::ALBUM REVIEW::

It’s hard to deny the unescapable multi cultural diversity of our Canadian neighbors with their remarkable French, English and British connections. The power of that relevance explains why Toronto, the country’s largest city, has been a popular destination for some of Gospel’s greatest icons including Hezekiah Walker, James Hall and most recently, Ricky Dillard. Add to that list the number of Canadian artists that have Toronto connections such as Sharon Riley, Sean Simmonds, Londa Larmond and the Toronto Mass Choir. Toronto is becoming a vibrant key player in the gospel field and that rich tradition continues with the release of the University of Toronto Gospel Choir’s debut musical offering, Send Me. Leading the project’s path is music director and album producer Lisa Toussaint along with ample musical support from Corey Butler (keyboards), Leroy Fraser (drums) and a host of key players. Pretty much nothing on this project feels amateurish, but what you get is a harmonic sound that is easily compared to the massive blending of the Brooklyn Tabernacle Choir or church choirs like Lakewood Church - but with even more gospel affection layered on their choral deliveries.

Opening the project, after a moving live recording introduction and a short instrumental prelude, is the praise-and-worship, congregational-friendly “Great Are You Lord.” Penned by Trent Cory, whom contributes a number of musical offerings to the collection, takes the safe and conventional road here in centering the groove lines around Israel Houghton’s “Highly Exalted.” While highly energetic and serving as a good album opener, “Great Are You Lord” uses an obvious template from Israel’s handbook, but Cory’s skill is highly showcased on the heartfelt “Just For Being Who You Are.” With passionate leads handled by Alvina August and Chris Lowe along with sweet Kevin Bond-ish keyboard patches in place, the song is probably the most serious of the albums’ big ballads. Amazingly, there’s much to dig into for worship music lovers - like “He Is Here” and the Vashawn Mitchell-penned “Lost In His Presence.” Both songs are played back-to-back and comes across to listeners as one lengthy worship medley, especially with the added-in sensitivity of the warm, soft harmonies of the choir and gentle keyboard layers. The latter is quite impressive due to the wisely-inserted string arrangement from Glenn Bennett. Stephen Lewis’ “I Surrender,” resembling textures from Lamar Campbell’s ballad style, is graciously sung in a sweet poetic fashion - using visual verses and a heartfelt chorus - and contains a balanced amount of textured crosses of pop and contemporary gospel.

The album’s title cut, “Send Me,” rocks with an energy of a Joe Pace-styled contemporary jam and is probably the album’s major highlight. With thumping bass, blazing horns, a kicking rhythm and a striking melody, the song resembles everything one could imagine for a collegiate gospel choir. And just as impressive to the track is lead vocalist Chris Lowe’s contributions as he launches, with just a few moments of strain, into big vocal leaps and earnest ad-libs. While the song’s introduction of soft percussion bumps could have been replaced, the song still shines as the perfect addition to the mostly ballad heavy album. “God Is Watching,” a bonus track that borders the title track, finds contemporary lyrics soaked in an subtle urban arrangement and even gets an unexpected jolt of Edwin Hawkins’ classic of “God Will Take Care Of You” on the bridge.

But even with all of the deep moments of worship music and a few glimpses into familiar gospel choir territory, the choir is bold to take a chance at studio-designed pop. Mark Masri produces and leads the delicately-sounding “You’re Holy,” using intimate strokes of CCM and merges it with a big harmonic ending from the choir. It works for the most part and doesn’t disrupt the flow of the album; blending in with the mostly worship-related material.

Of the toughest criticisms present would be the strange mix of the background vocals on “Oh Magnify The Lord” (offering an awkward echo-like sound) and the lackluster of dominant gospel-styled material. With much of the album placing a good grip around the overtly popular style of worship music, it would have been a better balanced event if more gospel-influenced material made its way into the listing. But for this to be their first gospel offering and coming from a region exploding with multi cultural and multi ethnic roots, it’s gotta be tough to try to please the majority. Still the project, if marketed right and using Brooklyn Tabernacle Choir’s GRAMMY-winning strategies, is boiling towards success. And with likable melodies, strong lead singers and an excellent grade of production on board, Lisa Toussaint and her group are certain to leave a very good impression on gospel lovers within the States and abroad.