::ALBUM REVIEW::

Bishop T.D. Jakes continues to rattle the music world with songs of Zion and spirited offerings from his Dexterity Sounds music label - one that is sponsored and anchored by the Potter’s House in Dallas, TX. While his albums have appeared on a number of music labels including Island Black Music, Integrity and EMI in the past, Jakes develops a marketing partnership with Warner’s Rhino subsidiary (a popular entity known for reissues, greatest hits compilations and TV specials) and uses this anchor to thrust his latest chapter in his music catalog to the masses. On “Grace: The Kenya Experience”, Jakes once again relinquishes the powerhouse aggregation of the Potter’s House Mass Choir to the recording forefront and is fronted by impeccable worship leaders and lead vocalists. But the biggest obstacle that seems to be the hardest to overlook is the album’s subtitle. Throughout the linear notes, there is no archived data stating where exactly this live recording took place at. From the music alone, you feel this is an authentic live project - even though it seems too perfect in places. Most of the music instrumentation took place in the studio (C4 Studio in Charlotte, Eclectic Studio in Nashville), according to the linear notes, but the mystery is solved within the exhortations provided by Myron Williams on “King of Kings”. “I know we’re not in Africa, but we’re at the Potter’s House”, he proclaims with exuberant strength. Unfortunately, this puts a big damper on the disc’s authenticity. Don’t let the album photography fool you. There probably was a concert in Kenya, but you are not hearing that product on this project.

Besides that hurdle, “Grace: The Kenya Experience” finds Cedric Thompson (Donald Lawrence, Twinkie Clark, Micah Stampley) sitting in the production chair. While Kevin Bond may be most familiar to Jakes’ listeners for his support in the past, Thompson delivers that same energy and quality to disc with crafty keyboard work and an onslaught of zesty musicians featuring Maurice Fitzgerald on bass, Rick Watford on guitar, the explosive Calvin Rodgers on drums and Lloyd Barry delivering his renowned expertise of horn and string arrangements.

Most of the songs here are covers. Not bad covers, but they can be quite irritating for those expecting to hear something fresh and original. But with a veteran in production like Thompson on board, there’s going to be some serious heat and high octane energy felt - even on the remakes. He breaths fresh oxygen into Luther “Mano” Hanes’ “Celebrate”; a serious sleeper first heard on Marcus Cole’s “Write My Song” project. While the song bears a significant familiarity towards Israel Houghton’s brand of funk worship (“Again I Say Rejoice”, “You Are Good”), the song is greatly spiced up with the choir’s fuller sound in comparison to the original and Deonis Cook’s smart and suave combinations of worship leading and singing. Rick Robinson’s “Sound of Praise”, first recorded by Bishop Larry Trotter, is a graceful song indeed from beginning to end and is warmly decorated with rich harmonies and impressive vocals from Potter’s House music leader Steve Lawrence. While many may have failed to pick up Trotter’s version, Jakes introduces the worship beauty to a new and larger audience. What may shock most listeners is the discovery of Lawrence’s improving vocal skills - full of tantalizing melismas and jazzy influences. "Grace", the album's title cut, is a flashback to the L.A. Mass Choir’s 1988 album “Give Him The Glory!” and is practically left unchanged. Only serious changes: Jakes’ narrates across the song’s performance, the tempo is quickened a bit and much more rhythm is invoked from Rogers. The ultra-funky “Praise Is My Weapon”, penned by Jonathan Nelson, has been revived already this year on the Gospel Heritage’s Praise & Worship release and was first heard, in its finest state to date, on Mark S. Hubbard’s “Blessin’ Waiting On Me”. Brenda Whitfield-Ellis, known for anchoring some of Jakes’ biggest numbers, provides the lead vocals here and rides a big funky arrangement juiced with big horns, synth work and overwhelming drum work. Most may recall the song’s groove bearing a strong resemblance to Nelson’s big hit, “Healed”, but the irresistible juicy funk feels more galactic and is surprisingly satisfying.

Of the new tunes, “He Does All Things Well”, written by Guy Robinson, leaves a minimal impression in the pack as Candy West (Myron Butler, DeWayne Woods) lends her potent chops to the uptempo choir rocker. While the chorus sounds too much like a previous Potter’s House favorite (“It’s Already Done”), the song exposes West’s strengths and provides solid proof of greater rewards for her future in the future. “You Alone” finds the Potter’s House Mass Choir singing along on a serene and tranquil worship ballad and is graced with warm strings from Lloyd Barry’s professional crew. After a number of unison-sung verses and a series of modulations, the song shifts into a rainbow of a bridge and ascends to a climatic enjoyment. Myron Williams contributes two new tunes to the album - one being more flamboyant and ultra-busy in dynamics (“King Of Kings”) and the other drifting towards intimate worship (“I Was Made To Worship You”).

In certain places on the disc, the choir shifts their English language into the Swahili tongue; providing some connection to the Mother Land. Too bad the album wasn’t actually recorded in Kenya, the album may have felt more like a keepsake then. But there’s great performances here, aside from the truth behind the actual recording site. Thompson does a grand job in production and provides a worthy follow-up to their GRAMMY-winning “A Wing And A Prayer” (2004). It’s not as original and memorable in content (due to the colossal load of remakes and easy comparisons to other well-known hits), but it’s a fine work of art for such a good sounding group of singers.