::ALBUM REVIEW::

Reminiscing can be a very beautiful thing. When the Detroit gospel community, in partnership with the staff of Sound of Gospel Records and the Detroit chapter of the Gospel Music Workshop, decided to reflect on their amazing heritage and the number of deceased legends whom greatly shaped the burgeoning surface of gospel music, their reminiscing transcended into something greater than just a mere moment of reflection. It became a moment of action as many of the legends’ respected choirs and their torch bearing leaders united together in 2002 to pay tribute to their beloved local heroes. Assembled on two discs, Detroit Remembers is a solid presentation of mostly traditional gospel classics honoring the legacies of Rev. James Cleveland, Dr. Mattie Moss Clark, Rev. Charles Nicks, Min. Thomas Whitfield, Rev. Charles Craig, Rev. Donald Vails, Harold Smith, Elma Hendrix-Parham and Dr. Lucyelle Lemon.

The first disc is a definite delight and opens up with a festive celebration of Dr. Mattie Moss Clark’s “Climbing Up The Mountain,.” deliciously peppered by Ora Watkins-Jones and Gabrielle Britton-Johnson as they channel in the spirit of the charismatic matriarch of the Clark dynasty. Earl J. Wright spunky piano runs and Rudolph Stanfield’s killer organ contributions fire up the track’s energy and provide the perfect background for the robust harmonies of the assembled choir. The traditional gospel movements of Rev. Charles Craig’s “God Is” (not to be confused with Robert Fryson's composition) set to a moderately slow rhythm churns are also appealing for the soul gospel enthusiast. Craig’s tributes also features the Sunday-morning-ready “Happy On My Way” (led by Evangelist Linda Ross) and the uptempo high-powered showcase of “Jesus.” Also on board the first installment are worthy walk-throughs, yet strikingly prolonged, of Rev. James Cleveland’s “He’ll Fight My Battle” and “Jesus Will.” But it is the closing throwbacks of “I Really Love The Lord” and “He’s So Real,” both recorded by the late Charles Nicks, that are bonafide album highlights. The performances are enriched with spectacular lead vocals and spontaneous praise from the emotional audience.

The second disc, not to be overlooked, picks up where things left off with seasoned tributes to Donald Vails, but it is the highly-spirited Charles Albert Tindley composition, “The Storm Is Passing Over” that raises the awareness of the album’s soulful components. With simple drum beat and light bass affections, the song’s juicy gospel nature takes on a life of its own as the late Jimmy Dowell directs the choir into beefy detours and changes. Rev. Norma Pender, at the song’s closing, adds a meaningful exhortation to the track; sending the choir and congregation into a spectacular moment of Sunday morning devotion - worth being compared to the Aretha Franklin’s 1972 Amazing Grace project. Three quick trips through Ernest Needom’s compositions, “Truly Wondrously Blessed,” “Love Lifted Me” and the majestic “How Big Is God,” - made popular by Elma Hendrix Parham’s music publishing business - are also included. And it should not be remiss to forsake the awe-striking performances of Larry Edwards’ lead on “I’ll Let Nothing Stop Me.” Originally recorded on James Cleveland’s It’s A New Day (1978) project and done with a quicker pace of tempo, this slower version is perfectly timed and fuels up the magical Whitfield sound. “That’s How The Lord Works” is also revisited; featuring amazing showstopping deliveries from Rev. Ernis Hurskin and Stanfield’s powerhouse organ. Her executions of moans, groans and swirls - offset by a powerful choir performance - add new dimensions to the juicy blues-drenched cut. Closing the disc is Harold Smith’s “The Lord Has Brought Me From A Mighty Long Way” and the churchy finale’ found in Lucylle Lemon’s “When The Saints Go Marching In.”

Very seldom is it possible to run across tribute albums with the kind of affection and historic relevance as Detroit Remembers. The motives are all right and the final effort is superbly glossed with unbridled gospel energy. Each honoree - from the most popular King of Gospel to the overlooked contributions of Elma Hendrix-Parham, receives the proper respect and jovial aspiration that they so greatly deserve. Only serious defects on board would be that most of the choir harmonies are too raw and show no signs of post-recording overdubbs. But the effort means more than any big magazine recognition or Stellar award and shouldn’t come with frostbiting criticism. And it’s hard to even be critical when it’s so rare to find raw, authentic soulful singing, done on this level, in modern gospel these days. With the nice accurate write-ups on each artist in the liner notes, Detroit Remembers is definitely a valuable keepsake for gospel collectors and for those that need a whiff of gospel’s glory years.