Blogging from the Gospel Music Workshop of America: Monday, August 15

The Gospel Music Workshop of America — held in Milwaukee, Wisconsin this year — is a conglomeration of many different conferences happening all at the same time. Within the GMWA are the quartet division, education division, vocal and instrumental instruction, chapter choir performances, mass choir rehearsals and performances, divisions for church volunteers, exhibitors, and the like.

One of the bigger sections of the GMWA is the Gospel Announcers Guild. In its 35th year, the GAG is comprised of gospel radio announcers, record labels, artists, promoters, distributors, publications…basically anybody who helps put gospel music into the hands of the public. As a gospel announcer in Chicago, I fit in here.

The theme of the Gospel Announcers Guild of the Gospel Music Workshop of America’s 35th Anniversary is “Milestone Moments on Kingdom Road.” For me, this title is especially fitting. Although this is only my second year of participation in the GMWA, I have learned that it is the sum total of awe-inspiring moments that just happen throughout the multi-tasking convention that give you an unforgettable experience of the power of gospel music and the African-American church that gave the genre life.

Some of the convention’s moments are humorous, as when Gospel Announcers Guild Chairman Al “The Bishop” Hobbs reminded attendees of the irony in holding a convention of clean-living Saints in a city (Milwaukee) well known for its beer production. “They’re trying to save souls in a room in this hotel that’s called the Pabst Room!” Other moments are stirring, as when Gospel Announcers Guild chaplain and announcer Juandolyn Stokes preached with such firepower and in-your-face honesty that several in attendance were reduced to speaking in tongues.

Yet other moments are refreshing, as when Nona Hendrix, former member of LaBelle (remember “Lady Marmalade”?) introduced a twelve year-old gospel singer named Najihah Threet (pronounced like “street”). Najihah rendered a simple but room-stopping version of “His Eye is on the Sparrow” that assured all of us that there is hope left for the world. At twelve, she can sing better than some artists will ever achieve in decades of performance.

Before lunch, the Rance Allen Group received the GAG’s Legends of Gospel award, after which they sang as if no time had passed since they were strutting their stuff and trendsetting for Stax Records back in the 1970s. Rance reveled in bobbing and weaving vocally and physically to the delight of attendees, including the Queen of Gospel Albertina Walker and Gene Viale, former Cleveland Singer and dear friend of the Caravans.

The music is, of course, the main reason for being at the GMWA. It’s an opportunity to hear superstars as well as hopefuls, all appearing in intimate settings, getting immediate response from the announcers, and pouring appreciation on the gospel announcers who play a major role in deciding what gets heard on gospel radio.

The most incredible musical moment of the day was provided by Malcolm Williams and Great Faith who completed their short performance with a head-spinning medley of holy-dancing, old-church songs woven together by snippets of Will Smith’s “Switch.” They sang and danced so hard, and the band played so powerfully, that I imagined the floor would be smoking by the time they were done. Bishop Sam Williams encouraged the band to continue playing the rousing church music after Great Faith left the stage and many of its members were still caught up very much in the throes of spirit possession.

In the afternoon, GAG members were treated to a showcase of talent courtesy of Atlantic/Word Records. Featured were American Idol finalist George Huff, who told the audience, “A year ago I was flipping omelettes in Oklahoma. And look where I am today.” Huff worked hard despite a largely unresponsive audience, worn down by the day but enjoying the hot hors d’oeuvres. Gospel superstars Karen Clark-Sheard and Yolanda Adams closed out the showcase, promoting their new CDs and demonstrating the kind of charisma that is the trademark of gospel’s top performers. Clark-Sheard ended her part of the showcase with some old-school gospel music that was reminiscent of her mother’s work with the Southwest Michigan State Choir of the COGIC. And as for Yolanda Adams: she can sing any kind of music she wants; that she chooses to sing gospel moves the genre to a whole new level of professionalism.

The Late Night showcase, courtesy of New Haven and Gospel Warehouse Records, is yet to occur, and will be reported on in Tuesday’s missive. Until then, O sleep, where art thou?