Joy & Jubilation
Rev Stef & The Joy of Music
Smarter Than Its Audience PLAY JUBILATION SAMPLER
The ambitious project crosses a wide range of Gospel styles,
from progressive urban (the title track Launch Out, the sensual
Got To Live Holy), to traditional styles (God’s Got It, the
exquisite I’ll Trade A Lifetime), to Old School (I Thank You
Lord), to anthems (In My Father’s House, the luminous
A Mighty
Fortress Is Our God). It is an exuberant and eclectic mix of
dynamic styles which, as the group’s name suggests,
energetically and joyfully proclaim the majesty of Jesus Christ.
The Launch Out Project, the third release from Jubilation,
compiles a mix of studio and live recordings by a large,
multi-ethnic and multi-cultural group from central New Jersey.
Their sincerity, joy and exuberance fairly burst from every cut,
backed by the core rhythm section of keyboardist Loren Dawson,
bassist Kevin Parker, and drummer Sherrod Williams. Teddy
Riley/Guy alumnus Bernard Belle lends bass support on a few
tracks and co-produces Launch Out with Minatee. Veteran Maalaco
sessions man and master pianist James Perry appears on a couple
of tracks, as do top-rated Gospel guitarist Jonathan Dubose and
New York-area Gospel sessions drummer Jeff Davis, among many
other A-List Gospel musicians playing on the project.
Standouts are as you like them. The offering here is so varied
that zooming in on specific cuts tends to do a disservice to the
work, and your mileage may vary. From my chair, I so enjoyed the
bluesy trombone and lazy summer stroll of I'm Determined… the
song would top my list. The laudable precision of anthems A
Mighty Fortress Is Our God and James Cleveland’s masterpiece In
My Father’s House likely impressed me the most. The more
contemporary fare, such as the title track, work well but suffer
the problems most contemporary music have in that they get
weighted down in date-specific music styles that evolve swiftly
or fall out of favor to the point where you really can’t record
them fast enough.
I’d really have liked to have heard James Perry play some piano
(they have him laying down string and horn parts), but Loren
Dawson’s wonderfully nuanced keyboard work delights completely,
as does the more subtle approach of pianist Alan R. Cherry.
Kevin Parker's liquid bass lines wind and loop around Nancey
Jackson (now-Johnson)'s plaintiff call-and-response with
Jubilation on Got To Live Holy. Bernard Belle battles beast
drummer Tony Royster with live and Moog bass (likely by way of
Motif) while SuSu Bobian’s Kim Burrell né Tata Vega alto soars
above both on Launch Out.
Lead Me To The Rock, The Launch Out Project’s initial release,
is likely the most commercial and immediately accessible cut
here. I like it very much, but I think the track is a bit
misleading in that people might expect an entire album of Dannibelle Hall-Vanessa Bell Armstrong-Anybody Else Named “Bell”
—style music, which The Launch Out Project is not. I also didn’t
care much for the fade—just when I'm getting my praise on, they
drop in the canned applause and fade out the track. This may
have been done for commercial radio, but I’d rather they’d have
included a radio edit somewhere and let this one work as long as
it wanted. Nancey Jackson-Johnson shines with a confident,
bombastic alto lead.
The only real complaint I might have is that this work might
soar above the heads of most people the record is intended to
minister to. Most people have a fairly narrow musical palette,
to the extent that people may start skipping around the disc
pursuing one style of music to the exclusion of others. I’d also
have preferred the disc be mastered hotter. It’s mastered like a
Blue Note jazz record, which is to say, mastered for grown-ups,
with a natural dynamic range and warmth. Records these days are
very cold. They are compressed wafer-thin, the music smashed to
nothing, the bass turned WAY up and the levels pushed into
brittle territory so the CD plays very loud and booming in a car
stereo or on an iPod. The Launch Out Project is actually
mastered the way records should be mastered, but, again, Us Folk
may not have a lot of appreciation for that and may suspect
there’s something wrong as it won’t sound anything at all like a
J. Moss record.
We were fortunate to spend a few moments with Reverend Minatee,
in the interview following below.
Christopher J. Priest
26 October 2008
editor@praisenet.org
TOP OF PAGE
A Few Minutes Of Jubilation
Priest: Music store racks are jammed full of choirs. They all
sound like Hez, or like Mississippi Mass Featuring Hez, which, I
guess, is a tribute to the impact Hezekiah Walker has had on the
industry. But, I would imagine, carving out a unique sound for a
Gospel choir is a real challenge.
Rev. Stef: I am a stickler for preserving the history of this
genre. It is tragic that most gospel music artists and those who
love gospel music have no idea where this music came from. Aside
from Thomas Dorsey, and maybe James Cleveland, the knowledge and
history is null and void. I grew up listening to Gospel Music
Pioneers. I had opportunity to be in the midst of them,
including Rev. Lawrence Roberts, James Cleveland, the Caravans,
Rosie Wallace, Billy Preston, Mattie Moss Clark, and others too
numerous to name. I wanted young people and some older people to
know and understand whose shoulders we stand on. The ministry of
Jubilation is a great opportunity to celebrate all of these
influences. You will hear this in our music, and certainly on
this project.
Priest: Does Jubilation, in fact, have a “sound”? The record
seems to deliberately avoid convenient classification.
Rev. Stef: I didn’t plan to avoid classification, I just wanted
to pay tribute to several influences. Hymns, anthems, and
spiritual songs are a part of our history. There would be no
Gospel Music without the evolution of these genres. The message
of Gospel Music (traditional and contemporary) always gives us a
lift that will last. I’m not sure if Jubilation has a particular
“sound.” I do know the vocal sound of the choir is rich and
lush. Because of the project’s diversity, the listener can make
up their mind.
Priest: A lot of Gospel acts define their work as a ministry,
but, in practice, they are artists. The industry itself seems to
teeter between claims of being a ministry and the realities of
running a business, and the entire “star system” of Gospel
“stars” seems at odds with the personal example of Jesus Christ.
How does Jubilation find its way in this often specious hybrid
of industry and ministry?
Rev. Stef: Jubilation is MINISTRY. Our motto is, “Gospel music
should never be used to entertain, but to enlighten. It’s good
news for bad times.” I’ve learned that people NEED ministry to
make it from day to day. Unfortunately, Gospel music has become
a business and it is sometimes difficult to keep things in their
proper perspective. This is disheartening, because it was never
created for this purpose. But I’ve learned if we do not
compromise in ministry, and use our gifts to lift Jesus, God
will take care of everything else. It’s ALWAYS ministry first.
Priest: As I’ve often said, if the Gospel music industry was
really serious about selling records, they’d go out and make
more Christians. It seems, from my distance from it, to be a
no-brainer. It’s supply and demand. But either I am unaware of
industry support for evangelism, or there isn’t much, if any,
industry support for evangelism, which suggests this is a
business that is mainly about selling records to Christians.
We have a good sense of Jubilation’s music. Can you talk a
little about Jubilation’s ministry?
Rev. Stef: Jubilation consists of 100 plus members hailing from
28 cities in New Jersey. We also have members in Baltimore MD,
and New York City. From its inception in 1998 we knew the hand
of GOD was upon us. We were formed initially at the New Jersey
Performing Arts Center only to sing one concert with Shirley
Caesar. Once we got together, the power of GOD fell upon us.
Yokes were broken within the choir, and certainly the people who
witnessed the ministry knew it was not just a “one time thing.”
Since then, every opportunity to minister has been remarkable.
The members consider themselves ambassadors for Christ, using
every opportunity to share the “good news.”
Priest: As a musician, I’ve found this formula to be almost
universally true: you either have people who are very serious
about music, but whose testimony is toe-up, or you have
“super-church,” much-holier-than-you, saved folk who can’t sing
or play. It’s been the extremely rare occasion that I’ve met
committed Christians who take music seriously, or, for that
matter, serious musicians who take their Christian walk
seriously.
How much of a challenge is that for Jubilation?
Rev. Stef: With 100 plus people, I encounter several egos and
opinions, sometimes on a consistent basis. Many have asked me
how do I keep everyone working together. I can truly say GOD has
blessed me to have membership that understands leadership. GOD
has ordained them to follow where HE leads me. I have made many
mistakes, but I have learned from each mistake. I have also been
blessed with loving people of GOD who understand this, and pray
for me mightily. This is truly the Lord’s FAVOR. I am humbled by
the opportunity to lead such a wonderful group. I realize this
great blessing!
Priest: Rev. Stef is such an anointed and gifted songwriter,
and yet the choir chose to cover previously released songs in
new arrangements. It’s a good mix between old and new, but I am
a little curious about process: why not do all-new material,
especially with such a gifted scribe among you?
Rev. Stef: I am laughing because the same comments come from my
choir members. The truth is, I love arrangements, sometimes too
much. I’ll hear a song and immediately want to arrange it for
choir. As a music teacher for 26 years, some of this is habit.
I’ve always had to arrange something for my school choir, so
this might be part of the reason. I’ve promised the choir that I
will do more original music on the next CD.
Priest: I was inspired by Luther Vandross who, early in his
career, set upon a wonderful dual track of both artist and
producer/arranger for other artists, maximizing his appeal by
bringing “The Luther Sound” (Vandross’ often baroque vocal
arrangements over minimalist, biting rhythm section of Marcus
Miller, Nat Adderly, Jr. and the late “Human Metronome,” Yogi
Horton) to Aretha Franklin, Cheryl Lynn, Teddy Pendergrass and
many others. Part of Vandross’s signature, of course, was not
only wonderful original compositions, but complete re-imaging of
classic tunes (check out Aretha’s “I Wish It Would Rain”). There
is an instant, visceral connection between the music and the
audience when you are revisiting a well-established piece while
also bringing something very new and very different to it. “I’m
Determined To Walk With Jesus” is very, very, very Quincy Jones/Andraé
Crouch. The Bob James-George Duke keys on “God’s Got It”—these
nuances elevate the work above mere covers, making them original
in every way that counts.
Priest: Most of the arrangements are superb, very lush and
multi-tiered, reminding me of Andraé Crouch at the height of his
anointing or, as I mention above, Quincy Jones. I’m not a huge
fan of canned horn sections (keyboard samples and even live
horns which are now over-used on Sounds-Like-Hez projects), and
I really wish you had a live string section. Otherwise, The
Launch Out Project has a very thick, grown-up sound. Can you
talk about influences and sound design?
Rev. Stef: Wow! I’m honored to be mentioned with the names
Andraé Crouch and Quincy Jones [Editor’s note: Jones often used
Crouch for lush choir parts, The Color Purple and The Dude, many
Michael Jackson tracks, etc.]. The mature voices of Jubilation
(ages 25-90), have a lot to do with the grown up sound. As
previously stated, I’ve been influenced greatly by traditional
gospel artists, so you’ll hear Church, and you’ll hear praise
and worship. If you’re looking for acrobatic verbal or
instrumental musical riffs, you won’t find much here. This is
traditional-based. This project is devised to reach the soul. I
also love contemporary gospel, so you’ll hear some here. But I
believe real “choir music” is fading. I wanted to share songs
the choir director can teach for Sunday morning. I wanted to
reach the listener who's going through and needs to be
encouraged. It’s always a ministry opportunity to me.
Priest: To me, as I’ve said, it’s really starting to sound
alike: a lot of young people jumping around and key modulations
for the sake of modulating keys. The composition is all about
complex chord structures—keyboardists trying to impress one
another—instead of core fundamentals of music theory. I can’t
understand what the choir is saying or why they’re saying it,
and I do not, in many cases, achieve an emotional connection to
the piece. Forgive me for sounding overly negative, but there
are 300 music sites out there who’ll give you the happy-happy.
I’m just telling you why I don’t listen to a lot of Gospel
anymore. I studied music theory. Most Gospel music out today
makes my head hurt.
The Reverend Darryl Cherry, our mutual acquaintance, recorded
this wonderful, lush ballad, “He Is Holy.” A lot of people lose
patience with it because it’s the kind of song that needs time
to breathe, needs scope to unwind. The Reverend Isaac Douglas’s
“On Christ The Solid Rock I Stand” and James Cleveland’s
“Peace
Be Still” still send chills down my spine, but neither are three
and a half minutes of Jump! Jump! Jump! and key modulations.
Kurt Carr, whose “In The Sanctuary” is Public Enemy Number One
for this Jump-And-Modulate business is also the same guy who
gave us, “They Didn’t Know” and “For Every Mountain”—songs that
can bring a listener to their knees.
Defining A "Win"
Priest: Let’s get into a bit of history: The New Jersey
Performing Arts Center. What is it, and how did a choir emerge
from it? Was Rev. Stef part of the group from the start?
Rev. Stef: The New Jersey Performing Arts Center is one of the
premiere performance centers in the world. The acoustics are
phenomenal. A few years after its inception, (1998), NJPAC was
interested in forming a gospel choir. Many of their employees
loved to sing gospel music. I organized auditions, and served as
Artistic Director. This was to happen for “one concert only.” As
stated, the rest is history. Jubilation will celebrate their
10th anniversary in November. As I look back now, I can see it
was all the divine plan of GOD. To GOD be the Glory!
Priest: Being a “professional” choir and having auditions—does
that seem contrary to the purpose of singing God’s praises?
Rev. Stef: This is a question we struggle with, but it must be
answered honestly and with compassion. I believe we are called
to give GOD our best. The scripture reminds us that GOD gives
diverse gifts (1st Corinthians 12). These gifts are given to
edify the Body of Christ and to win souls for Christ. Everyone
in Jubilation knows music ministry is their area of gifting.
They offer their gifts with love, integrity, and accountability.
It’s dangerous to move in areas where we are not gifted. Many
times we are unsuccessful because we try to do things GOD has
not gifted us to do. We eventually find out this was not our
gift, after we’ve wasted much time and energy.
Priest: I have had the thankless task of sitting down with a
couple sisters and gently suggesting that singing might not be
their gift. Our egos are often front and center with our
artistic expression, and many of us are tone deaf about areas of
gifting. Many of us seek external validation through ministry,
which is not at all what ministry is about. Ministry is about
supplication, about denying self. When Reverend Cherry decided
to record, the first thing I did was fire the band, starting
with myself. I was the first person I fired, because the task
required somebody like that monster Kevin Parker, and my bass
skills weren’t there.
Church choirs, on the other hand, should—as much as
possible—present an opportunity for everyone to share. The
church is about the community coming together. Jubilation seems
much more about the Levites, God’s musical SWAT team: people set
apart for a specific purpose. And I would imagine the Levites (2
Chronicles 5) held auditions.
Priest: Let’s talk about the creative process: when did Rev.
Stef (creative director) become part of the group, and how are
creative decisions made?
Rev. Stef: From the inception, I have been creative director. I
have a wonderful staff of musicians, great management, and a
council of advisors. But for the most part, the final decisions
lie with me. I have co-produced with other folks though Bernard
Belle and I co-produced Launch Out. I’ve also worked with Darren Lighty of D-Life Music and have co-produced with Gospel Music
Icon, Dorothy Norwood.
Priest: How often does the group practice? Beyond that, does
the group socialize together? Worship together?
Rev. Stef: Jubilation rehearses on Saturday mornings. Each
season (September–June) the membership is given a schedule of
rehearsals and ministry opportunities. As opportunities come,
our calendar increases. We have a “Summer Jam” each August,
where we get together and fellowship with membership, family and
friends. Because of our busy schedule this summer, the JAM was
put on hold.
Priest: How does everyone get along? How are conflicts
resolved? Should we read anything into Nicole’s comment, “…iron
sharpens iron…” in the linear notes?
Rev. Stef: Jubilation is a family. In every family there is
conflict. Thank GOD, we are able to resolve conflict and grow
from it. Jubilation consists of many different personalities.
There is also history within the choir. Our oldest member is 90
years old. There are CEO’s, principals, a nurse, an attorney, a
law enforcement officer, a civil court judge, one of the first
BLACK graduates from Julliard School of music, the first BLACK
female detective for the City of Newark, and many more. With all
of this, it’s still important to focus on ministry. I think that
is what Nicole meant by iron sharpening iron.
Priest: Having managed a large recording choir and produced
their live recording, I know, firsthand, how exhausting the work
can be. The main challenge, for us, was always finances. A lot
of venues paid very little, a lot of churches blessed us with
very little. Moving 85 people and band equipment around is
expensive. Talk about the challenges and rewards of your
ministry.
Rev. Stef: We are blessed with a wonderful manager, Nicole
Davis. She makes this easier. Before Nicole came on board, it
was a challenge. Nicole Davis brings years of experience. She
handles all venues and booking. GOD has given her the spirit of
discernment. She knows what will and will not work for us. We
thank GOD for her.
Priest: Let’s talk about goals. What constitutes a “win” for
Jubilation? Is this all about record sales and stardom?
Rev. Stef: A win for Jubilation is the opportunity we’re
receiving right now, an open door to share our ministry with
others. We thank GOD for every opportunity, but as the Senior
Saints say, “Only what you do for Christ will last.” We pray for
continued FAVOR, and additional opportunity to share our
ministry across the world.
Priest: Is there anything I didn’t ask you that I should have?
Rev. Stef: I just want to say thanks. I don’t take kindness for
granted, and we really appreciate you. We ask the people of GOD
to continue to lift us up in prayer. GOD has already done more
than we could ever imagine. He continues to “blow our minds.” We
are grateful for friends like you, and the BODY of Christ. We
love you with Jubilation Joy!
