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

One of the latter-day creations from the Grayboys camp, New Direction, a 40-member youth group headed by music director Jeral Gray, Sr., became the visual interpretation of progressive contemporary gospel from the Chicago choir scene. While not as referred like many of Chi-town’s successful aggregations, New Direction released a number of recordings with Word Records and GospoCentric before signing with Nashville’s New Haven label. The move ended up being a friendly transition for New Direction since New Haven already touts all of the Grayboy imprints including the Chicago Mass Choir, Joshua’s Troop and Reed’s Temple Choir. Destiny, their debut on New Haven, Destiny, keeps the ball rolling with studio and live recording tracks while keeping the robust, vibrato-raging Chicago gospel choir style at the helm of their disposal.

Of all of the selections on the eleven-track project, “Lord You’re Worthy” is everything one would expect from Percy Gray’s song writer’s pen. It’s a majestic, up-tempo, melodic roller coaster - fired up by ambulant modulations and a fiery finish. Gray’s gruffly vocals, similar to James Cleveland, add a different dimension and color to the contemporary number - like a beautiful marriage of young and seasoned. Surprisingly out of all the presenting writers, the Chicago gospel choir veteran contributes most of the album’s selections. “All of My Help,” layered with fun horn arrangements and John P. Kee funk, is breezy contemporary gospel. “God Is Worthy (To Be Praised),” with a jubilant quartet rock, is Sunday morning primmed and undeniably resembles a very-churchy Chicago Mass Choir performance. Best known for contemporary numbers, New Direction does the old switcheroo by delivering a few more unexpected traditional numbers into the mix. Anthony Tidwell gives light to an old school classic by increasing the horsepower and tempo on “Heaven.” It’s an offering one would expect on the Chicago Mass Choir and Reed’s Temple Choir, but New Direction’s agility helps place their own recognizable trademark on the Pentecostal celebration. Studio cuts are also inserted into the layout, like the serene ballad “Holy” and “Start All Over Again,” possessing a cool swagger usually offered on a Ledisi tune. They help add a justifiable texture to Destiny’s meticulous urban/pop gospel coordinates. But some of the studio cuts deliver a different response of mixed results. The safe, pop balladic efforts on “Mighty Is the Lord” and “Always There,” diluted of big pop song structure, lack a considerable amount of enthusiasm and not enough bait to draw up attention. And the title track, empty of a memorable hook and a fulfilling chorus, is so undeserving of being honored with the top billing.

After a careful study, New Direction’s aspirations to bridge urban gospel with pop-amassed offerings has always been at the forefront of their agenda. They succeeded with their bright and colorful rendition of Amy Grant’s “Lead Me On” on their debut self-titled project. But on Destiny, the pop filler is unquestionably drained of memorable hooks and creative innovation. With more of that on here than on previous efforts, New Direction’s desires of becoming a crossover group leaves about a cloud of disappointment for those seeking a big impressive return to their solid sets of the past. Still, radio should find a resting place on the Percy Gray material. Regardless of which Percy Gray track radio decides to invest the most attention in, it should keep New Direction’s career going in the right direction.