s evident that this record’s meant to draw you into this call… You can testify that that hymn’s no lie, but what’cha gon’ do when the girl go pop?”

Before the change of pace can become old hat, the album switches back into chill mode with the easy, breezy title track “HSMS.” When Adrianne takes off her singer’s hat to rap each of the verses, she reminds you just a little bit of Lauryn Hill with a unique twist. The song’s sunshiny swagger makes you pull out your best two-step and rock with it. [A LITTLE TIP: If you put it on repeat, you can have the whole kitchen clean before you know it.]

Adrianne picks up the pace but keeps her swag on “Got Paid.” This funky, funny narrative tells a testimony of being convicted to salvation by a text message received while dancing the night away at a club. “Three Things” keeps the club vibe poppin’. While Joel fashions beats that nearly peak the meter, Adrianne lays out God’s essential requirements for his people. Now that’s a match made in Heaven.

GET WITH A GOOD THING

As the music industry gets more homogenized, people are bound to look for innovation among independent talent. Adrianne Archie is a great example of such an artist. Her mission is clear and she is a true talent that everyone should hear. Moreover, as African-Americans, Archie’s message imploring us to take as good care of our bodies as we do our spirits is one that needs to be heard. So give HSMS a listen. Hey, and if you buy two and give one away, it’ll be good for you both.

You can purchase Heart Soul Mind & Strength online at CD Baby, iTunes, Amazon.com, and other retailers. For booking, management, and other info on Adrianne Archie, visit her website AdrianneArchie.com. Also check out the following spots online:

• Twitter: @AdrianneArchie
• MySpace: MySpace.com/AdrianneArchie
• Facebook: Facebook.com/AdrianneArchie

Written by Mark Chappelle Coston for Elev8.com. You can follow him on Twitter.

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Bishop Morton reigned in nods for Traditional Male of the Year, Traditional CD of the Year, and Traditional Choir of the Year.

CRY YOUR LAST TEAR is the most recent release from Bishop Paul S. Morton and the Full Gospel Baptist Church Fellowship Mass Choir, and strikes up a soul-stirring emotion that bares a resemblance to the 2003 release, LET IT RAIN. The title track evokes a passion and overwhelming praise that shares “cry your last tear it’s gonna be alright”. Equally just as anointed is the sophomore single “Don’t Do It Without Me” which was re-released because of its impact on congregations across the nation; it simply chants “Lord, whatever you’re doing in this season, please don’t do it without me”.

This year has been a busy time for Bishop Morton as he is under major construction on his Changing A Generation Church in Atlanta, GA; released his book, Unemployed Faith; hosted a Feed the Children food drop and concert; and recently appeared on TBN with BeBe and CeCe Winans.

Rounding out the year armed with his Stellar Award nominations, Bishop Morton continues on his journey of encouraging the Body to CRY YOUR LAST TEAR.

For additional information regarding the 25th Annual Stellar Gospel Music Award nominee, Bishop Paul S. Morton; please contact Kia Jarmon, 615.861.4226, kjarmon@lightrecords.com.

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Kirk Franklin, Donnie McClurkin and Vickie Winans to Host the Event to be Held in the City of Nashville for the 5th Year.

The 25th Annual Stellar Gospel Music Award Nominees will be Announced at our Press Conference hosted by Dr. Bobby Jones and Vickie Winans at the Sommet Center – Visitors Information Center, Thursday, October 29th at 10:30 a.m.

October 20, 2009 – Chicago, Ill. –The Stellar Gospel Music Awards will celebrate 25 years of honoring the biggest and brightest in Gospel music, with a star-studded 25th Anniversary Awards event hosted by Kirk Franklin, Donnie McClurkin, Vickie Winans and the City of Nashville, Tenn. The show returns to Nashville for the 5th consecutive year and is set to take place on January 16, 2010 at the Grand Ole Opry House. Stars from music, film and television will join Don Jackson, Chairman and CEO of Central City Productions, in celebration of this important milestone in bringing Gospel music’s premier event to its fans for 25 years.

“The Stellar Awards have been my passion and it has been a long journey from where we started to where we are today,” said Don Jackson. “The show now airs in more than 125 markets around the country and features all the best that Gospel music has to offer. We are proud of what we have accomplished and are grateful to the industry and fans for continuing to believe in us.”

The nominees for The 25th Annual Stellar Gospel Music Awards will be announced at the Stellar Awards Press Conference on Thursday, October 29th at 10:30 a.m. at the Sommet Center – Visitor’s Information Center (located inside the glass tower), 501 Broadway in Nashville, Tenn. The Press Conference will be co-hosted by Vickie Winans and Dr. Bobby Jones, with a special performance by the Fisk Jubilee Singers.

Also announced during the press conference will be the recipients of our Special Awards which will also be presented at the 25th Anniversary Stellar Gospel Music Awards Ceremony. The special awards are: “The James Cleveland Lifetime Achievement Award,” “The Thomas A. Dorsey Most Notable Achievement Award” and the “Ambassador Dr. Bobby Jones Legend Award.”

Members of the media are invited to attend the press conference.

For further information on the 25th Annual Stellar Gospel Music Awards, please contact Donna Torrence at Mediasavvy PR, Inc. at (201) 854-7082 or via e-mail at donna@mediasavvypr.com.

For information about The 25th Annual Stellar Awards Weekend events and tickets, please visit www.thestellarawards.com.

ABOUT CENTRAL CITY PRODUCTIONS

The Chicago-based Central City Productions, Inc. (CCP) produces the Stellar Gospel Music Awards. It has been 24 years since the first awards show was taped at the Arie Crown Theater in Chicago, and the Stellar Awards has now become the premier Gospel event that recognizes and honors African American artists. This one of a kind award show has showcased top Gospel artists and many television and film stars.

The Stellar Gospel Music Awards show is Executive Produced by Don Jackson, produced by Barbara Wilson for Central City Productions. Michael Johnson will direct this year’s award show, and Jennifer Jackson is the Executive in Charge of production. Erma Gray Davis is the President and Chief Operations Officer of Central City Productions. Founded in 1970 by Don Jackson, Chicago-based Central City Productions is a distributor of original programming to television and cable networks.

Please visit www.thestellarawrds.com.

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Perhaps there’s no more celebrated duo in modern music history than BeBe & CeCe Winans. The sibling tandem is one of only two gospel acts in history to ever debut atop Billboard’s R&B/Hip-Hop Charts (with their 1991 “Different Lifestyles” release) and has an astounding five Grammys, eight Doves, and over twelve Stellar awards to their credit. Individually, the dynamic duo has achieved incredible musical success.

So, a fifteen year layoff as a recording tandem in no way hampers the anticipation for their new effort. The duo in no way disappoints with their newest release, Still, a twelve-track presentation that merely adds to their legendary status.

CD For years, BeBe Winans has proven to be one of the industry’s most prolific writers. He contributes that gift, writing or co-writing or half of the album. Add to that, the team garners several A-list producers to add their touch to the effort. Longtime collaborator Keith Thomas returns to produce a third of the album, while other hit-makers Percy Bady, Warryn “Baby Dubb” Campbell, and Mervyn Warren make worthy contributions to the effort.

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There are a lot of people who believe that you should, under no circumstances, bring secular music into the church. But some would vehemently disagree. Secular music can be used to glorify Christ just as much as the music we label as “praise and worship” or “Christian.” That may sound very opposite of what you’d expect, but what is it that makes music secular? What makes it “Christian” or sacred? Certainly it’s not the music itself; how can certain chords or keys be construed as glorifying God more than others? If it’s not the music, than it has to be the words. Take a love song — one that you might sing to your spouse at your wedding — sung to God, is that not worship? Don’t plenty of “Christian” songs sing about our love of and for Jesus? Where does the difference lie?

Recently, a friend showed me a video of Bishop Lester Love preaching at Mount Zion Baptist Church. When I saw his examples and how he incorporated the secular music into his message, I thought, “This is how it should be done. He’s taken popular love songs that we all know and changed the lyrics to glorify God.” Watch the video for yourself:

When he started singing Alicia Keys’ song, “If I Ain’t Got You,” I started laughing — but not for the reason you might think. I remember driving in the car one day, listening to that song, and it hit me — Stuart, you can sing this as worship to God. So I did; I changed the words, just as he did, and began to worship God by singing:

Some people live for the fortune. Some people live just for the fame. Some people live for the power, yeah. Some people live just to play the game. Some people think that the physical things define what’s within. And I’ve been there before, but that life’s a bore; So full of the superficial.

Some people want it all, but I don’t want nothing at all if it ain’t you Jesus — if I ain’t got you Jesus. Some people want diamond rings, some just want everything, but everything means nothing if I ain’t got You, Yeah.

Some people search for a fountain that promises forever young. Some people need three dozen roses and that’s the only way to prove you love them. Hand me the world on a silver platter and what good would it be with no one to share, with no one who truly cares for me.

Some people want it all, but I don’t want nothing at all if it ain’t You Jesus — if I ain’t got You Jesus. Some people want diamond rings, some just want everything. But everything means nothing if I ain’t got you, you, you. Some people want it all, but I don’t want nothing at all if it ain’t You Jesus — if I ain’t got You Jesus. Some people want diamond rings. Some just want everything, but everything means nothing if I ain’t got you, yeah

If I ain’t got you with me Jesus. So nothing in this whole wide world don’t mean a thing. If I ain’t got you with me Jesus

As I sang my remixed version of the song, I could feel the Presence of God come into my car in a real, tangible way, just as if I was singing a song originally intended for worship — something like a Fred Hammond or Israel Houghton tune. Think about it. It’s a powerful idea — saying to God: “It doesn’t matter what the world offers me; whether it’s diamonds or money or fame or any other temporal gift given to show affection, if I don’t have you in my life, Jesus, it all means nothing.” Shouldn’t that be our heart towards God? A heart that says, “God, if I don’t have you, I don’t want anything else. What could the world have outside of what You give?”

Some people will simply not agree, not matter how hard I try to persuade them. And honestly, that’s ok. To each his own. As long as at the end of the day we both serve the same God and are focused on winning souls into the Kingdom, what difference does it make?

However, for those who don’t believe that the man in the video, or anyone else for that matter, should be using secular songs, with different, revised lyrics, in the church, here’s what I want to ask: What’s the harm? Is God so concerned with the origins of the music rather than the lyrics that we’ve actually given redemptive potential to? Does he tune a deaf ear to the worship because of the way the song was first written? The Bible says that man looks at the outward appearance — the words, possibly the original song — but God looks at the heart, the intent — the heart of the person singing, and their motivation in worship.

Perhaps opposition comes from the thought that saved, church people shouldn’t be listening to secular music to know those songs in the first place. Maybe this had some merit — it is important to guard what we let come into our ears and eyes — but the fact is this: they already know the songs. It’s not as if we’re teaching them new secular songs and then turning them around. In fact, if this was a person’s first time hearing the song, they likely wouldn’t know the difference. But since the listener already knows the song, why not change the song’s meaning? That way, the next time the song is brought to their remembrance, they can sing the version that honors God, instead of the version that doesn’t.

At the end of the day, it’s a strictly person preference and one that could be argued and debated for quite a while. But if souls are being won into the Kingdom through rewritten secular songs, would God care? Wouldn’t He be more concerned and excited about the new souls than the methods we used? Think about it.

{For more from Stuart McDonald, check out his personal blog and follow him on Twitter}

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As for the music, this project features three of all time favorites, Pastor Shirley Caesar, Evangelist Dorinda Clark Cole and Myron Butler. Pastor Caesar lends hear vocals on the tag “High Praise”. This toe tappin’, hand clapping, head swaying song is a joyful up-tempo track that takes you to church. Pastor Caesar is one of the few gospel icons with whom I have yet to work. I hope to accomplish this sooner than later. Evangelist Cole not only is one of my favorite artist to work with, but her vocals are always smooth as silk and off the chain! As always, she delivers a powerful performance on the jazzy gospel selection, “Still Mighty, Still Strong.” Myron Butler graces the project with, “Great Expectation.” This up-tempo song is a wonderful praise and worship song with its celebratory overtones.

Other notable mentions are, “Powerful God”, “Lord You’re Mighty”, and the title song, “Resting on His Promise” is an awesome anthem of encouragement, hope and faith that speaks to the awesome relationship that we have with our Father and Maker, and the promises He has made to us.

“Resting On His Promise” is currently in the #4 position on Billboard’s Charts.

To learn more about Derrick L. Wade, click here

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GOSPEL MUSIC LOVERS, SINGERS, and MUSICIANS: This group is for the people who love gospel music

“Smokie Norful Live“, is the fourth project from the Grammy Award-winning artist.  With this his first live album, Pastor Smokie Norful, Senior Pastor of Victory Cathedral Worship Center in Chicago, Illinois, imparts a message of hope, praise, love, and justification.

The project begins with the opening proclamation that “God’s Gonna Do It” (featuring Tye Tribbett) to the Sunday morning anthem “I Will Bless The Lord,” to “Jesus Is Love,” (featuring Heather Headley) which is a heartfelt cover of the hit song recorded by the Commodores and written by Lionel Richie, to the first single, “Justified,” an appropriate and undeniable hit song of forgiveness. Smokie Norful Live offers its listeners a true Sunday Morning experience, and ushers you into the presence of the King.

As expected, the project is well written, well produced and unquestionably well delivered by Pastor Smokie Norful’s signature vocals.

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I was searching for something totally different when I found this video. It blew me away!

I hope you enjoy it as much as I did! This is hot!

The Heritage Mass Choir presents the Kirk Franklin/Fred Hammond Version of “My Desire.”

There truly is no division in Christ.

Be blessed Family!

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