::ALBUM REVIEW::

It has been six long years since the music world welcomed a new project from Richard Smallwood - one of Gospel’s iconic songwriters and artists. But figuratively speaking, the reasons of this exhaustive hiatus isn’t due to any dramatic retirement statements, which happens to be one of the poorest and popular excuses used in the music world today. Smallwood, along with Vision, headed to the popular Hammerstein Ballroom in New York for a star-studded live recording session in August 2005. In the time being, Smallwood proved himself to be an earnest workman when he guest appeared on a number of projects from Kelly Price, Mark S. Hubbard and 7 Sons of Soul. But when word leaked out that Zomba had not renewed his contract with Verity Records, bitter news of a drawn-out postponement started to circulate in the press surrounding the unreleased project. But blue skies appeared and Smallwood’s latest project, “Journey: Live In New York” finally saw the light of day in June 2007.

On board once again in the production chambers sits Steven Ford (Vickie Winans, T.D. Jakes); whom has been faithfully linked to Smallwood’s live recordings since 1996's “Adoration: Live In Atlanta”. And the returning contributions from musical director Bryant Pugh, organ/keyboard wizard Steven Ford, drummer Jeff Davis, legendary guitarist Jonathan Dubose and Mo’ Horns on the brass prove that Smallwood is continuing where he left off.

But Smallwood, unlike his favorable previous releases, encounters a heavy load of difficulties on this double-disc collection. To formulate a dialogue on the weightiest challenges, the album is packaged all wrong. Disc One opens up with a lengthy seven-minute story narrative attached to a few unfamiliar choruses from his childhood memoirs from GMWA legend Al “The Bishop” Hobbs. It almost feels like a musical obituary until you finally hear Smallwood’s lead vocals towards the end of the track; singing a portion of “Come Together”. While Smallwood is known recently for putting epic preludes in the front of his collection, this is one to skip - especially if you are either familiar with Smallwood’s upbringing or not so interested in hearing his accolades on a record. Then there’s the argument of why was this album packaged as a double disc. The first disc only contains six selections in all (excluding the “Praise Break”) - clocking in at a miserable forty-one minutes. The extra space, instead, was awarded towards the inclusion of two special video performances that can only be viewed on a personal computer. And the second disc meets the same fate as the first installment. This time around, the second disc suffers from unforgivable album fillers that include bonus performance tracks and full-length instrumental tracks and a number of reprises. Not to say that “Journey: Live In New York” doesn’t need the extra attention - it just doesn’t need a little bit of everything in today's world of technology stuffed into a music project. All of these additions, along with the drawn-out and unedited ballads, actually creates an atmosphere of weariness and impatience for serious listeners.

Another nosedive that seems to overtake the album’s burden for approval rests in the drawn-out nature of the selections. No wonder there’s only a few selections on each disc. Each song gets six minutes or more attached to it, while the list of album fillers, such as the closing karaoke-resembled performance tracks and unnecessary reprises rise in quantity.

But there are some good and rewarding moments captured here - something we expect from the acclaimed maestro even on a bad day. The album is anchored by a chilling single, “I’ll Trust You”, which rings with the climatic energies of his previous solid ballads such as “Healing” and “Praise Waiteth (My Everything)”. Smallwood’s poetic choice of lyrics and heartfelt ad-libs elevates the song into memorable territory. The title cut, swarming with a feel-good churchy rhythm and an inviting sing-a-long simplicity, features Kim Burrell delivering her Ella Fitzgerald-influenced vocals. Throughout the cut, Burrell’s voice does become gravelly and weary from all of the big whoops and rolls, but she controls the texture and excitement of the entire cut from start to finish. R&B legend Chaka Khan continues to dazzle on her first-ever gospel offering with “Precious Is Your Name”; a song that flows like an uptempo version of 2001's “Oh Lord, We Praise You” with occasional structured throwbacks to “Holy Thou Art God”. Khan showcases the depth of her vocal range and boldly executes the song with sweet confidence while also delighting her fans with a quick sample of her 1983 classic “Ain’t Nobody” from her Rufus days on the vamp. The original Richard Smallwood Singers, known for recording most of Smallwood’s 80's hits, guest stars on a juicy remake of “Holy Holy” full with fanfare and rhythmic zest. The Hawkins Family (Lynette, Walter, Edwin and Tramaine) delivers a good performance on “We’ve Come Too Far”; a song co-written by Walter Hawkins and Smallwood. There’s not much lyrically to expect here, but the opportunity of hearing the talented Hawkins Family together on a new selection after all these years is a treat in itself. The contemporary-flavored “All The Glory” (penned by the late Freddye Jackson), features Smallwood-esque qualities yet opens the door for newer sounds normally detached from Smallwood’s repertoire.

Let it be said that the bulk of “Journey: Live In New York” lingers on big performances highlighted with superstar special guests, rather than placing needed emphasis on hit-oriented material usually associated with Smallwood’s previous albums. Most of the songs fall short from capturing the ingenious creativity and personality of his bigger hits. And for this kind of a project - what seems to be a pictorial or collage of his extraordinary musical career, the music doesn’t paint a definite reflection of his vast catalog and falls shy of fan expectations. Even the choice of remakes are questionable (“He Won’t Leave You”, “Holy Holy”). And the list of guests tend to overwhelm the possibility of hearing any of Vision’s lead vocalists. They do show up taking turns with short-lived ad-lib opportunities on the album’s finale’ (“Journey’s End”), but the damage has already been done and is profusely felt. If you are looking for a clear representation of Smallwood’s finest, search for Verity’s “The Praise & Worship Songs of Richard Smallwood” or the sensational releases of “Healing: Live In Detroit” or “Adoration: Live In Atlanta”. No Richard Smallwood fan, whether novice or vastly experienced, can go wrong there.