::ALBUM REVIEW::

After bursting on the scene as one of the successful traditional female vocalists during the 1990's on the now-defunct Warner Alliance imprint and breaking ground on EMI Gospel with an exclusive contract with T.D. Jakes’ Dexterity Sounds subsidiary, it almost felt like Beverly Crawford drifted away into silence after the release of 2003's Live: Family and Friends failed to gain any solid attention with listeners and even stretched beyond her familiar traditional base to include an unrealistic, poppish production on her soulful set of pipes. There’s been much time in between her last album release and “Live From Los Angeles” - her newest project to date. Now on a new label and with Michael Bereal’s satisfying, fresh production skills, Crawford has somehow relocated her niche’ and also tends to harness some of her strengths once displayed on her highly recognized albums from the ‘90s.

Opening the set is “Lion Of Judah;” a robust praise gem that feels like a walk-in-the-park for Crawford’s ad-libs. Serious critics will automatically recall how the song contains the high-octane energy and familiar traces of Kurt Carr’s “The Presence Of The Lord Is Here,” but will suddenly overlook those minor unoriginal glances for the engaging horn arrangements and the fiery vamp attached to a number of infectious modulations. “He’s Done Enough,” penned by Tim “Bishop” Brown, gathers the soulful drawn-out bluesy formula from Crawford’s classic hit “Jesus, Precious King” and creates a seven-minute powerhouse fit for her churchy growls and belting notes. Other signature cuts including the funk-infused “God Has Been Good To Me” and “I Know Too Much” - a Mississippi-quartet uptempo rocker - proves exactly why Crawford deserves to perform live and not be restricted to the confines of an enclosed music studio.

While Crawford seems more impressive singing the traditional uptempo jams, she uses the same intensity and integrity on a few of the album’s smooth ballads. Kevin Bond’s “I’m Still Standing,” a revisit from the Beverly (2001) album, contains Bereal’s sensitive keyboard touches and the live touches of Chris Johnson’s drum work. Add in the mesmerizing background support and the emotional and unexpected inclusion of a familiar sample of Donnie McClurkin’s “Stand” and the song goes to even higher dimensions than the original. “We Need To Hear A Word From You” is a beautifully penned composition that quickly addresses the pivotal concerns and strange climate of our world while providing a prayerful resolution that God is the “only one that can see us through.” Penned by Malcolm Williams (whom also pens two other cuts on the disc), the song features lead vocal support from her son, Todd Crawford, Jr., and gospel legend Edwin Hawkins. Even though Hawkins' performance remains short since he only comes in towards the tail end, Crawford brings appealing soul to the heartfelt lyrics and basically proves she is well capable of doing an album all by herself. Crawford also goes into the trenches of mellow worship to gather up Vernon Chappell’s “I Bless Your Name” and his more familiar worship chorus “Praise Jehovah.” - a song she once covered on Jesus, Precious King. The songs mend together in a perfect marriage and contain a wonderful presentation of Crawford’s tireless energy and the supporting ensemble’s harmonies. And then there’s Donald Hayes string attachments towards the end during Crawford’s exhortations that stirs up a venturesome appeal that feels uniquely refreshing on a Crawford project.

Not all the selections on Live From Los Angeles are met with a tender heart. Chris Byrd’s “Victory Comes”, first introduced by Donald Malloy, is met with an unfortunate key change and loses some of raw spunk from the original. For those who aren’t familiar with Malloy’s version, the song is bound to stir up a number of tunes. But it’s very hard to resist the organic soulful vibes of the former version.”Great God” with its repetitive sing-a-long chorus and empty lyrics gives off unforgiving irritations. And even though traces from Stevie Wonder’s funky “Higher Ground” makes its appearance in the band’s crafty playing, the song does need reworking.

The special guest billing is also an unforgivable act filled with strangeness. Gospel choirmaster Ricky Dillard is stated to be featured on “God Has Been Good To Me”, but never says a word. Edwin Hawkins is attached to “We Need To Hear A Word,” but only appears towards the very end of the cut. And renowned organist, respected entrepreneur and soulful vocalist Moses Tyson only shines on the opening intro and closing of a simple and predictable “I Owe Everything To Jesus.” Plus the idea of introducing a number of siblings to the gospel world and having to tolerate their shaky and unpolished vocals feels more like a self-indulgence on Crawford’s part.

But it’s imperative to state that Live From Los Angeles is a classic return worth leaping into. For Crawford fans, hearing this kind of quality production, excellent musicianship and defined compositions (something we have grown to expect from a JDI project) comes with unexplainable satisfaction. And though the disc fails to generate the big buzz and drawing power that made Now That I’m Here and Jesus, Precious King so rewarding, it does a very good job in bringing back her strongest elements and places her in comfortable territory. And even though we may never see the end of the industry-friendly “JDI Sampler” towards the end of every JDI disc, the album is still a enjoyable journey and places Crawford back into the ring of today’s superior traditional gospel singers.