::ALBUM REVIEW::

Sometimes taking a little hiatus isn’t such a bad thing. Gives you time to think, process, organize and plan for the ultimate comeback. Chaka Khan, Stevie Wonder and Anita Baker did it after extreme lengthy breaks in between their last albums and came back with a sultry vengeance. After being off the radar for awhile, skeptics nowadays find it hard for artists to bounce back into the spotlight without any sign of weariness. For James Hall and his musical aggregation, Worship and Praise, their struggle in staying before the eyes of the public remains one that is relatable for independent artists. Ever since Hall was released from his contract from the troubled Intersound/CGI in 1999, he has been putting out well-received albums like 2001's We Are At War independently through small music distribution groups and popcorn music labels. Even with the initial start of his own music label, Music Blend, the next chapters containing Hall’s future projects remained dismal and felt uncertain - especially with years of silence and press releases promising live recordings and their releases. Part of the blame also surrounds Hall’s refusal to shed away his tough, gothic style of composing and arranging - which pretty much explains the reason of his failure to reach the upper bracket of the gospel charts. Hall’s music isn’t something you easily digest - it takes long chews, nibbles and slow consumption to really see the inner beauty of Hall’s extreme combinations of Brooklyn-related gospel and exaggerated techniques from the Baroque style of classical music. But he has earned a following over the years and yet remain faithful to his new approaches on gospel choir music. Having said that: ever since the drop of 2006's overdue and satisfying No Joy, No Strength from the small label’s first signed artist The Voices of Citadel, things appeared to be on the up and up for Hall’s eclectic ensemble. Now another long overdue project emerges from the Music Blend workshop - Live at Foxwoods.

Hall, whom produces all of the live tracks, once again gathers former personnel including WAP’s longtime musical director and renowned songwriter/organist Melvin Crispell, extraordinary keyboardist John Peters, bassist Reggie Young, drummer Eddie Heyward and also brings aboard the talented and highly-sought out Mo’ Horns. Veteran narrator Dr. Kevin Bond (not the producer/songwriter) continues in his tradition to set up the tracks with a comforting Word from the Lord.

If you are familiar with Hall’s sophisticated style, you will easily enjoy Hall’s menage’ a trois of Broadway, traditional gospel and New Orleans jazz on “Deep Down In My Heart.” All three styles work together and brilliantly expose a joyful energy from Hall’s engaging vocal performance. Even though his jazzy vocal background gets the best of him, there are places where Hall gets scratchy and overbearing. But apparently all of the pieces are there for a remarkable hit. Then there’s “Perfect Peace”; a funk-infused performance set off by Nathaniel Townsley’s pounding drum work and deep dark tones from WAP’s harmonies. But it is the brilliant churchy firecracker, “Nothing Shall Separate Me”, that takes the show. With lead support from guest Nikki Ross - whom feels just right for the up-tempo traditional number Because of the quick tempo and the choir’s dominant position, the song doesn’t leave her too much room to showboat her vocal aerobic antics. She still works her pipes, but the Butch Heyward cut allows highlights from almost every musical element heard. Quick piano runs, gutsy organ chords, sweeping drum taps and WAP’s robust vocals are all present and makes the cut one of the album’s biggest advantages.

Then there’s the songs that tread on familiar ground but are enriched with rounds of light falsetto head tones and chord twists. “He’ll Do Just What He Said”, is a spunky contemporary number that incorporates breezy synth instrumentation and an effective vamp that goes through a sufficient number of modulations. Lead vocalists Dawn Tallman and Satonya Cody jump in towards the end and help make the transition from cool contemporary to a slight turn to gospel-funk with a harder drive and bumpier rhythm. “You Are Not Alone” is suffice in its balladic flashback style of Hall’s previous slow burners like “Wonderful” and "Perfect Security.” Carolyn Johnson-White’s convincing, soulful vocals top the eight minute wonder and soars through bundles of hair-raising soprano riffs. And while the song feels drawn out with its different mood swings and some lyrical repetitiveness, it is one of the stronger ballads assembled. Melvin Crispell, whom only contributes one song causing much disbelief, avoids the highly-expected, big contemporary choir rockers like “Caught Up and “What He’s Done For Me.” This time around, he submits a radiant, easy-flowing “Lord Help Me To Follow”; transcribed with abundant lyrical punch, harmonic skill and zesty diction.

And then there’s the not so favorable moments like the Mary Poppins-sounding opener of John Peters’ “For The Lord Is Good”, the unpredictable fearful nature of the gothic anthem “Great Is The Mystery of Godliness” and the weak volume of harmonies from WAP on the entrance of “He’ll Make Things Better.” The selected lead single, “That Shall He Reap,” features Parliament-dosed funk and will have your head bobbing up to the bridge. The song then goes into an unexpected drive that uses the leftover styling of Hall’s “God Is In Control” with its familiar break-up of three harmonic phrases. The song isn’t a total loss or totally unfavorable, but it isn’t a friendly visitor for AM-gospel radio. Then take into consideration the lack of overdub usage and the obvious dark nature of the album without big fun contemporary jams from Crispell’s department - something that makes up for bad times on previous Hall collections. But believe it or not, the biggest problem about Live at Foxwoods is the unbelievable marketing ploy to push more units with the gimmicky double disc format. It’s so obvious to discover the intention when both discs, containing a total of seventeen tracks, could have easily been integrated together on one single disc. And when you remove the song introductions, reprises and the bonus track, the total rounds out to fourteen cuts in all. Take into consideration that each disc approximately clocks around forty minutes. With a little altering and careful edits, the album would have been more user-friendly and would appear to be sensible.

Still, Hall’s return of the avant-garde WAP is met with light opposition from serious supporters. Everything you expect from his style, personality and sound is visibly apparent here. There might be a little too much to digest for one time and it’s probably obvious that Hall isn’t changing his format anytime soon for any other interest group. You either like his style or you don’t. But even supporters will agree that double-disc sets should only be used, if deemed necessary. And like Richard Smallwood’s double-disc “Journey”, this album is met with the same kind of resistance. This decision alone hurts the very nature of Live at Foxwoods. Take away the scary cuts, eliminate the album fillers, remove any raw-like, poor production decisions and merge what’s left together: Live at Foxwoods would have been comparable to any of Hall’s highly-merited albums. Instead it’s pretty much two discs with scattered out favorable cuts glossed over with fancy artwork and graphic design.