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Here my picks in the final round of the Singing News Fan Awards:

• Group - Ernie Haase & Signature Sound. They are at the top right now. The other day (while in Washington, D.C.), I told a co-worker that I enjoyed Southern Gospel. He said: “Oh–like the Cathedrals, Gaither, and Ernie Haase & Signature Sound?” That was about all he knew of Southern Gospel groups–but at least one of the groups he’d heard of was a current top male quartet.
  
• Male Singer - Ernie Haase. I admit this is partly a reaction to the Ernie-bashing I see around Southern Gospel blogs and message boards. I’ve had just enough of it to sway what would otherwise be a close decision between Haase and Gerald Wolfe.
• Female Singer - Libbi Perry Stuffle. I didn’t need to read the rest of the list; I knew I wanted to go with Libbi.
• Horizon Group - Ball Brothers. I’m hoping this is their year.
• Horizon Individual - Dustin Sweatman. I went with Dustin here partially because I went with Joseph Habedank in the other category in which Sweatman was eligible, Young Artist.
• Young Artist - Joseph Habedank. I admit that this vote, like my vote in the Male Singer category, is partially a reaction to the Habedank-bashers of the world. Joseph has a great voice and improved the Perrys’ sound, so he has my vote.
• Musician - Roger Bennett. I don’t think this one needs any explanation.
  
• Songwriter - Dianne Wilkinson. She deserves this award at least once–as does Kyla Rowland, who didn’t make the top 5, making my decision easier.
• Album of the Year: I Know (Inspirations). I like four of the top five albums, but went with this one because it has the fewest weak cuts counterbalancing the strong ones. “I Have Not Forgotten” and “Led by the Master’s Hand” are both great cuts–and great renditions to boot. The Inspirations have earned their legendary status, and I’m happy to be able to support them in at least one category.
• Tenor of the Year: Ernie Haase.
• Lead Singer of the Year: Arthur Rice. Adam Edwards’ enthusiasm for the Kingdom Heirs is contagious; I believe this is the first time I have ever voted for the Kingdom Heirs for any major award in the final round.
• Baritone of the Year: Mark Trammell. It was also tempting to go with Doug Anderson, who deserves the honor one of these days, but I ended up going with Mr. Baritone himself.
• Bass of the Year: Tim Duncan.
• Alto of the Year: Libbi Perry Stuffle. Easy call!
• Soprano of the Year: Kim Hopper. Mezzos are nice, but will a first soprano ever make the top 5?
• Song: “Once Upon a Cross” (Mark Trammell Trio). I can point to two songs that came out this year as almost definite future classics–and the other, “I Have Been Changed,” did not make the list. That made this a very easy call!

Rating: **** (Very Good)

Song list: The Blood of Jesus; We Still Believe; When God Whispers; Trumpet Medley; He Already Sees; Not the Same; I Can Trust Jesus; What Noah Knew; It is Well with My Soul; More than Just a Swear Word; In Awe; God Can Do Anything; My Favorite Things; Blessed Be the Lamb.

Traditional / Progressive Scale:

The Collingsworths are one of the most versatile Southern Gospel groups on the road today, and their various talents are reflected in this diverse project. Three of the fourteen songs on the project are recorded by the full family, with six more by a mixed trio consisting of Phil and Kim Collingsworth and their oldest daughter, Brooklyn. A ladies trio (Kim with daughters Brooklyn and Courtney) does one song, a sibling trio (Brooklyn, Courtney, and Phil Jr.) does another. Three solos–a vocal solo by Olivia, a piano solo by Kim, and a trumpet solo by Phil Sr.–round out the project.

One of the project’s highlights is the final song, “Blessed Be the Lamb.” The anthem struck me as a song that a better-known group would have jumped at the chance to record, but I’m glad that they didn’t. It fit this group perfectly; their radio promoter would be wise to eventually send it to radio.

Kim Collingsworth was named one of the top five favorites in this year’s Singing News Fan Awards, and she does not disappoint with her magnificent rendition of “It is Well With My Soul.” Her rendition of “How Great Thou Art” has defined her piano playing for the last several years, and raised the bar to the point that finding something of equal dramatic force might have been a challenge for a pianist of lesser stature. But this song and its arrangement should help cement Kim’s position in the top rank of Southern Gospel pianists.The Collingsworth Family has recorded one song each of their last several projects featuring a ladies’ trio of Kim, Courtney, and Brooklyn. “God is in the Shadows,” on God is Faithful, persuaded me that this particular lineup has possibly the most perfect blend of any of the lineups on the CD, and whetted my appetite for more.

The ladies’ trio did return for one song on this project, “When God Whispers,” but I personally would have liked to see a second song with the lineup. One good candidate would have been “In Awe,” recycled from Mercy’s Mark’s self-titled debut project. It is done by the trio and is a highlight of the CD, but would have been even better if done by the ladies’ trio.

As always, Olivia’s solo feature is one of the highlights of the CD. Her adaptation of “My Favorite Things” should have audiences rolling in laughter before the song is over. Of course, she will outgrow the age in which she can get away with singing cute songs like this one in a few years, but this stage in the family’s music is worth enjoying while it lasts.

The CD, like their 2005 release God is Faithful, has a soft (cardboard) cover. This time, instead of attaching the booklet to the cover itself, an envelope was provided for it–an improvement over the past.

Something about this family’s music attracts fans from many different genres. I personally know Collingsworth Family fans who primarily listen to bluegrass, and other fans who primarily listen to praise and worship. Without compromising the Southern style or the Gospel message, this family’s professionalism makes them one of the premiere groups that we can point out to show outsiders what Southern Gospel should be.

I admit to being fascinated by the inner workings behind-the-scenes details of the recording process. So with that in mind, this from-the-studio post by Paul Jackson of the Prophets Quartet goes down as one of the most interesting posts I’ve seen in a while.

My schedule finally calmed down enough for me to put some time into the blog. Several loose ends from previous threads were waiting to be tied, and one of these is our uncompleted discussion about my proposed system of including in album reviews a discussion of how traditional or progressive it is. I simplified the system, taking it from ten down to five categories, with this result:

So there you have it. It’s a very simple system; you might not always agree with it, but you should always be able to understand it.

* * *

Modern vs. Progressive

Note that my rating system still refers to progressive as the opposite of traditional. Several who posted comments in earlier threads on this topic objected to this usage, and though I did not answer their arguments at the time, I am not ignoring their viewpoint. But I must say that I respectfully disagree.

Let me define each of the three terms, using the primary Random House Dictionary (2006) definition, as found at reference.com.

Traditional: “of or pertaining to tradition.”

Progressive: “favoring or advocating progress, change, improvement, or reform, as opposed to wishing to maintain things as they are, esp. in political matters.”

Modern: “of or pertaining to present and recent time; not ancient or remote.”

I stuck to the first–primary–definition for each word because secondary usages of modern can overlap with progressive. But if a distinction is to be made, and earlier comments were making such a distinction, we need to use the primary and main definition for each word.

Progressive Southern Gospel–and by that term I mean both what some would call modern and what some would call progressive–is the music “favoring or advocating progress, change, improvement, or reform, as opposed to wishing to maintain things as they are.” That, in my opinion, is a perfectly satisfactory and accurate description of the sub-genre.

So why do I dislike the term “modern Southern Gospel”? It is because the primary definition of modern is “of or pertaining to present and recent time.” All Southern Gospel recorded in the “present and recent time” is modern Southern Gospel.

Ever since a certain great President, the political term “liberal” has been out of style, so “liberals” use the term “progressive.” Perhaps because of this, some participants in this mostly politically conservative genre shy away from “progressive” as though it was a bad word. Of course, it isn’t a bad word, as it’s quite possible to be progressive and be very good.

But “progressive” is still a more accurate nomenclature for the sub-genre we’re trying to describe, because all current Southern Gospel, be it traditional or progressive, is modern.

I recently had the privilege of interviewing one of the greatest songwriters of our time, Kyla Rowland. Click here for the interview.

Highlights include an insider’s look at how song publishing has changed in the 35 years she has been writing music, and the story behind the song that means more to her than any other song she has written–”One Scarred Hand.”

I’m checking in here for a few minutes before heading off to Washington, D.C. on business this afternoon. I’m planning on being back Thursday.

In the meantime, I notice the Kingdom Heirs have a new pianist, Andy Stringfield,  and also a fill-in, Joshua Pope.

I’m looking forward to getting back into the swing of things later this week!

Over the next seven days I have speaking engagments at a conference to promote my book (The Faith of America’s Presidents), a TV interview on local TV (also for the book), and a business trip to Washington, D.C.

I won’t be around the computer much, so please pardon the days that don’t bring a new post!

I was thrilled to see this press release drop into my inbox today:

Earlier this month, owners of legendary Gospel quartet, The Florida Boys announced plans to retire from touring in July. While that retirement date is still firm, the multi-award winning quartet has agreed to perform at all of their previously scheduled performance slots during the National Quartet Convention scheduled to be held in September.  The group will be joined during those performances by several former quartet members, as well as the current group as it exists at the time of their retirement.

Additionally, the National Quartet Convention will feature a special segment on the Saturday evening concert, paying tribute to The Florida Boys’ 60-year career.  The tribute will be followed by a very special, last performance by The Florida Boys.

Complete schedule information is available at www.natqc.com or by calling the NQC office at 800-846-8499.

Now that’s the way a quartet of their stature is supposed to go out–with a bang, not a fizzle.

SoGospelNews has a press release posted announcing that Jeremy Peace has joined the Old Paths Quartet. Incidentally, he explained in a post here why he left the Kingsmen, and expressed his confidence in Harold Reed’s abilities to fill his shoes.

The top 5 finalists in the online Diamond Awards poll have been announced. You can view them and vote here.

Here are my picks:

1. J.D. Sumner Living Legend Award: Roger Bennett
2. Group of the Year: The Perrys
3. Trio of the Year: No vote cast (my two favorites, Greater Vision and the Mark Trammell Trio, were not nominated–I would’ve also voted for the Whisnants if they had made the top 5)
4. Duet of the Year: No vote cast
5. Soloist of the Year: No vote cast
6. Sunrise Award: The Browns
7. Male Vocalist of the Year: Guy Penrod
8. Female Vocalist of the Year: Kim Hopper
9. Songwriter of the Year: Kyla Rowland
10. Instrumentalist: Roger Bennett
11. Comedian: Aaron Wilburn
12. Bluegrass Artist: Primitive Quartet
13. Website: Brian Free & Assurance
14. Industry Website: Singing News
15. DVD: Get Away Jordan (Signature Sound)
16. Song of the Year: No vote
17. Album of the Year: The Ride (Hoppers)