::ALBUM REVIEW::
by J Matthew Cobb
Posted: August 19, 2009

Underneath the shadows of the music careers of Hezekiah Walker and James Hall are the enriching contributions from one of New York’s brilliant Einstein musicians. If you don’t know his name, you most certainly know his work. Melvin Crispell, the musical director that has contributed his organ mastery for the likes of Tye Tribbett, Sharon Riley and Hezekiah Walker, is more than just a beloved session player; his Midas touch song writing has giving him a mesmeric glow that chronicles the rich Brooklyn traditions and the institutional progressive chord layouts of contemporary stalwarts like Walter Hawkins and Thomas Whitfield. Songs like “Jesus Is My Help,” “I’ll Be Satisfied (Anyway You Bless Me),” “He Took My Place” and “Wonderful Is Your Name” have become something like holy mantras in contemporary gospel choir repertoires. Now with the commission from Brooklyn’s IMOK Gospel Music, Melvin Crispell steps away from the backdrop to carefully reposition him as an artist on his debut He’s Able. With his 50-member choral ensemble, Testimony, Crispell assembles a set of songs that conjures the best of his most memorable selections and a few surprise newbies. It’s a half & half thing that works in Crispell’s favor.

Proving that Crispell’s pen continues to leak the ink spots of hit potential, “Real” shines with bubbling bass, a rocking chorus and a stellar horn arrangements from the Mo’ Horns crew. Even with his dreamy jazz openings, it has all of the key ingredients of a potent radio classic. A few things careful listeners may quibble about will be the finished mix being a bit over-polished and the in-and-out echoes from the choir's harmonies. Still, “For Me” is perfect; sizzling with all of the attitude of a Hezekiah Walker vibe ride. Tunesha Crispell, usually found singing contemporary jazz-influenced ballads, coasts on the earlier grooves and later drills heartfelt, reflective ad-libs into the storyline. Her contributions are so convincing that she is rewarded with a four-minute reprise, propped with glimpses of her personal triumphs and a highly-visual illustration of Christ’s suffering on the cross, that barely leaves a dry eye. The churchy, fast-paced sounds of the title track are a splendid marriage of Institutional Radio Choir and Rudolph Stanfield’s “Praise His Name.” Fierce handclap action and the amazing drum work from Eddie Heyward prepare the way on this sanctified feast of gospel glory. “He Never Failed Me Yet,” bubbling with Crispell’s well-positioned organ whirls and Conway Gittens’ off-color James Hall-ish lead vocals, possess a few highlights, even though microphone problems and a few spotty mixing problems tend to surface.

Quite naturally, Crispell’s followers might not dig to well with the rendition playlist, but it’s a much-needed sentiment for those unfamiliar with his gigantic songbook. After all of these years, the renditions still hum with momentum, best represented on “Never Shall Forget” and on the fiery reworking, punctuated with shouting ad-libs from label mate Jason Hendrickson, on “Jesus Is My Help.” Obscure offerings from the James Hall catalog are dusted off and blissfully executed such as the ten-minute gospel ballad “Help Me to Follow” (featuring a timely sermonette from Pastor Brian A. Moore) and “Nobody Like Him.” Some of the remakes, while still executed fairly well, fail to capture the colossal spark of the originals (“Caught Up,” “Let the Redeemed”).

For what it’s worth, He’s Able provides a safe portal into Crispell’s growing legacy while also building up an appetite for more meatier substance. For Crispell’s devoted audience, it’s far from feeling complete since it bears some kind of a “greatest hits live” hysteria. Still, He’s Able leaves behind an accurate checklist of providing a short, but effective overview of his chronology while also adding a good dose of new material to his resume’. It’s those ear-candy additions that actually make the album very hard to pass up.