::ALBUM REVIEW::

The Gospel Music Workshop of America (GMWA for short) continues to show why they are revered by many as being the leading convention for gospel's finest. Seems like everyone has come through the historic hallways of this mighty gathering of educated gospel scholars, once led by the late Reverend James Cleveland. And while the colossal music conference has pretty much downsized its recording efforts to just one solid collection during the last couple of years, the talent and performances still looks promising. Sadly, the days of serious heat being jammed into the Gospel Music Workshop of America's multiple collections have dimmed down significantly. But there are new faces and stronger possibilities emerging, which is a plus for the convention which is known by some historians to only feature the legends and highly respected songwriters.

On the Artemis assembled "Live In Kansas City 2004" compilation project, all of the GMWA components (Mass Choir, Youth Mass Choir, Women of Worship, Men of Promise) jam into this thirteen track collection like a bunch of canned sardines. Amazingly, it is the fresh blood that represents the most adventurous portions of the project. "That's Who You Are", penned by newcomer John Bernard, Jr. and performed by the Youth Mass Choir, features a relaxed midtempo groove dipped in a thick, contemporary jazz batter. It's simply done and the song doesn't change its melody. The Men of Promise excels on Bruce Linscomb's vibrant, contemporary "I Was Glad". It' is laid out with infectious funk and layers of high-octane musical energy. "Heaven", written by North Carolina Mass Choir's Christopher L. Gray, is also an eyeball of youthful, energetic fun. Kind of difficult to hear in certain spots because of the loud and unbalance of choral vocals with the musicians, but it is an attractive jam that is sure to grab the attention of East Coast choir gospel. Clark Jospeh's arrangement of "I Need Thee" is well crafted and doesn't forsake much of the traditional hymn's foundations. But with a few tags, a resounding vamp, and preachy exhortations from GMWA chairman Bishop Albert Jamison. The track can be a bit tough to digest with the stack of bass/baritone vocals overwhelming the rest of the background work, but the song is heavy in traditional zeal and matches the passion Cleveland executed in his strongest material. Another traditional heatseeker to look for is Jay Terrell's "He's Able". Yes, it is an arrangement of Clara Ward's classic "Surely God Is Able", but it's a fresh and oddly structured composition and well executed from the Women of Worship.

Oscar Williams' "Safety", which is quite familiar with most gospel lovers after making its share of appearances on projects from Gospel Today's Praise and Worship to the National Convention of Gospel Choirs and Choruses (Chicago) project, returns to the forefront once again with a vengeance. This time, the renowned Chrystal Rucker delivers the pipes on this moving power ballad. The song may be a bit raw in places, but Rucker's vocal work and the Mass Choir's spirited energy creates a wonderful listening experience. This adventure is probably the album's strongest offering.

There are obvious disappointments that linger around this collection. Patrick Bradley's "Going All The Way" is quite disappointing with its very familiar sampling of well-known gospel traditional standards. And the song doesn't even have one single rhyme in sight. Rev. Quincy Fielding, Jr., one of Workshop's hall of famers, delivers "When I See The Blood". With its poetic and soft images, the song has some appeal, but it lacks the strength of Fielding's most remembered compositions. Malcolm Williams' "Wait" is also recycled bait for traditional lovers. It's not as soggy as Mitchell's contribution, but the song does flows like the bulk of workshop's churchy, uptempo quickies. And that's not even the half of it: the album is full of these kind of numbers. "Got What I Needed", strangely composed by VaShawn Mitchell and written in that same tempo, is very undeveloped and becomes very irritating with its overly repetitive phrasing. When the album finally ends with Prince Yelder's "Your Testimony Starts With A Test" (which also features Angela Spivey on lead), you may have had just too much church for one single project. Blame all of this on the album's producer (Carl Wheeler) and other important overseers. To simply define this project: It's just not a well balanced collection. But that's what happens when you combine the best of all four choirs to one project. It almost feels like an American Idol season compilation.

What hurts this album's credibility the most is the fact that it gives too much "church" and not enough balance. Other weaknesses stick out: underworked compositions, not enough strong lead vocalists and too much rawness. Even though Sanchez G. Harley's efforts on the GospoCentric's "The Tampa Experience" may have fooled a good number of people to think that workshop choirs could sound so perfect, "Live In Kansas City 2004" kills that idea. But this collection is not too bad. There are a good number of enjoyable moments at hand and they breathe new life into GMWA's recording future. But, it's so amazing to believe that most of the greater collections from GMWA's past still sound good and believable. Pick up the projects produced by Joe Wilson ("Torchbearers of Excellence: Live In Atlanta" or "Live In Indianapolis") or Savoy Records' "Live In New Orleans (1990)" and you be the judge.