written by J. Matthew Cobb
I can remember when I first encountered an album from the Whitfield posse'. I had purchased from Wal-mart an album that featured elegant artwork and a beautiful-looking ensemble on the back cover of the album years ago. The album was called "...Still" and featured a few things that caught my attention. Normally when I purchase an album from an artist I have never heard of, I look for one or two things:
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ONE - The producer
TWO - Glossy cover art and graphics.
Most of the time, the latter gets me in trouble; because the old proverb never fails to kick me in the behind (Never judge a book by its cover).
The album was co-produced by Donald Lawrence and was released on the same label that Ricky Dillard was on (Crystal Rose), so I began to tell myself that my decision of purchasing this project could not be that bad.
I went home and I didn't really appreciate the songs at first. I was so caught up in the "fast mumbo-jumbo Hezekiah Walker East Coast swing"...bumpin' and jumpin'...bang-bang-bang music - and THIS was totally different. Rich, choral techniques, classical foundations, and distinguished harmonies were in place...and a killer tenor section...those were the ingredients that made this odd collection. And I was telling myself...this music is nothing of my time. I had heard nothing that resembled this kind of presentation in my life within the gospel music circle. The choir could compare to Donald Lawrence's Tri-City Singers....but even at that, this particular choir had vocal aerobics up their sleeves. Their sound was raw, authentic and proved that they were no amaeturs. I even tried to sing some of the parts to the song when I got home. (Laughing). What if I told you that I could not keep up. I began to wonder if this strange musical aggregation had some comparisons to today's ensembles. MaybeRichard Smallwood's Vision? Or James Hall's Worship and Praise. How about the Thompson Community Singers? The answer was: NO! They didn't have that obvious Chicago' vibrato that everyone's choir was duplicating. They didn't have the East Coast screaming three-part harmony that Heze and Danny Eason was putting out? And there was no way one could label their style "southern" or "west coast".
That's when I stopped trying to label them. As months passed, I began to appreciate their ministry. But that moment in time would slip by. Sadly due to the fact that I had lost the tape. YES, IT WASN'T A CD. That's because I was too frightened that I wasn't going to be impressed by the album's content. So I saved a few dollars by just purchasing the next best thing: the cassette tape.
I will never forget the day I attended my watchcare church one particular Sunday morning. Bishop was preaching a profound word and summoned a serious altar call; with consecration and repentance being the main concern. The power of God was sho'nuff in the place that I knew I had to change some things in my life. I could no longer live a life that seemed as a joke to God. As I stood there at the altar and began to feel a bewildering intensity. Bishop confronts me...prophesies into my spirit...and anoints me. I had been at the altar once before and had the elders and pastor to pray for me before. But this time...it was different. I can remember Bishop telling me that he was going to impart a special anointing....from his spirit...unto me. And I can recall in that moment I began to weep...and cry. I fell prostrate before the Lord and felt the Spirit of God working on the inside of me. My desires began to change, my ears began to hear clearly of God's voice and I finally recognized clearly what my purpose in life was.
Moments later, I approached Ms. Beverly Moore (a.k.a. "Mother Moore"), a respected employee at my college and also one of the founders of my watchcare church, that following Monday morning. I would usually go on and on about what came on TBN that weekend...and talk about the "new news" in gospel music. But this time, it was different.
I asked her..."Do you have a copy of the Whitfield Company's "...Still".
She responded, "No...I don't think I do, but Bishop has a copy.".
She looked at me with that puzzling look on her face and asked me was something wrong.
Of course, nothing was wrong.
I kept pressuring her that day if she could have permission from Bishop to let me borrow that particular album. I told her that I had a strong zeal burning within me for that album or any material of them. And she began to laugh. Her laughter puzzled me. I asked what was so funny. And her response knocked me back in my chair.She said, "You know what, Jason...it's so funny that you ask for music of Thomas Whitfield, because Thomas Whitfield is Bishop's favorite artist. In fact, that is his musical mentor".
Days later, I ended up purchasing anything that was related to Minister Thomas A. Whitfield and the Whitfield Company. Even if an artist paid tribute to him by singing a rearrangement of his stuff, I would get it. And this habit still goes on today. Don't ask me why.
I had found old tapes in small Black Gospel music stores like "The Unforgettable Years, Vol. II" and "I'm Encouraged" and also ended up purchasing the incomplete, yet satisfying "Best of Thomas Whitfield" on Verity Records. To me, listening to Whitfield's music could be described as being Jesus Christ singing. There was no doubt that Whitfield's main focus was ministry and was putting the gospel to music. But listening to this psalmist's compositions was more than just that. YES, it was hearing perfected music. Music that has been tried and tried...and refined...and cropped...and chiseled...and saturated...and finally resurrecting to becoming the sound foundation of gospel perfection.
I'm not trying to sound like a serious critic, but it never fascinated me after I listened to Whitfield's music that Donald Lawrence, Byron Cage, James Hall, Youthful Praise, Ricky Dillard, Rudolph Stanfield, John P. Kee, Daryl Coley, Vanessa Bell Armstrong, Fred Hammond, Yolanda Adams, Shirley Caesar, Cyrus Chestnutt, Bishop Paul S. Morton, Sr., Fred Hammond, Rodnie Bryant and Hezekiah Walker (and the list goes on and on) have worked with or look up the "Maestro".
And you ask me what does the "Maestro" mean?
Simply put, "maestro" means a master in any art; a great composer, conductor or teacher of music. It just so happens that this defines in all aspects the late Thomas Whitfield. He could rearrange a hymn and make it so lively and relevant for the moment - which he proved on "Nothing But The Blood", "Oh How I Love Jesus" and "Bye And Bye". He could pen a song that would touch the inner hurts and pains of an individual and fill any void with hope and encouragement - which he demonstrated on "I'm Encouraged", "Hallelujah Anyhow" and "Help Me To Overcome". He could write a melody and sketch out the right lyrics for that tune and take you right into the presence of God's glory - which is evident on "Precious Jesus", "Dear Jesus" and "Hold Me". Not only do we have witnesses that Whitfield is the 'Maestro' but we have clear and sound evidence. One thing about a maestro...even when they depart from us in the physical, you know they are truly a maestro when their legacy remains.
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