The nominees for the 41st annual Dove Awards were announced on Thursday.

Natalie Grant and Bart Millard will host the awards show on April 21st.  Unlike last year, the awards will not be broadcast live– they will air on gmc on Sunday, April 25, 2010 from 8pm-10pm EST.

There are 43 categories and you guys don’t know most of the names in ‘em, so I’m not typing it all… sorry.  BUT, you can visit http://www.gmclife.com/41st-dove-award-nominees for the full list.

In the meantime, a quick recap of some of the folks you’ll find there:

Donnie McClurkin, Israel Houghton, Melinda Watts, Freddy Washington, Brian Courtney Wilson, Mali Music, Vickie Winans, Smokie Norful, Mary Mary, Crystal Aikin, Bishop Paul Morton, Hezekiah Walker, Heather Headley, Mandisa, B. Reith, Fred Hammond, Group 1 Crew, Da’ T.R.U.T.H., BeBe & CeCe Winans… see, there are just too many to name!

Ok, more Dove Awards info and discussion as the time draws nigh.  Until then, tell me what you think about the nominee list!

One of the most widely discussed events of the Stellar Awards weekend was not really planned at all; rather, it came suddenly, in response to the earthquake in Haiti.  Kirk Franklin successfully brought together the gospel and Christian music communities to record a new song that he wrote, the proceeds from which will be donated directly to the relief efforts in Haiti.

Though Franklin wrote and produced the track, entitled “Song For Pain,” he’s not getting a cut, nor are any of the dozens of artists and musicians who participated.  And I mean DOZENS.  Some of the artists and musicians who rolled through the session include Mary Mary, Natalie Grant, Donnie McClurkin, J Moss, CeCe Winans, Kierra Sheard, Dorinda Clark-Cole, Marvin Winans, Micah Stampley, Karen Clark Sheard, Smokie Norful, Shirley Caesar, Amy Grant, BeBe Winans, Brian Courtney Wilson, Stephen Hurd, Nicole C. Mullen, and MORE.  Every penny is going to Haiti.

Over the course of several recording sessions throughout the weekend, Kirk (who also co-hosted and performed at the Stellar Awards, and had to attend rehearsals and run-thru’s for the same) spent every moment of his “spare time” in Nashville’s Quad Studios, generally until around 6am.  I don’t think he got any sleep all weekend.

Let’s continue to pray for Haiti, that the offering of our music community would be used greatly to take Christ and His healing power to that nation.  And, let’s pray for our own artists and musicians, especially Kirk Franklin, who selflessly gave of their time and energy for this cause.

AAAAND, when the single hits the internet stores this week, BUY IT.  I’ll be sure to let you know when and where.  Deal?

The Gospel Music Association’s wildly successful GMA Week has been set for April 18th through 21st in Nashville, TN.  The week will culminate, as always, with the 41st Annual Dove Awards.

Anybody planning to attend?  I’m soooooo gonna try to be there, especially if the quality of the awards show is ANYWHERE close to where it was this year… just sheer excellence.

In related news, the GMA held a mega fundraiser on Monday night here in Nashville, dubbed the “Concert Of The Decade,” in an attempt to save the non-profit organization from recent financial woes.  Tickets to attend were $1,000 apiece (yes… three zeros) and the benefit featured performances by Kirk Franklin, Natalie Grant, Amy Grant, Casting Crowns, Michael W. Smith and many more.  Did anyone watch it online… or attend in person???

The event is said to have sold 350 tix for a total of $350,000, but the venue’s capacity was about 800 seats… Hopefully, this will be a helpful start.  The GMA is an asset to the Christian music community.

Hey good people… as most of you know, Evin Martin of gospel’s hit group 21:03, is GospelPundit.com’s official correspondent for the Across The Aisle series.

He’s back with another great artist for us to check out– Natalie Grant.

Without any delay, check out what Evin has to say… (wasn’t trying to rhyme… I promise):

Thanks, Evin!

Folks, make sure you leave a comment to let Evin know how he’s doing AND to tell him who you wanna hear about next!

Last Wednesday’s episode of Gospel Dream was really rough for me to watch.  Like… I zoned out a few times and when I got up to get a glass of water or something, I told my wife she did NOT have to pause the DVR on my account… I’d manage.

If you caught the episode, you know it was a Gospel Dream Boot Camp of sorts.  This concept is new to Gospel Dream, as it places it more in the realm of a Making The Band type of reality show instead of a bare-bones, perform-on-stage-every-week American Idol competition.

We saw image consulting, media preparation, voice lessons… all of which are necessary for the successful recording artist.  But I honestly don’t think Gospel Music Channel has fine-tuned things enough to masterfully weave in the “competition” part with the “reality show” part.  And I’m not saying that they can’t work on it.

But the problem now is– we’re going into the 3rd episode and I still remember only two finalists’ names.  Plus, I’m rather indifferent to who stays or who goes home.  I’ve not even had the OPPORTUNITY to fall in love with anyone’s voice yet.

Of the people I DID notice:

1. That dude, Travis, has too much attitude for me.  A Christian artist should be bold and confident in the things the Lord has called Him to be… but with a huge tablespoon of humility.  Maybe it’s just the editing, but we never see him with a smile or being pleasant.  I dunno who you’re mad at, but we ain’t done nothing TO you.

2. I think Tim Stylez is cool.

Regarding the judges:

Of course, Michelle Williams cheered me up when she asked one contestant why she wasn’t wearing heels, stating with seriousness: ”you cannot sacrifice fierceness to be comfortable.” HAAHAAHAA!

But then I was let down again when J Moss told one girl “everything about you is C+.”  Mitchell Solarek apparently didn’t like it either, cuz it led to a bit of an on-camera disagreement.  I’m sure that J was referring to her grade as an aspiring ARTIST, but no matter how fierce the competition, I just take issue with one Christian (J Moss) telling another Christian (ol’ girl) that EVERYTHING about her is C+.  Really?  Again, maybe it’s the edits, but we gotta be careful about the WAY we say things…

So that’s that.  And after ALL that, you know I’ll still be watching tomorrow night at 10pm ET/9pm CST, when the female contestants face off and artist Natalie Grant surprises them as a guest coach.  If you missed the Boot Camp episode, they’re re-airing it before the new one.

Okay, who else saw it and what did you think?

I’ve not kept silent about the fact that my favorite male background vocalist is Jerard Woods.  Vocally, I think he’s able to do ANYTHING– he’s polished and professional, his tone is clean and effortless… and he just always seemed like a really cool guy.

He has provided vocals and/or vocal arrangements for CeCe Winans, Donnie McClurkin, Marvin Sapp, Kim Burrell, Donald Lawrence, Natalie Grant, Israel Houghton and a litany of other folks.  He and his wife, Jovaun Woods, are credited on tons of projects… basically anything coming out of Nashville!  LOL

Read the interview below to get a better idea of who Jerard is, how he balances his family life, the realities of touring, and much more!  Here, in the second installment of On BGVs, is Jerard Woods.

* * * * *

EJ:  You ready?

JW:  Yeah!  Let’s do it.

EJ:  Ok, talk to me about how you got started doing background work.  Is this what you wanted to do?

JW:  No, I didn’t plan to do background singing.  I was always singing lead, even as a child.  I didn’t start doing background work until I came to Nashville.  I was right out of college and I became friends with background singers who were already well-established… They were doing background work and they found out I could do it, so they recommended me to people and I was thrown into it.

EJ:  What did you do in Nashville before the session work picked up?

JW:  When I first got here, I worked for Xerox for like 8 months.  And I got a call to do a song for a Joe Pace album.  I sang on the record and Paul Wright (who produced the album) was like “Dude!  What are you doing at XEROX?!”  And it wasn’t him that made me quit, but it did confirm what I was already feeling in my spirit.  When I got here, I didn’t know what to expect.  I nervously took the job, but he was right.  It wasn’t for me.  Not soon after, I quit that job and just allowed God to use me in the music industry.  And slowly, I started to do more things.

EJ:  That’s awesome.  These days, you do a lot with CeCe Winans in particular.  How did you start with her?

JW:  My wife was singing with CeCe already.  When CeCe found out that my wife was married to a singer, she said “bring him to rehearsal!”  Now, being the stalker that I am (*laughing*), I knew all of her stuff, so I was already prepared.  I think that, to her, it seemed that I had a good work ethic, but I just watched her long enough to know her music really well.

EJ:  That goes well with my next question.  What makes for a great background singer?  Is it the work ethic?

JW:  I think that what distinguishes any background singer from others is that you’re professional, you’re always prepared, you learn quickly… I come across a lot of people who wanna do session work, but sometimes… umm… they’re… (*whispering shyly*) they’re just not good enough.  Or they don’t learn fast.

EJ:  Did you ever think you would be in such high demand? 

JW:  Noooooooo!  I would listen to records like everybody else, and listen for certain background vocalists.  Now, I’m working with them.  That, in and of itself… it blows my mind.  It’s really amazing how God has done that.  I never though I’d meet and become friends with these folks.

It’s only because of God that we get so many calls.  God has given us a lot of insight into how to keep working, and making it good and making it hip and all that kind of stuff.  And once producers start calling you, they talk to other producers and artists, you know?  Someone will say “who did you use for that track?” and they’ll say “oh, that’s Jerard and Jovaun and Leann and Darwin and Tiffany.”  There were times where we were literally singing on four records in a week.

EJ:  Are you serious?!

JW:  Seriously.  Even now… you could easily sing on ten or eleven records in a month and, if they all come out at the same time, your name is published in several places at once… and if you’re traveling and touring and performing at the same time, you get a lot of exposure and a lot of calls for work.

EJ:  That makes sense because when I first started seeing your name, it was like you were everywhere at once.

JW:  And we are!  *laughs*  No, we do work hard.  But the more you do it, the more experienced you get and the better and faster you get.  So, what would have taken us all day to do, it now takes me a fraction of the time to do.  Especially because, once you’re so used to working with a certain group of singers… you know, I’m used to knowing what they’re going to do.

EJ:  Ok, quit it.  You’re answering all my little questions before I can get to them!  My next question was going to be about synergy among groups of background vocalists.

JW:  *laughs* It’s true.  When you do it so much with the same people, you start to know what they’re going to do before they do it.  But, you know what?  The synergy that we have with each other is not just through singing.  We go to each other’s houses all the time.  We would just call and we’d all get something to eat.  We kick it when no music is even going on.  That’s how the synergy develops.

But it also depends on who we’re singing with.  Did you notice that singers in New York are WAY different from singers in Nashville or Los Angeles… or Detroit?  Anyplace where the singers do a lot of recording…

EJ:  Yeah…

JW:  So, when we started with Andrea [Mellini] and Donnie [McClurkin], they had this whole modern-day New York-broadway style.  Everything is “come out strong, heavy diction, and at the VERY end, very fast vibrato.”

EJ:  *laughs* That’s so true!

JW:  Right.  But in Nashville, vibrato is nearly illegal on sessions!

EJ:  Really?

JW:  Oh, ABSOLUTELY.  You do not… well, it’s getting better.  But if you don’t sing with it, you can make it in this city.  If you do sing with vibrato, charges will be filed.  But when we started with Donnie, he would say “VIBRATO!” but we weren’t used to using it, so it was an opportunity for us to learn to turn it on or off when we need it.

*Jerard pauses briefly to recite a full array of menu options to his 2 year old son*

EJ:  *laughing* I think it’s hilarious, by the way, that you’re giving your son so many options.

JW:  *laughs hard*  Yes!!  You have to, cuz you will get denied and rejected! 

EJ:  While we’re talking about family, let’s talk about the fact that you do a lot of background work with your wife.  The two of you have made a complete living off of background vocals, is that right?  I mean, you’re doing it with two kids and everything.  How?!

JW:  It’s HARD!  When the economy is not conducive to concerts, we’re not singing, so we’re not making money.  Or, if there’s a season where a tour cancels, you could be out for a while.  But the Lord is always kind to bring something else.  The good thing is that there are lots of artists, lots of studios, with lots of albums and producers.  We get calls from record companies, producers, and artists.   It’s amazing.

EJ:  How do you all find the time, especially with the kids?  Have you got babysitters?

JW:  We do get a babysitter if one is available, but you know what we started doing?  When we get calls for both of us, and we don’t have a babysitter, we say “hey, we’ve gotta bring our children.”  And our children are good.  I’ve stood in the booth and had my son on my hip while I recorded.  Or, if they say “no,” we say “okay, which do you need more– a soprano, alto or tenor?”

EJ:  I love that!  So, do you prefer doing studio work over live performances?

JW:  No, I prefer live performances.

EJ:  But you do more studio work, right?

JW:  Mmmm… Nah, it’s about what and what.

EJ:  *laughing*  That’s so southern!

JW:  *laughs* I’m from Louisiana, come on!  No, but it’s about the same.  But between the two, I prefer live.

EJ:  Why?

JW:  Well, the studio life didn’t come alive until I moved to Nashville.  I was already a “live performance” kind of person anyway.

EJ:  Who’s been the hardest to work with?

JW:  Probably CeCe Winans, Donnie McClurkin and Kim Burrell.  But in a good way.  Singing comes easy to singers, but these three challenge you and make you think harder because they are not predictable.

With CeCe, you must learn the art of vocal dynamics or effects.  You have to sing with soul, but do it softly.  With Donnie, you have to learn to be ready at all times, sing loud, high, and with heavy diction and control.  And with Kim, you have to first understand what she’s giving you to sing.  Then, you have to execute it flawlessly.

EJ:  Wow.  Let’s talk for a minute about Kim Burrell.  Now, this is when I first learned of you and we became best friends in my head… her Live in Concert album released in March of 2001, with accompanying video that I watched daily!  What was that experience like?

JW:  Amazing.  It was like a workshop to polish your skills.  Kinda like, if you’re in business and your boss sends you away to a training workshop to learn other things to bring back and apply to what you’re doing at the local office… *laughs*  She flew us all down to her house, got us around a keyboard, came up with the arrangements… it was AMAZING.

EJ:  A lot of people criticized that album, saying that the mix was bad or that there should have been more overdubs, but I still love that album.

JW:  Oh yeah.  There were challenges, things that were not in anyone’s control.  It was literally one of my best musical experiences.  It was incredible.

EJ:  So, you’ve done background vocals for some of the greatest, you’ve done some guest spots on several albums.  Recently, you released your own solo project, I Waited, on your own label, Found Sound Music.  Were you nervous to strike out on your own, or was that always the plan?

JW:  I was extremely nervous!  After doing backup for years, I went into this shell of not carrying the responsibility that an artist carries.  When you do background vocals, you have none of those responsibililites.  You forget about them.  So, I was very nervous, even now.

EJ:  What types of responsibilities?

JW:  As an artist, you have to do the whole gig thing, like “ladies and gentlemen… EJ!” and you come out and say “come on and praise the Lord!”  Even that became uncomfortable because I had spent so much time behind someone who was doing that.  I didn’t have to think of those introductions or segues to do songs.  In background work, it’s simple.  When the music starts, I come in.

EJ:  *laughs*  What’s next for you?  Can we get another album?!

JW:  Absolutely!  My next record is going to be with my wife.

EJ:  I love that.

JW:  Yeah, it’s gonna be Jerard and Jovaun.  We’re excited.  I’m tired of traveling without my wife.  Before we had kids, we were always singing together, traveling together.  I want that again.  She’s also an incredible vocalist that has a message she carries and she’s ready to deliver it.  We were thinking a solo album, but we decided to do it together.

EJ:  Cool.  Are y’all working on music already?

JW:  Ummm… somewhat.  Nothing is recorded yet, but we have some ideas.

EJ:  I can’t wait to hear it.  Tell me, how hard is it, generally, for a background vocalist to become a solo artist?

JW:  The transition sometimes is very hard.  It depends.  It depends on the person.  When you’re typecast, as we are, everybody… well, a lot record execs and people who make decisions…  they see us as very successful background singers, but they don’t see us as very successful artists.  And that’s the hard part, to convince them that we have that potential.

EJ:  So how do you convince them?

JW:  You can’t convince them by telling them.  You just have to believe what God has trusted you with and move as God directs, and room will be made for your gift.  Record execs may never see your potential, you have to see your potential.

EJ:  That’s so crazy to me because, often, the best singers are in the background, not in the forefront.

JW:  Yeah, but you represent a small percentage of people who believe that.  I know a lot of gospel artists who are very successful now, but have told me that it took time and many disappointments before they started to see a return on their investment into their own ministries.  None of them were overnight hits.  I, too, have to work hard and not give up before I get where I wanna be.

EJ:  Well, hopefully some folks will read this and realize!  Talk to me, if you will, about touring.  Do you enjoy it?

JW:  I love it.   I’ve always liked to travel since I was kid.  I like the idea of going to places I’ve never been, or experiencing events I know nothing about.

EJ:  I chatted with Andrea Mellini a few weeks ago and she talked about being on the road and the realities of it.  She explained that a whole lot of foolishness and, in her words, “devilment” can go on even in the gospel music community.  Have you noticed that, too?

JW:  *laughs*  “Devilment.”  Absolutely.  Some folks will hook and crook as far as money as concerned.  Some people have no problem with lying.  You have to deal with all of it and say to yourself “I’m the one who chose this profession.  I can either take it or get out of it.”  Unfortunately, the Christian music industry can be as bad as any other industry.  And I’m not just talking about the artists, it’s everywhere.

EJ:  That sounds so depressing!

JW:  And it IS if you stay there.  But you have to stay focused and stand on what you believe, and you can’t let someone else’s downfalls or mistakes cause you to be bitter towards the entire industry.

EJ:  Wow.  That’s real talk.  Andrea also said that she understands why CeCe has Alvin on the road with her.  You are blessed to work and travel a lot with your wife, Jovaun.  Talk to me about the dynamic of working together and being on the road together. 

JW:  A lot of couples love each other and get along, but they can only take each other in small increments… and that works for them.  But I LOVE working with my wife.  I love being with her.  The reality is that, sometimes, you have moments where people make propositions to you.  Sometimes it’s sneaky.  Sometimes it’s even in your camp.

EJ:  No!  But they know you’re married.

JW:  They may know I’m married, but if she’s not there for a minute… it’s almost like “hey, don’t ask, don’t tell.”  But that’s not just this industry, that’s in the world.

EJ:  *sighs* Ok, on a lighter note, I wanna do a quick game with you.  I’m going to say some words or phrases and I want you to respond with the first word that comes to mind, ok?

JW:  Ok.

EJ:  “Nashville.”

JW:  *pauses*  Family.

EJ:  “Stellar Awards.”

JW:  *pauses* Work.

EJ:  “Concerts.”

JW:  Exciting!

EJ:  “Groupies.”

JW:  You know, I’m not mad at groupies.  Umm… Underrated. 

EJ:  Wait.  Why do you say that?

JW:  Because usually, groupies are people who, even though they may be somewhat of a nuisance, love your ministry or love you, or love what you do SO much that they want to be around you all the time.  It may get on your nerves, but when you have people that love your ministry, you never know what they are capable of doing concerning your ministry.  They’re groupies, but they’re very passionate about what you do.  You always need those kinds of people. 

EJ:  I hear that… Ok.  “CCM.”

JW:  Something new.

EJ:  “Kirk Franklin.”

JW:  Inspiring.

EJ:  “COGIC.”

JW:  Foundation.

EJ:  Nice.  Jerard, who’s on your background vocalist dream team?  Like, if you were singing with the IDEAL group of vocalists, who would they be? 

JW:  How many people can I have? 

EJ:  As many as you’d like. 

JW:  Should I go by sections? 

EJ:  *laughs*  Wow.  Yes, please.

JW:  Ok.  The tenors would be Steve Crawford, Jason Nelson, Duawne Starling, Darwin Hobbs *pauses and asks his wife, Jovaun, which other tenors he likes*, Melinda Doolittle and Kathy Burrell… y’know?  I know I’m forgetting somebody… they’re gonna be SO mad when they don’t see their name.

EJ:  Ummm… Now, they can all blend together, right?

JW:  Yes, of course!

For altos– Leann, Debbie, Tiffany, I dunno if Sherry McGhee wants to sing soprano or alto today… we’ll put her for altos.  Melonie Daniels, Olivia McClurkin (RIP), Gail Mayes… and that should do it.

EJ:  This is intense.  Sopranos?

JW:  Singing soprano would be my wife, Jovaun… umm… Da’dra Greathouse, Andrea, Christie Richardson, Benita Washington, Angie Primm and Sheri Jones-Moffett. 

EJ:  Ummm… I think you kinda put together a mass choir, didn’t you?

JW:  *laughs*

EJ:  Last question, man.  Susie and Tommy wanna be background vocalists.  What do they need to do?

JW:  They need to surround themselves with people who are doing it.  Or go to a city where it’s being done, I think.  That was my way.  Oh, and learn from those who are doing it.  It’s a risky step, but if you’re good, what could possibly go wrong? 

And, I’ll say this:  when you sing background for people, you have to have the desire and ability to diminish.  Listen to everyone else around you and conform to THAT.  You cannot be a successful background group if you don’t diminish yourself as a vocalist to attain the sound that will benefit the group, and not just you.   People ask “how do you get that sound?”  We’re not doing anything spectacular.  We just blend as a unit.  When we sing, we’re not Jerard, Jovaun, Leann… we are a unit.  We have to die to our gifts at that moment because our goal is to have one sound and to sound like one voice.

EJ:  So true.  Jerard, man, thank you SO much for doing this interview.  I really, really appreciate it. 

JW:  Well, thank you!  It was my pleasure.
 
EJ:  Coolness.  Take care.
 
JW:  Alright, I’ll talk to you.

* * * * *

So, that’s that.  POST A COMMENT and TELL ME WHAT YOU THINK!

Make sure you check out his site at http://www.jerardwoods.com/.

And here, for your viewing pleasure, is a YouTube clip of Jerard Woods singing on TBN’s Praise the Lord, hosted by CeCe Winans.  He’s a worshipper and it’s awesome.  Enjoy!

I kinda cannot describe how good it is, nor do I know how to make each of you watch this series on the Gospel Music Channel, but…  it’s soooooooooooo good and each of you haaaaaaaaas to watch it.  It’s a bunch of performances, recorded at Nashville’s Union Station hotel, featuring a bunch of gospel and CCM artists, including Take 6, Natalie Grant, George Huff, Jars of Clay, Mandisa and Trin-i-tee 5:7.  My wifey and I watched a couple of the broadcasts yesterday and we were floored!

First, the audio and video production quality is nearly flawless.  The set is warm, intimate and inviting.  Everyone looks like a million bucks.  And the music… the arrangements of the songs, especially the classics, are amazing.  And the musicians are all incredible.  And the singers are giving it their ALL.  I have never heard George Huff kill the way he was killing on “Have Yourself A Merry Little Christmas.”  And Natalie Grant absolutely demolished “O Holy Night.”  And Take 6 singing “Hark! The Herald Angels Sing”… ’nuff said.

Make sure you don’t miss it!  Check out the Gospel Music Channel’s broadcast schedule here.