::ALBUM REVIEW::

A revival of mighty proportions is raising from some of the most peculiar places in the gospel music world. The sanctified sounds of gospel-church music, filled with the swing rhythms of jazz and attitude of progressive funk, has been a forgotten artform during the last couple of years. The popularity of praise-and-worship and contemporary hip-hop beats have pretty much taken over the surface of gospel artists. And the ones whom started out on the playground of soulful gospel have crossed over into the sounds of the crossover. But with the revival, previously mentioned, resurrecting from the background to our attention from artists like Bishop Larry Trotter, Youthful Praise, Patrick Riddick & D'vyne Worship and a slew of others, we are bound to see unparalleled transitions take place.

One of the newest contributors to the cause is the church choir of the Citadel of Praise and Worship, based in Brooklyn, New York. Pastored by Kevin Bond, spiritual advisor to James Hall's Worship and Praise, the church choir is in raw form with a vocal texture fit for an organic set for any Chicago community choir. Most of these results are the sounding creations of its leader, James Hall, whom is far from being a stranger to gospel music. Their debut project, "No Joy, No Strength", picks up where quintessential music troupes like Institutional COGIC, the Benny Cummings Singers, King's Temple Choir and the Love Fellowship Crusade Choir left off, and delivers heavy hitters packed with momentum and infectious musical tricks. And with a star-studded set of musicians on board such as organist Melvin Crispell, bassist Reggie Parker, keyboardist John Peters and DeWayne Wright doing a careful job on bass overdubs, this ten-track collection is set for take off.

The meaty portions are the uptempo, sanctified funkier cuts. Things open up with Anne Bonne Browne's "Since I Laid My Burdens Down", kicking in the infectious phrasing of the classic traditional tune of "Glory, Glory Hallelujah" upon a fast-paced tempo. The title cut uses the framework of this cut, but with a much more expedient pace and heavier bass work. Penned by Crispell, the song is a promising adventure showing off the world of creativity that he is known for. When the vamp finally kicks in, the choir leaps into cries of excitement as they shout out "Sing for it, leap for it, clap for it..." and the wild bass line and organ coordinations are divine signs of Holy-dance heaven. Butch Heyward's "You Get The Glory" also stands out with its flair of traditional choir punch. Deborah Pritchard-Stevenson excels with delivering raw, gospel-ized singing on top of the Voices of Citadel's spunky background vocals. Hall also contributes a fast one to the mix with "The Lord Is Right There". Lyrically, it's an inspiring tune and works well with witty combinations and the staccato punches in the right places. Adding a segment of three different phrases for all three harmonic parts and later merging together to close the song out with one spirited summit, the song is brilliantly pulled off and excels with churchy fire. "That's What He's Done", another Crispell tune, feels like a reprise to "What He's Done For Me" (originally heard on the James Hall & WAP "God Is In Control" album). From the rhythmic set-up to the closing modulations, this song doesn't possess the same punch as the others. It has temporary satisfaction, but a few listens sends this one back into the corner due to its very-familiar song structure. Kevin Bond sings lead on this cut; delivering the same charismatic energy he brought on James Hall projects. All of these song stylings feel like ghosts of the past; becoming zealous carbon-copies of the smoky, Sunday-morning tracks from their musical mentors.

While the bulk of the cuts are adrenaline rushes of finger-lickin' church songs, things slow down a few meters in certain places. "Nothing But The Blood", another Heyward soon-to-be-classic, is funky, at best, and features dangerous bass work resembling the surging bumps of Bootsy Collins and the creative spice of the late Thomas Whitfield. It's a successful, mid-tempo semi-arrangement of the classic hymn and is sure to win a few extra spins in the CD changer. Demetrius Griffith, known for writing for Rev. Timothy Wright on several recent projects, contributes "Wait On The Lord"; set in a smooth, elegant classical posture. The song is magnificently structured and is well received with its calming melody and anthem-like animation. You almost feel James Hall was the inspiration for this cut, since it bears the same majestic elements he is best known for. "I Will Dwell In The House Of The Lord", an underground favorite written by former Youthful Praise director Shawn Brown, emerges to this collection and receives its just share of accolades. Hall doesn't contribute much music to the church choir's collection, but does reveal a second track, "I Need Thee"; in which he showcases his bluesy-jazzy, high-pitched vocals on lead vocals. But it is his last track, "What's Coming Is Better", that reveals Hall's genius of merging classical inspirations with a jazzy R&B groove. It's not one of Hall's brightest moments since the cut is quite short and only features one singable chorus, but it is a precursor for what's to come in his career. Pastor Kevin Bond speaks over the music in narrative form; telling a brief description of the Citadel's elevation to this current point and encourages its audience at the same time for brighter days ahead.

While the Voices of Citadel bring the energy and the similar sounds we have grown to cherish from New York ensembles, this project doesn't contain the balance of Hall's previous works. What is true is this: "No Joy, No Strength" does take a while to grow on ears; a common experience for Hall's projects. But the project does achieve a goal of superiority, and that is found in helping to return to projects that presents the African-American church experience in its rawest and heftiest form. Mainstream gospel contains filler-busters that places vague overdubs and unrealistic production over the real live experience, while independents attempt to stay true to what actually happens. The Voices of Citadel provides the right elements for progressive traditional music, even though the musical arrangements may be too charismatic for some. Of course, there are just too many fast uptempo cuts, bearing the same feel, on this collection and there's not enough ballads or slow tunes, but the Voices of Citadel stays true to their mission and deliver quality, lovable gospel standards worthy enough to revive the hearts of serious gospel enthusiasts. Even if it did take over two years to release this one. This is yet another gem in James Hall's crown. Hall fans: Count this one all joy.