It’s no secret– Jason Nelson is one of my favorite male vocalists around. It’s not just his tone, either… it’s his heartfelt and passionate delivery of each note. There’s almost an implicit “listen to what I’m tryna TELL you” in each note. Love it. And beyond his vocals, he lives what he sings. That shouldn’t be a rarity, but it is.

So, I took a minute to chat with Jason Nelson about his new album, Shifting the Atmosphere, which hits stores this coming Tuesday, May 22, 2012. It’s his first release on Verity, led by the success of his lead single, “Shifting the Atmosphere.”

In our chat, Jason and I talk new music, sibling rivalry, integrity in artistry and more.

Check it out!

* * *

EJ: Thanks for chatting with me, man.

JN: No problem at all. It’s my pleasure!

EJ: Let’s jump right in and talk about your new album, Shifting the Atmosphere. Now, this album has been a long time coming… your live recording for it was in April of 2010. Folks wanna know– what took so long?

JN: Well, the truth is… it’s all about God’s timing. It’s the right time for the record to come out, now. We recorded in 2010 and, initially, I thought it was coming right out. One bump after another kept me from getting it out like I thought I would. Now, here we are in 2012. There’s a space at radio for “Shifting the Atmosphere”… God makes everything beautiful in its time. Sometimes you have to wait for your season. I’ve learned to live with the delay and I think this is the right time.

EJ: How did you know that Verity was going to be a good fit for you?

JN: It’s kinda weird. When Stanley Brown came to me and talked to me about potentially signing with Verity, I was very humbled because some of the people I’ve looked up to are signed there. Fred [Hammond], Kirk [Franklin], Donnie [McClurkin], Marvin [Sapp]…

You know how you kinda just KNOW? It was one of those things. Something about being connected to Stanley gave me a sense of comfort that it was the right move to make. It’s a really good deal and I’m very grateful, but something about that Stanley Brown connection made the whole thing make sense for me.

EJ: Cool. So, now that the CDs are pressed and shipped off, headed to stores, tell us what we can expect to hear on the album. What’s the main focus of Shifting the Atmosphere?

JN: The focus is to take people on a musical journey into worship and praise. You’re gonna hear the gamut of what I represent as a musician, singer, songwriter, and even as a producer.

EJ: Do you have a favorite song on the album?

JN: I really like the whole record. Sometimes you have what people call “album fillers,” but I don’t think we have any of those on this record. It’s strong from top to bottom. I love “No Words,” but I also like “Nothing Without You.” My wife helped to write that one and there’s something about that one. But also, “Dominion” really is like a sleeping giant. I really think people will grab a hold to that song. It could be bigger than “Shifting the Atmosphere,” because of how it speaks to people. It may be the next single.

EJ: I thought it was, the way you’ve been singing it and carrying on!

JN: *laughs*

EJ: What is your prayer as it relates to this music and your ministry? What do you hope people will get from it?

JN: From the beginning, my prayer was “God, give me music that sings the lives of the hearer.” I want people to relate to it and say “I’ve been there. That makes sense for me.” That’s my desire for the record– that the music is so relatable that people go and share it with someone else. Ultimately, it’s about ministry.

I realize we’re in the industry, so there’s a level of responsbiliyy as it relates to making things happen, but ministry comes first for me. I want people to hear the music, be changed, be saved… as cliché as it sounds, that’s really what my desire is as it relates to music.

EJ: You don’t come across as an artist who’s big into the glitz and glam of artistry. You just kinda show up, well-dressed and ready to minister, then you head home. Is that accurate? Is that intentional or is it just how you are?

JN: Oh yeah. That is me in a nutshell. I like keeping things simple. It’s not intentional.. it’s just me. I don’t like all the glamour, glitz, lights… that’s not my personality. I’m not into being seen, per se, even though that comes with being in the industry.

I like “simple” and “low-key.” I may wear shades and a hat in the airport, not because I’m a superstar, but because I like being low-key. I’m not really an “industry guy,” but I’m a part of the industry. I think that’s what people sense when they meet me. Don’t take me to the front of the church; I prefer to sit in the back, slide out and for no one to know I was there. When you start feeding your ego, you start getting in trouble.

EJ: I’m not asking you to knock anyone’s artistry, but as you look at some of your fellow artists, is there something you think is missing from among our music ministers? Where is there room for improvement?

JN: You ARE asking me to knock somebody. *laughs*

What we’re missing nowadays is that authenticity. Gospel music has this commercial thing that people are buying into. I have heard the term “branding,” but where does the ministry piece come in? We, as artists, have a tendency to fall short. Everything is not about marketing, a bigger name, a bigger stage. It’s about your assignment. Are we just here to sell recods, or are we really here to impact lives? When artists get into authenticity again, we’ll see a change.

And I truly think that’s happening now, actually. People are getting back to the gospel roots.We’re moving back to real ministry and really impacting people positively.

EJ: Your twin brother, Jonathan Nelson, has experienced significant success as a gospel artist. Have the two of you ever had to deal with envy or jealousy as it relates to the other’s opportunities?

JN: No. And as weird as people probably think it is, we haven’t because we grew up supporting each other. It’s very natural for us to champion each other’s causes. Every record we’ve done, we’ve always had a part in each other’s albums. When Jonathan did his first record, I sang on “Everything You Are,” and in the group. When I did I Shall Live, he helped with background vocal arrangements and wrote “Mighty Wind.” On his other projects, we sang “Right Now Praise” and “Could’ve Been Another Way” together. He did vocal production on my new record.

We’ve always participated in each other’s records. His success is mine, and mine is his.

EJ: So, is there ever any sibling rivalry between the two of you?

JN: Oh, we get on each other’s nerves, but that’s family. *laughs* That’s being brothers. But as it relates to music, we generally agree.

When we were younger, we used to get on each other’s nerves– he was the choir director, I was the bass player and musical director. When he held rehearsal too long, or did something I didn’t like, I was very vocal!

People used to say “if Jonathan and Jason have an argument before concert, the concert’s gonna be good. *laughs* It generally worked out to be true!

EJ: That’s hilarious! So, after the album release, what’s next for Jason Nelson in 2012?

JN: I’ll just be supporting this record and building my family. I’m a family guy first, before being an artist or pastor. For me, it’s all about supporting my kids, supporting my wife and then my church… just backing up this singing with a life that actually matches what we sing about.

EJ: Good times. I appreciate you, man.

JN: Thank you. I appreciate you, sincerely.

* * *

So, there you have it!

Again, Shifting the Atmosphere hits stores on Tuesday, May 22, 2012, but you can listen to snippets and pre-order it at Amazon.com TODAY.

What do you think of our chat?

Who rocks the recaps?  Troy Lilly rocks the recaps.

And he’s back with more this week.  Without delay… here’s our buddy, Troy Lilly, with his take on last night’s episode of BET’s Sunday Best…

*     *     *

After weeks of watching the judges voice their opinions and make – at times – controversial cuts from the lineup, it’s time for YOU to decide who will become Sunday Best this year.  No more blaming the judges, people.

So, the show last night began by reminding us what the winner walks away with besides a whole bunch of votes: a national recording contract – and a 2010 Ford Taurus SHO! Exciting, right?

The episode also introduced music directors, Stanley Brown and PJ Morton, and featured an instrumental by trumpeter Shemar Allen as a tribute to New Orleans, Louisiana, the host city for this season’s show.

Ledisi, another phenomenal R&B singer, opened the show with “Higher Than This,” a song from her latest album. I was sure the “high” she refers to was, well you know, that of a man. Ledisi (almost) convinced me the song was written about God. There are only two words for her singing style last night: church bred. I’ve been following her on Twitter, too, and she’s got a little word in her.

And then later in the show, Vanessa Bell Armstrong, who is nothing less than a gospel music legend, sang “Good News,” a song EJ premiered on GospelPundit.com last year before anyone else.  But on to the contestants…

Elder Goldwire McLendon – “I Know It Was the Blood” and “Jesus Be a Fence Around Me”

I wanna be like Elder McLendon when I grow up. He’s got Holy Ghost swagger! And he strutted it all over the stage yet again. Although I feel he was shortchanged a bit by the communion song (he could’ve really handled something far more challenging), he still managed to make “I Know It Was The Blood” his own.  I would have loved another song like “Jesus Be a Fence,” which Elder sang next.

On this song he showed more of the energy and vitality we saw last week during his performance of “He’s All Over Me.” Particularly during the vamp, he added some nice adlibs and, of course, hop scotched like a pro. Last night Elder said something that stood out to me: “I am not singing to people, I sing to God.” It’s clear that knowing who you’re singing to makes a world of difference.

LeAndria Johnson – “Running Back to You” and “Set Me Free”

Judge Donnie McClurkin asked last night if there’s anything LeAndria can’t sing.  I’d have to ask the same question because, if there is, I haven’t heard it yet. LeAndria tackled a classic Commissioned song first with stunning results. It may have been difficult for another singer to deliver a signature song without sticking to the original artist’s style. Not LeAndria. One of her greatest attributes as a singer, in my opinion, is her ability to interpret songs in a unique way. As I said a few weeks ago, song interpretation is what makes a singer an artist.

She was clearly up for the challenge on her second song as well. Not only did she interpret Myron Butler & Levi’s “Set Me Free,” she shared a personal testimony at the same time.  “I may have lost my house,” she sang, “but God’s got a mansion for me.” I believe he has so much more.

The Faceoff

The true faceoff of the evening, however, came in the form of a duet between Elder McLendon and LeAndria. They teamed up and sing “I’ll Take You There” to close the show. Hand in hand for the majority of the song, the pair played off of the large age gap between them and marched around the stage cheerfully in a performance that was rather harmonious for them to be going against ach other for the Sunday Best title. It was definitely a highlight of the show.

Their fate is now in your hands. You’ve been watching every week. You’ve seen the good and the not so good. You’ve seen each of them leap across the stage and bring the judges to tears.  Now you must decide who is Sunday Best.

Remember, you can vote until Saturday June 19, 2010 at noon EST. To vote online at the Sunday Best page on BET.com, click here.

What’s the verdict?

The intense competition that has marked this season of BET’s Sunday Best was still in full effect during last night’s episode. The theme for the evening– songs that pay tribute to gospel in cinema– was rather creative and, for the most part, the contestants stepped up to the challenge.  Before they got their turn to shine, however, the incomparable Karen Clark Sheard opened the show, reminding the nation why she’s one of gospel’s favorite female vocalists.

With a signature performance that only she can pull off, Karen Clark Sheard sang, squalled and riffed on “Prayed Up,” the single from her latest album, All In One. My only disappointment was that it was performed to a track instead of with the in-house band.  Musical director Stanley Brown produced much of Finally Karen, so it seems it would’ve been a great musical reunion of sorts. In any case, Mrs. KCS gives 100% every time and, even with a track, her performances are electrifying and captivating.

Up next were the Sunday Best finalists.  Judges for the night were Donnie McClurkin, Yolanda Adams and Tina Campbell, with Kim Burrell once again assisting as vocal coach during the finalists’ rehearsals.  I was particularly excited to get some longer songs from them, now that there are fewer vocalists, but disappointed that some of the selected “gospel songs” on cinema were actually just “songs” on “gospel-tinged movies.” Womp womp…

In any case, here’s the blow-by-blow on each contestant:

Tiffany Carlin-Laird – “Joyful, Joyful”
Tiffany’s got such a stage presence and charisma– she’s mesmerizing.  This was not her best performance, and it was clear, but even on her “bad” day, she was greater than most. Donnie picked up on both the fact that she tripped and that she was hoarse, but noted how professional and capable she is, despite all of that.  In my opinion, she demonstrated that she was one of the best in this competition since her audition– she was consistent and never failed to show us the best of her gift.

Durward Davis - “I Believe In You and Me”
This is one of those “this isn’t a gospel song– it’s an R&B song by the Four Tops that was used in the nightclub scene of a church-based movie.”  No matter… Durward’s voice is so smooth, he still drew me in.  He does a great job of working a song– starting simply, then leading listeners on a journey before building and smashing us to pieces.  That said, this performance was a bit forgettable to me, not because he didn’t do well, but because he didn’t do anything particularly memorable.  It seems Durward doesn’t always create “a moment,” and these competition shows are all about being able to point back to those types of moments.

Martha Buries – “Will You Be There”
Another tune that wasn’t a gospel song, but became one last night. Honestly, Martha has a really great voice, but the song was tentative until halfway through, when she grabbed the mic off the mic stand.  Her confidence, or lack thereof, has been a recurring topic of critique– from coach Kim Burrell to the judges.  It’s all in the eyes and it is unsettling for audiences.  When the audience thinks you’re not confident, it’s hard for them to get with you.  I love that Tina Campbell encouraged her, explaining that she’s better than she thinks she is– incredibly true.  I am excited for her to realize and own it.

Elder Goldwire McLendon - “He’s All Over Me”
Great song choice for him– we got to see him on an upbeat tune.  I will say this upfront– if any other contestant forgot the second half of an entire verse, they’d be cut, regardless of how much singing and steppin’ they did for the rest of the song.  That said, I think the judges are more interested in showcasing the power of God in this 79-year old contestant (and his more-than-impressive vocal ability and agility) than in nitpicking over a misstep or two.  And I can’t be mad at that.  Plus, to put it bluntly, this industry hasn’t really cared much about forgotten lyrics– I can pull out studio albums from the 1980′s on which our legends completely mumbled through the lyrics, pressed the song to wax anyway, and put it in stores, like “here ya go!!!”  We bought ‘em and they’re “classics” to this day.

LeAndria Johnson – “Speak Lord/God Is Trying To Tell You something”
It was yet another display of LeAndria’s awesome vocal ability. This particular performance was a little more haphazard than her others, but she’s still the one to beat in this competition.  She’s one of those singers to which we inherently pay close attention– always curious to see what the next line is gonna be, how she’s going to deliver the next verse, or what riff she might throw in the next time around.  LeAndria snatches our attention and makes us wait for her every move.  She’s a consummate professional.

Before the judges narrowed the competition from 5 to 3, songstress Lalah Hathaway took to the stage to perform one of my faaaave Phil Collins songs– “Against All Odds (Take a Look at Me Now).”  From tone to delivery, Lalah Hathaway is simply unrivaled, so it’s always great to see her.

At the end of it all, only three could continue to next week– LeAndria Johnson, Elder Goldwire McLendon and Durward Davis.

Last season, I knew who my top two would be, and could even name a favorite to win.  This time, not so much.  In fact, as I type this, I’m realizing that Tiffany was my favorite.  Shucks!

In any case, I’m inclined to say it’ll be down to LeAndria and Elder McLendon, and the public will pick LeAndria when it’s all said and done.  But we’ll see…

What did you think of this week’s episode???

Aside from the actual taping of the Stellar Awards, folks eagerly anticipate the BMI Trailblazers Awards each year.   In fact, people often say that the BMI event features greater and more memorable performances than the Stellar Awards taping, though, this year… that MIGHT not be the case… I’m gonna call it a TIE!

In any case, BMI annually honors folks in gospel who’ve made significant contributions to the genre.  This year, Donnie McClurkin and Andraé Crouch were honored.  The celebration consists of a great lunch and some incredible tribute performances.  It went a lil’ something like this…

Before the honoring went down, Dorinda Clark-Cole came to the stage to perform her hit single “Take It Back,” which received a BMI Song Of The Year award (songwriter, Derrick Starks).  You already know that Dorinda brings it like none other and I was on my feet before I could even finish my salad.

Following that, we got a surprise performance from Jessica Reedy, who sang “God Has Smiled On Me” like a seasoned professional.  She really holds her own in this game and it’s great to see how welcoming the industry is of her.

The vocal production for the afternoon came from the incomparable Donald Lawrence and DeWayne Woods.  In the background– Tobi Darks, Dawn Jordan, San Franklin, Latrice Pace, Blanche McAllister and Anita Wilson.  YES!  The band– Joe Wilson on keys, Stanley Brown on organ, Kevin Stancil on bass, Jonathan DuBose on guitar, Marvin McQuitty on drums and Lloyd Barry on horns.  GOOD LORD!

The formal program began with the tribute performances to Donnie McClurkin, hosted by Byron Cage.  The background vocalists did a snippet of “That’s What I Believe” before Latice Crawford came to deliver her rendition of “I Call You Faithful.”  After that, Micah Stampley sang his heart out on “Speak To My Heart.”  McClurkin’s best friend and pastor, Marvin Winans, set the room ablaze with his performance of “Stand” (for which he also brought up BeBe Winans) before Yolanda Adams came to the stage to perform “We Fall Down.”

The McClurkin tribute performances were great, but I wish they had done some more songs for him– they could’ve dug a little deeper into the New York Restoration Choir days, pulled some more tracks from the Live In London album, or even focused a little more on songs that he’s written for other artists (like, “This Is The Gospel Of Jesus Christ” for Hezekiah Walker or “It Is To You” by Byron Cage).  Still, awesome job and I’m glad he was honored for his great contributions to the game.

After McClurkin accepted his award, it was on to the Andraé Crouch tribute, which was hosted by Yolanda Adams.  First, Donald Lawrence led the singers in a mindblowing medley of classic Crouch tunes including “Right Now” (led by Blanche McAllister), “Quiet Time,” “Soon And Very Soon”… it was just incredible.

Up next was the one and only Táta Vega, a longtime friend of, and singer with, Andraé Crouch.  She did an intro of “Speak Lord,” (which she recorded for The Color Purple decades ago) before transitioning into a soul-stirring performance of “Oh It Is Jesus.”  It was at THAT moment that the atmosphere of the entire room shifted from tribute to worship, and the event wasn’t the same again.

After that, Yolanda Adams couldn’t even regain her composure to introduce the next performance– BeBe & CeCe Winans singing “The Blood Will Never Lose Its Power.”  They just came on stage and took us to new heights, followed by Mary Mary’s staggering performance of “We Are Not Ashamed.”

Finally, Marvin Winans returned to the stage and shared some great stories about how instrumental Crouch was to the career of The Winans, even down to changing their stage name from “The Testimonial Singers” to simply, “The Winans” (thank God!).  He wrapped his segment with a performance of “Jesus Is Lord,” for which he simply had to call the legendary Karen Clark Sheard to the stage!

Andraé Crouch accepted his award and shared how he had been recently diagnosed with diabetes.  His doctors wanted to amputate his toe after discovering a large hole in it, but he shared that he had been miraculously healed!  He asks for continued prayer from the industry… great speech.

Finally, Marvin Winans led an impromptu segment of EVERYONE singing some classic Crouch songs that weren’t even on the program.  He called up Shirley Caesar, J Moss, Marvin Sapp, Donnie McClurkin… there are no words!

That’s that, essentially.  Dunno how much of it will make the edited televised program, but look for it on February 21st on Gospel Music Channel.  I’ll remind you as the time comes closer!

Soooo… whatd’ya think?!

Okay, people.  Here’s the culmination of my chat with our vocalist extraordinaire, Melonie Daniels.  If you missed Parts ONE and TWO, click here to catch up on what she’s had to say so far!

In this segment, Melonie shares a bunch of info about her vocal routine, what it takes to be a great background vocalist, her work at NYC’s Village Undergound, her transition from background to foreground as a solo artist, and what’s next for her.  You don’t wanna miss it!

Ladies and gents, enjoy PART THREE:

*     *     *

EJ:  How do you prepare for a studio session?  Like, how much rest do you get, what foods do you avoid, and all that?

MD:  Well, that’s a biological thing and it’s an individual situation.  There are those of us that are lactose intolerant, or allergic to citric acid, or whatever.  You have to know what your body is capable of handling, what your allergies are…

EJ:  And you don’t mean “allergies” like if you eat it, you have to go to the hospital, right?  You just mean “allergies” in the sense that your body responds negatively in some way?

MD:  Right.  It’s not a blanket thing.  I love the teachings of Lady Tramaine Hawkins, but her routine may not work across the board for everybody.

EJ:  What does she do?

MD:  She’s very protective of her voice.  Wherever she ministers, she has to shut down the air in the entire place, she stays wrapped up.  She can’t handle air conditioning.  And there are several singers that do that.  For me, I’m like “turn down the heat, turn up the COLD.”

EJ:  Really?!

MD:  I chew ice.  I don’t have a problem with dairy products, but I can’t do orange juice because I’m allergic.  So it really is dependent on the individual and knowing what your body can handle.

EJ:  Know your instrument, people!

MD:  Yeah, you have to really study yourself.

EJ:  That’s funny cuz some people take themselves so seriously based on what they’ve heard… like “no, no… I can’t do dairy right now because we’re singing later,” when that may not even affect them in the same way.

MD:  Right.  When I’m ministering and they ask me if I want water, I’m like “yes, ICE COLD.”

EJ:  Are you for real?

MD:  *laughing*  Yeah!  I’m like “you got some ICE?  Crack me up some ice!”  But that’s just me.

EJ:  *laughing* What does it take to be a great background vocalist?

MD:  Be teachable.  Be very studious.  And be quick about it.  Have good intonation, memorization, good pitch… Ear training has a lot to do with it because you have to pick up stuff so quickly sometimes.  And you don’t get a second chance a lot of times.  Rehearsal is the only place where you can fool up and get away with it, but when it comes to performance, you’ve gotta nail it.

And that’s why a lot of background singers are losing jobs– because a lot of people now are keeping Pro Tools nearby and aren’t using background singers.  You’ll never sound like what they have on the record because artists will either hire session singers that don’t travel, or they’ll do the vocals themselves.  So, there’s no way to sound just like that.

Most of my life, I’ve done live stuff.  I don’t sound exactly like the record, but I try to come as close to it as possible– to do the same inflection, the same words, and the same tone quality, if possible.  I have the advantage of being like a mimic, especially from growing up and watching cartoons, because I could mimic the characters’ voices.

EJ:  So, watch your cartoons, folks! *laughing*

MD:  That was my thing.  And even people’s speaking voices.  You have to study those things in order to be effective as a background singer.  And that’s why people keep getting called– they can give the singer certain nuances, they can give the artist something familiar.  You may have a great voice, but if you’re not able to conform VOCALLY to what someone requires of you for that moment…

That’s the hardest part of background singing for a lot of people– conforming vocally.  You have to, though.  They called me at the last minute to do something with Ricky Martin 8 or 9 years ago.  That next morning, I was on a flight and I had to learn five or six songs, three of which were in Spanish.  I took French.

EJ:  *laughing*

MD:  *laughing*  So, I had to take a crash-course in learning how to phonetically pronounce the Spanish lyrics.  And then, you know how some Spanish artists have the mariachi-type, nasal sound?  I had to adapt to that as well.  So, you have to be a chameleon of sorts as a background singer.

You know, the Bible says don’t conform to the world, but be transformed by the renewing of your mind… that’s the only place I conform! *laughs*

EJ:  *laughing*  Right!  I ask most of the background vocalists this when I interview them– can you assemble a dream team of background vocalists for me?

MD:  Ummm… Jerard and Jovaun Woods.  Blanche McAllister-Dykes… ummm… well, that’s a soprano, alto and tenor right there!

EJ:  Aaaaaand you’re DONE! *laughing*

MD:  See, that would be a great session.  Working with people like Donald Lawrence and Richard Smallwood, even with Mariah… I’ve had the opportunity to sing, coast-to-coast, with some great voices.  There’s a girl named Sharlotte Gibson, she’s on American Idol now singing background.  She used to sing with Mariah and she’s incredible, one of the L.A. crew.  Umm… the late Olivia McClurkin was a wonderful person to sing with.

EJ:  I know.

MD:  Oh my God.  Incredible voice.

EJ:  For real!  I miss her.  You know, in these interviews, I like to ask about how lucrative session work can be.  Do background vocalists need a day job or can they be alright?

MD:  They can be alright if they have a certain work ethic.  There’s no job too small, no job too big.  Pride goes out the window.  It can range from doing a demo session for somebody and getting $250 to do it, all the way to doing a performance and getting paid $5,000 to do background with Madonna.

EJ:  For one show?!

MD:  For one show.  It can be very lucrative.

EJ:  Am I on the wrong side of this business?! *laughs*

MD:  *laughing* That’s why I’m sayin’… If Sting, Elton John, Madonna and Cher… if any one of them wanna call me to put me on the road and I get $5,000 a show, guess who’s goin’?

EJ:  *laughing hard*

MD:  Me and my Bible!  *laughing*  But, like I said, there are certain criteria that have to be met before I can do that.

EJ:  Right.  No matter how much.

MD:  Yeah, no matter how much.  I’ve been offered hundreds of thousands of dollars and said “no,” because it didn’t feel right.  It didn’t sound right to my spirit to accept it.

EJ:  I understand that.  I wanna get to your solo artistry in a sec, but talk to me for a minute about the Village Underground in NYC on Sunday nights.  For those who’ve never heard about it, how would you describe what it is?

MD:  Basically, it’s an open mic– anyone that wants to come up and sing can sign the list and sing, accompanied by the band LIVE… no performance tracks.  And it’s just somewhere to let your hair down and enjoy music without being threatened by what you believe or don’t believe.

There was a time that we did, one Sunday a month, a gospel night.  But because we were in what people call a “secular” place (a bar), the owners complained because they were losing money. *laughs*

But there’s a responsibility involved in invoking the presence of God.  We were literally changing the atmosphere.  And they said they were losing money at the bar because we were singing gospel music.  We were forced to discontinue the gospel night, but that doesn’t mean we’ve stopped singing gospel music.  At any time, in that venue, someone may come up and sing a gospel song.  If it’s true to that individual, spirit recognizes spirit, and whoever’s in there will hook into it and we will have a worship moment in there that’s better than what you can find at some churches.

EJ:  Why do you think it’s become so popular?  It’s even been featured on Bobby Jones Next Generation as the place to be in New York.

MD:  It is an outlet for people, especially in this new generation, to be “in the world, but not of the world.”  Because you can be in a place, and not be a part of what’s going on in the place.  But that comes with a level of maturity in your walk with Christ.

I’ve heard people emphatically say “I will NOT” or ”I cannot be caught in a place like that.”  Those were the words that were used.

EJ:  Really?

MD:  Yes.  But on the flip side, Martha Munizzi comes down, Israel comes down, Lisa McClendon has called me to get information, Shari Addison and Crystal Aikin were there a month or so ago.

EJ:  Yeah, I haven’t been in years, but it’s great.  My wife and I are coming soon!

Listen, I wanna chat about your transition from background vocalist to artist.  First, is it hard to do and, if so, why?

MD:  Ummm… a lot of times, it’s an insecurity issue… not feeling adequate to deliver.  Comfort zones– you feel safe in a group, in the back.  I’m speaking all from personal experience.  Not feeling like you have anything to convey to the general audience…

But mostly, it boils down to insecurity.  Everyone has a purpose because God put us here with purpose.  It’s up to the individual, in their walk, to recognize the purpose that God has placed in them and to walk in that purpose.  And that can be difficult.

EJ:  Amen.  But you went for it… a coupla years ago you released your long-awaited solo project.  Talk to me about your album, Live In Concert.

MD:  It started as a conversation with my pastors.  And the church invested in me.  And September of 2006 was the result of that investment– we recorded a CD.  They just sowed into my life.

EJ:  That’s great.

MD:  Yeah, so that’s how the record got done.

EJ:  Who wrote and produced it?

MD:  Stanley Brown produced the music with Nathaniel Townsend III, the drummer.  I got to handpick everyone.

EJ:  How do you describe your style of gospel music?

MD:  The CD’s style is as eclectic as I am.  You can hear “Glory After This,” which is straight churchy, or “My King,” with intricate harmonies and chord structure, kinda gospel-jazz.  I’ve got a song on there called “Kingdom I,” which has a neo-soul kind of vibe.

EJ:  You workin’ on another album?

MD:  Umm… still planning stuff out.  Not actively working on it yet, but just thinking.  There are so many different directions I could go in, because of my musical influences.  I would love to do a “big band” gospel CD… I would love to do a neo-soul set, unplugged… I would love to do alternative-sounding stuff, because I’m a student of music, not just gospel music.  To me, all music is God’s music, honestly.

So, I have so many ideas that I have to narrow them down to get at least the NEXT project out.

EJ:  I was gonna say “we will take all of the above, thank you!”

MD:  *laughing*  That’s enough material for three more projects.  I would even love to do a CD of love songs for gospel folks who are uncomfortable buying Luther [Vandross], or Joe or Anita Baker… or Jill Scott.

But, then again, you have to contend with the critics who say that it doesn’t glorify God…

EJ:  Ewww… well, please contend!  I think that would be great.  Either way, I’m looking forward to it.

MD:  We’ll see.

EJ:  Well, that’s it for me.  I have REALLY enjoyed chatting with you and I appreciate you for taking the time to do this interview.

MD:  Thank you!

EJ:  No doubt.  I’ll talk to you soon.

MD:  Okay, bye.

*     *     *

And, that’s THAT!  You can learn more about Melonie (and buy her bangin’ album) at her website, http://www.meloniedaniels.com/.

Sooooo… what did you guys think of the interview series???

Oh, and as a parting gift, here’s the Melonie clip for this segment.  It’s an audio clip of a KILLER track from her solo album, entitled “Glory After This”: