::ALBUM REVIEW::

Now being labeled the Princess of Worship, Maurette Brown-Clark has labored to expose her brand of sophisticated R&B to the world of contemporary gospel; possibly inspired by her own music journey tracing to her work with Richard Smallwood’s Vision, the Wilmington Chester Mass Choir and her contributions in the New York area with artists such as David Bratton, Rev. Timothy Wright and Hezekiah Walker. Still a relatively unknown artist to the gospel community, Brown-Clark’s vocal support with Vision has rewarded her the opportunity to showcase her amazing personality and slick-jazzy vocals on songs including “Angels” and “Oh Lord We Praise You”. And most recently, radio outlets warmed up with her version of the urban praise-and-worship favorite, “I Just Want To Praise You.” Still the Stellar Award winner has yet to find a way to connect with a vast audience beyond the radio, even though her impressive portfolio shows off her strong commitment to her passion for gospel music.

“The Dream”, her very first live recording session that has been postponed for its national release for almost two years, continues in the tradition of her previous projects but mostly focuses on the “recording-meets-church service” concept. But the sixteen-track collection is aptly produced and supported with clean and crisp production from Asaph Ward (Dorinda Clark-Cole, Kim Burrell) and is done using the same value of integrity of a Kevin Bond project. The reason of this amusing comparison also lingers on Ward’s keyboard and synth work. On board, Ward hires a number of exceptional musicians including Sharay Reed (bass), Tim Mole (lead guitar), Marvin McQuitty (drums) and Eddie Brown (piano) to help decorate the songs. Anthony Brown and Answered Prayers provide strong background support for the entire disc.

While the album opens up with an awkward intro from Ira Bell and a lengthy instrumental prelude, the album leaps into its lead single, “One God”. The Darien Dennis tune is an infectious simple worship number that is loaded with perky horn arrangements from Lloyd Barry and a host of modulations. Brown-Clark approaches the song with her trademark exhortations and storytelling ad-libs. When the song launches into its final seconds, the earful of banshee-like vocals from the background vocalists catches listeners off guard. Probably the only disadvantage to the song, “One God” is true to Brown-Clark’s element and will earn a rightful place in her hits’ collection. “Has God Done Anything For You?” carries heavy weight for its 80's hard rock elements and swift lyric phrasing, but is strangely pulled off with success. “I’ll Praise Him” revisits the contemporary choir-friendly music she’s known for revealing on the Wilmington Chester Mass Choir, but with a taste of neo-soul vibes and dazzling chord combinations. Brown-Clark takes a trip down memory lane with a remake of the jubilant “We Worship You” from the New York Restoration Choir catalog. The Donnie McClurkin composition is refreshed with a bouncier and refined rhythm and, this time, a wondrous lead vocal. Revisit the original: it was just a choir track. Now Brown-Clark uses the track as a tool for modern praise-and-worship teams.

The album is loaded with ballads - the opposite of the acclaimed “By His Grace” (2002) project. And it is amazing to insert that the majority of the slower numbers bear a significant amount of intensity and completeness in comparison to the fast-paced jams. “Sovereign God”, penned by Anthony Brown, is a serious standout with its gorgeous and intimate opening and its follow-up chorus that is arranged with a serious melody and is flavored with Answered Prayer’s impeccable vocals. For those hungry for more of this track, Brown-Clark explodes into the following reprise in which zooms in on a repetitive one-liner (“He is sovereign, He Is”) that clocks in for four minutes and goes through three satisfying inversions. Anthony Brown also pens another majestic ballad, “It Ain’t Over”, which feels like a pop/R&B marriage and reveals Brown-Clark’s strongest vocal to date. She glides in unison with the character of the six-minute song and works a worthy performance on the inspiring vamp. “My Heart Has Been Restored”, a new tune penned by popular songwriter Jonathan Nelson, opens up with a peaceful piano accompaniment from Eddie Brown and is majestically written using heartfelt poetry. Brown-Clark’s twin brother, Maurice Brown, renders a moving vocal on Richard Smallwood’s “Lord We Praise Your Name”. The song is conventional Smallwood in its character and choral depth while using the simplicity of “Center Of My Joy”. This should be considered a worthy inclusion on this disc.

Jada Simone Clark, Maurette’s daughter, is following in her mother’s footsteps with her guest appearance on the enjoyable “I Am What God Says I Am”. It even picks up on a few similarities from Thomas Whitfield’s instrumental jazz composition, “Saints In Flight”, on the second half of the song. A big plus for the song: it’s not too big for the young vocalist and it isn’t so simple that it becomes contrite to listeners.

Some songs could have been altered or removed all together. While there is some potential resting in songs like “Magnify Your Name” and “Alright”, the multiple, unpredictable musical changes from interludes and from bridge to vamp make these songs difficult to digest peacefully. “I Have Decided To Follow Jesus”, an arrangement by Brown-Clark, also bears that same musical discomfort. While the background does a superb job in milking the jazzy arrangement, the song opens with a sweet innocence but later enters into dreamy lounge soul mood full of somber notes. The abrupt shift is surprisingly and almost feels as if the marriage of the two moods should likely end with a painful divorce. It would have been encouraging to see Brown-Clark score a few more of her compositions for the project. She has proved on many occasions the value of her songwriting - in particular with the 1998 mega-hit “Breaking Of Day”, “Since He Came” and the over-the-top funky “You Can’t Tell It” for the Wilmington Chester Mass Choir. Nothing that marvelous surfaces from her pen here, but it’s hard not to acknowledge that when you are totally surrounded with moving cuts from Jonathan Nelson, Anthony Brown and the maestro Richard Smallwood.

Overall, “The Dream” is a satisfying collection of tunes and is a wonderful way to enter into the “live recording” world of gospel music. Brown-Clark continues in her tradition of unapologetic contemporary gospel-oriented worship and remains true to what we expect from her. The big ballads rest here and the occasional uptempo jam resurrects and gives the album the balance it needs. Yes, there are more slow songs present and the album does have a few odd numbers, but Brown-Clark excels in her delivery and approaches the songs with heartfelt compassion. Not as remarkable as “By His Grace”, but it is quite fulfilling.