::ALBUM REVIEW::

Nowadays church choirs, with mega-church status, seem to get the same type of attention and exposure that community choirs received back in eighties. With its high support system, super budgets, colossal memberships and just one single love offering, super-sized church choirs are quickly becoming dominant forces and mainstays on the gospel charts. The latest to arrive on the scene is the church choir of the Southwest Community Church of Houston, Texas - supervised by Pastor Gregg Patrick. With 7,000 members on their current roster, the church - affectionately called the Bridge - has blossomed as one of Houston’s vibrant church communities and continues to elevate their relevance to the world with their newest entry into the gospel music field with CrossOver. The album surrounds the musical sacrifices of the 100-voice Bridge Choir and is supported by a healthy assembly of industry key players and musicians including Rick Watford (guitar), Darrell Edgecombe (organ), Trenton Phillips (musical director, keyboards) and Calvin Rodgers (drums). And behind the scenes, the project is mesmerized by the crafty hands of Sanchez Harley and Ay’ron Lewis during the mixing process and Kevin Kelley overseeing the background vocal overdubs.

But there’s more on board: wondrous string arrangements from Lloyd Barry and his anointed Nashville String Machine and a super set of guest appearances from Shawn McLemore, Rhonda McLemore, Ted Winn, Nikki Ross, Nikita Clegg and Rosalyn McDuffie.

After an introduction from Ambassador Bobby Jones, the album kicks off with a buoyant dance sensations on “All Things Are Possible;" penned by Leon Lewis. Gene Moore, Jr., whom has appeared on countless projects from Gary Mayes to James Fortune, delivers his youthful and innocent charm to the charming uptempo track. Immediately following the opening track, “Celebration” dances around a groove from Judith Christie-McAllister’s worship playbook, yet feels relevant to the album. Sanchez Harley’s clean and polished production sound lays out a warm glossiness on the series of ballads immediately following. “I Need More,” with its sweeping string arrangements and near-perfect overdub harmonies, feels a bit like Brooklyn Tabernacle Choir, but still conjures up ideas of Harley’s past creations with the GMWA Women of Worship and Lamar Campbell’s past albums. A major standout from that pack, “Holy” finds Shawn McLemore rendering his fierce, irresistible chops to a sweet, Commissioned-meets-worship arrangement. When the vamp finally enters into the picture, the album runs into one of his finest moments of groovy worship.

The disc shifts in and out from pop worship to familiar gospel attractions, but seem to be sown together with a symmetry that reflects modern gospel records as well as the pulse of the Bridge’s music ministry. Songs like “Lord I Love You,” first heard on Chris & Kyle’s underrated debut, finds the group tackling urban worship techniques - with its repetitive vamp and string of modulations - using pop gloss strings. “Say It,” a Darius Brooks selection and first heard on the latest project from Dr. Charles G. Hayes, gets a refined modern makeover with Nikki Ross’ melisma action and youthful vocals but gains an incredible share of attention on the powerhouse chorus and vamp. It’s definitely a nice mix of old fashioned gospel punch and refreshing contemporary innovations. But the undeniable highlight of CrossOver can be found on V. Michael McKay’s “I Am A Witness.” The nine-minute offering, boasting a moving sermonettte from Pastor Patrick, finds Rhonda McLemore - a skillful songstress in the art of gospel - delivering passionate and soulful pleas perfect for a power ballad like this. The choir escalates up a number of modulations on the touching vamp and later sweeps into a churchy loop that gives the song that special touch.

And while modes of contemporary gospel and mellow worship are plenteous, the fun, traditional numbers pretty much dominant a good chunk of CrossOver including the infectious Darius Brooks composition “Dance” and “Just Like That.” The latter feels like recycled churchy numbers in the past, but burns bright with Alvaneeta Nelson’s commanding ad-libs and passionate belts.

Besides the unexplainable cover art showcasing perturb Photoshop layouts of Pastor Patrick sitting on a chair on the railroad tracks with a lighted candle and a bridge in the background with glimpses of water in mid-air, the album suffices as one of 2008's stand-out for church choir projects. Of course it’s hard to believe that any church choir sounds this good on Sunday morning. But if the album accomplishes anything besides winning ears to such unbelievable harmonies, it does render good voices on top of a good set of songs. Typically, one runs away in fear when seeing projects with a long checklist of special guests, but this album is a major exception to that heartbreaking stigma. And even though Patrick, whom has done a share of deeds for the Houston area and for the gospel community, barely makes his presence known on the album, the Bridge Choir and its long list of songwriters and guest singers make up for the obvious marketing pitfalls. Overall, Crossover is a good and healthy dose of quality gospel music seamed together with neat production and spectacular performances.