::ALBUM REVIEW::

After delivering a mighty return to the AIR Gospel label in 2002 with “Live In New York”, Rev. Timothy Wright once again unravels that same energetic formula on his latest release “Let’s Celebrate (He Is Risen)”. This time around, Wright downsizes the amazing New York Fellowship Mass Choir from 200+ members to 70; giving it a much more suitable sound for the speakers without the aching echo and “workshop choir” sound. This probably hurt the credibility of his last project, but it didn’t do much harm since it obtained a Grammy nomination. But the choir produces harmonic excellence as if they have been singing for years together. Add in a country-like vocal antics (which include the occasional soprano high notes) and a taste of the Chicago vibrato, and you got yourself a winner for gospel choir singing.

On this project, Wright releases some memorable melodies out of his goodie bag of new compositions. Starting things off is the praise-and-worship title cut; which somewhat appears to sound like a reprise to Gary Oliver’s “Celebrate Jesus”. But it’s filled with Wright’s standard ingredients for up-tempo jams and highlights the vamp with high-octane bounce and spunky musicianship from Quennel Gaskin on piano and Donny Wright on drums. In anthem style is the monsterous "King Of Kings", which happens to be the perfect opener for the album. It's penned with Wright's simplistic tastebuds, but with the exceptional help of Robert Stephens co-writing things, this song is spruced with dynamic choral finesse and Wright's directing abilities. It may be a simple tune, but after you hear the modulations and the closing high notes from the choir, you may want to rethink things. Seriously. Put a big star on this track. "He Gave It To Me" is a song aimed in reflecting God's goodness to us and how faithful He has been to us. It's a sweet ballad that possess a worship vibe. It almost has an ol' skool John P. Kee swing, even though it's clearly a Wright tune. When the song falls into soft whisper mode, the song becomes highly emotional. Wright's and J. Michael's ad-libs on this seven minute adventure does wonders. Things get very churchy on his arrangement of the old-time favorite, “99 ½ Won’t Do”. It has the quartet posture and the Dottie Peoples-magic and it fits well with Wright. Pat Gibbs jumps in on the engaging vamp and takes the song to higher heights with her spontaneous ad-libs and storytelling narrations. And Wright even pulls out a touching invitational song, slowing things down some, on “Time Is Winding Up”. He brings an obvious sensitivity to the lyrics and smooths the message of Christ’s urgent call to salvation easily for the listener. But things get highly emotional when Wright takes a turn to take the song into a breakdown period; with the choir providing chopped up, staccato phrasing in call-and-response formation and the band playing behind his lead. Moments like this are too few in gospel these days and it’s wonderful to hear this classic embellishment captured on present album releases. “Draw Me Nearer” is a contemporary jam fest filled with several musical changes and grooving vocal throw-ins from the choir. There’s even a thumping reprise captured right behind the original track; giving the song a necessary long-playing vibe to it. If you loved “Been There, Done That”, this song is perfect for you. Wright also allows moments of worship to enter into this album’s content with “I Feel The Lord In This Place”. Simple yet revolting, the song moves from light piano simmers to full band, but the journey of it all is pure adoration. Lorraine Stancil, mostly known for her solo work on projects from Hezekiah Walker, brings her glorious vocals to the forefront on this moving ballad and even screams out her masterful squalls throughout the song’s serious moments.

While the album inserts several unforgettable new tracks into the minds of gospel enthusiasts, Wright also revisits the “old landmark” and breaths new life into one of Wright’s forgotten triumphs. “I Made It Over” was released in the mid-80s on the GosPearl music label, co-owned by AIR Gospel, and the original still sounds good today. On this round, Wright adds powerful percussion, an updated rhythmic groove and a full crew of anointed musicians including Dwayne Wright (one of Timothy’s sons) on bass and Robert Stephens and David Wright on the keys to the slate. Then add upcoming songster, Earl Jones, Jr., and the vibrant Sybil Finney to the microphone, and you are sure to reflect on the good-old times while appreciating the newness brought to this track Who can forget when the sopranos jumps into the vamp with “thank - - - you” and the altos and tenors following behind. Well, that irresistible charm is still there.

And the praise break, closing out this musical stew, will surely baffle charismatic musicians for a good while; capturing a taste of Southern traditional spice, New Orleans old-fashioned jazz and even gothic sensations almost reminiscent of James Hall. The churning mix is highly different and after hearing Robert Stephens' keyboard riffs, drum licks and the bass walk-a-thons, you are sure to jump with excitement. In fact, I have not heard quick, clean piano licks and runs like that of Quennel Gaskin; which not only makes this cut, but the others as well, memorable. Wright assembles a band full of spice and witty freshness.

Let it be said that this is a follow-up to “Live In New York”, but the differences are poignant and visible. The catch is correcting the minor mistakes of the last offering and they are successful in doing that. Only things missing, that many are sure to point out, is the long A-list of gospel artists is no longer transparent. Smaller, yet effective choral attributes highlight the N.Y. Fellowship Mass Choir and take away all of those songwriters, which included Melvin Crispell, David Frazier, James Hall and Joeworn Martin from the last musical journey: this is what you have. But Wright amazingly proves that he is still a lasting force in the gospel music industry. He can still write a contagious melody wrapped with impacting lyrics and his voice is still as appealing as it was ten years ago. Wright has not lost his edge and we are greatly proud to hear that; proving he is truly the Godfather of Gospel.