Reviewed by Chris Tozer

Having been trained by Richard Smallwood before becoming the final pianist and musical director for the illustrious Rev James Cleveland, Kurt Carr has already achieved one mighty pedigree amongst today's gospel greats. Drawing further inspiration from childhood heroes such as Andrae Crouch and Walter Hawkins, Carr has to date released four groundbreaking albums on his own Gospo Centric label - which, incidentally, also releases the albums of Kirk Franklin and the Family. So, it's hard to imagine a gospel artist of quality with whom he hasn't rubbed shoulders at some time or other. For this 2004 recording Carr has brought his incredible Singers out of the studio and has opted for a live recording at Los Angeles' COGIC Cathedral where he also happens to be creative director. His abundant talents are apparent right from the start as he exhorts the congregation to praise the Lord through a series of up-tempo worship compositions that include "Hallelujah Praise", "God Great God" and the appropriately named "Power Praise". With instrumental and vocal arrangements that incredibly recall Michael W Smith and the 2nd Chapter Of Acts as well as Crouch and his Disciples, this album perfectly illustrates the current fusion of black and white forms of worship with a degree of professionalism that could never been imagined in the early days of CCM. Live this album maybe, but certainly isn't a showcase for mere enthusiastic improvisation. This guy sure is a great arranger and yet also one who is adept at bringing new influences into the world of gospel - as witnessed by the inclusion of an Armenian accordion player and Red Army choral vocals on "Power Praise". But then through slower tracks like "God Blocked It" and "One Word" Carr and his Singers prove that the pathway to praise can also be one of exquisite beauty. If you consider black gospel music to be an unambitious and brash art form of praise then here is the album that will change your mind.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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