::ALBUM REVIEW::

You gotta give it to the Chicago Mass Choir (CMC) for their enduring ability to record albums in the midst of a serious gospel drought of mass choirs. Umm, let me change that. Quality mass choirs. With over eleven albums under their belt, the Chicago Mass Choir, led by Dr. Feranda Williamson and choirmaster Percy Gray, Jr., has stood the test of time and show no sign of slowing down. But even the CMC knows that the wasters of the season changes and in order to survive the atmosphere’s changes, one must adapt to it. Therefore, let it be said that this choir has a testimony for their endurance and stamina. The journey has been tedious, yet rewarding; which directs us to their latest musical odyssey recorded at the Greater Travelers Rest Baptist Church in Atlanta, GA. Normally mass choirs significantly record at their land of origin, but the Chicago Mass has learned a good piece of strategic marketing since they took their recording fever on the road (Nashville was the first stop on their recording tour). And even though traditionalists may cringe over the sudden changes now, they will get over it and understand it better by and by.

“Project Praise: Live In Atlanta”, produced once again by Percy Gray, Jr., showcases a sensitive side of Chicago Mass Choir’s music ministry, as the songwriters mostly from Chicago enlist in a song selection bearing a strong connection to praise and worship material; which is an indicator that they are intending to stay current and fresh. Of course, there was nothing wrong. Upbeat praise songs, with a friendly, inviting sound, are evidentially dominant throughout most of the disc, with songs like Percy Gray’s “Lord We Come To Give You Praise”, “We’ve Come To Lift Him Up” and the spunky “We Exalt Your Name”. The theme tends to recur with a bit of repetition, but it’s pleasant to hear the legendary choir take on songs that may bring you to mind of the Reed’s Temple Choir (another Chi-town legend) from back in the day. But you do hear a few unbalance moments such as the band and choir overpowering the lead singer. Even Lewis Warrick’s vocals show signs of weariness towards the end on his worship leading on “We Exalt Your Name”; revealing this choir has many years to conjure in order to master this new sub-genre.

There are a few minor issues that surround the disc that may downplay the album’s integrity, but the good moments are actually memorable to the ear. Chicago Mass’ mainstay Lemmie Battles revisits a slowed down version of “Whatever You Want (God’s Got It)” (originally recorded by Jessy Dixon & the Chicago Community Choir). Her performance is blessed with energy and excitement, but if you loved the original, you might want to skip this track. The slowed down tempo was not a good move.

Resting near the end of the album is a hidden gem that definitely needs the spotlight. One listen to the build-up of “He’s Working It Out For Your Good”, a smooth encouraging ballad penned by Kevon Carter, and you are sure to witness pure satisfaction. The piano riffs and bass layers by Phillip Feaster is a definite indication of exquisite pampering and really opens up your spirit for worship. When the song finally ends, worship erupts and lead vocalist Cornelius Doles is already offering hefty exhortations filled with thanksgiving of God’s goodness. Then comes the main event: Percy Gray’s spirited, up-tempo “Oh Taste And See”. With a crafty melody, lyrical reminders from the book of Psalms, Gray pumping out seasoned, throaty vocals reminiscent to James Cleveland, riveting horns and a pint of modulation fever, and you are bound to agree this tune is a serious album highlight. In fact, the Chicago Mass Choir even pulls out their spontaneous vibrato, with amazing control, on this one. Even though engineer Joe Neil kind of takes most of the Chicago sound out of the choir, “Oh Taste And See” really shows the choir’s true colors. And then comes the down-home soulful arrangement of “What A Fellowship”, led by William Calloway. It pretty much bears a styling of James Bignon’s choir rockers, so Atlanta is definitely good ground to showcase a tune like this. But one big problem about all of this. Why is it all the real good stuff finds its way at the end of the disc and not in the beginning, where it should be. Except for “Jesus Promised” (penned by Tim Carpenter, which is a contemporary gem ready for gospel radio), much of the album’s tracks in the middle of the disc is pretty much plain (for such a zealous aggregation of singers and even though one should never expect an album to be perfect, you should always put the good stuff up front; in order to grant the artist a good impression to listeners. But this issue is bound to be resolved anyway. How? People are going to hear “Oh Taste And See” on the radio or in their church choir’s Sunday Morning repertoire, and they will cope the album. Yes, they will skim through the earlier tracks just to get to track #10, where “Oh Taste And See” rests and they will grow to love the other songs before and around it. I guess Percy Gray, the album producer, has gotten edgier and wittier with his strategic marketing over the years. An obvious sign that times have truly changed.