The dynamic Black Gospel Music ensemble whose finely-polished repertoire includes Gospel “shout” songs, African-American Spirituals, Traditional- & Contemporary- Gospel, Gospel-Opera (an exciting, new genre in musical theatre), including Jazz and Rhythm & Blues.
This exciting Group brings together the best of Gospel musicianship: collectively, their experience spans over 40 years of direct active participation in the professional
Black Gospel Music world. These characteristics help to make ‘Shouts of Praise!' one of the driving forces today in Black Gospel Music. Encompassing a vast array of Black music, the ‘Shouts of Praise!' repertoire features African-American Spirituals, Traditional- and Contemporary- Gospel, Gospel-Opera, jazz, and Rhythm & Blues.
PROGRAM (subject to change)
Opening – African Drum call
Procession of singers – African Song/Anthem
" Spirituals (3 songs): including a tribute to the late composer Moses Hogan
" “Golden Age” Gospel (5 songs):
" Contemporary Black Gospel (7 songs)
Intermission – 15 minutes
" Contemporary Black Gospel (3 songs)
" Gospel-Opera (approx. 22 minutes) -- Excerpts from the Gospel- Opera, “Jezebel,”* (a tribute to the Grammy-Award winning composer, the late Charles W. May), including:
" King Ahab
" Princess Afthaliah
" Jezebel's Maid-Servant
" King Joram
" Elijah the Prophet
(Program Duration: 90 minutes)
* Jezebel - The story of Jezebel is based on the Biblical narrative (found in the book of I & II Kings), describing the wicked exploits of the notorious queen Jezebel , a contemporary of the ancient Israelite prophet, Elijah. It is a dramatic and heroic story of love and passion: an epic tale of the “war of the gods”. It is a story of unrivaled vengeance, international intrigue, and the faith of a nation caught in a spiral of desperate times: including drought, famine, and war in ancient Israel. The story ends on a positive note, with a wonderfully uplifting message: “the triumph of good over evil.” Composed by Grammy-award winning artist (and Group co-founder), the late Charles W. May.