& The Voices of Creation
In our contemporary chaotic worldview, filled with suffering and a darkness that steadily encroaches upon our hearts, reminders of our inherent humanity, our capacity for warmth, empathy, and hope, become even more crucial.
One who rings the bell is Jimetta Rose. She is known as a performer, saxophonist, vocalist, and composer, having collaborated with figures such as Miguel Atwood Ferguson, Georgia Anne Muldrow, and Angel Bat Dawid, among many others. Participation in such projects may have been driven by the desire for artistic development. However, in this project, the creative process has been propelled by a need for healing. This is reflected in the music, which strives to be what it conveys.
It is an egalitarian project, and there is a good reason why the music is perceived as healing. The project began as a choir for her local community in Los Angeles. In the process of recruiting vocalists, Rose was more concerned with their interest in healing themselves and others. Therefore, it largely consists of non-professional musicians.
The background speaks to how intention is channeled from one's inner self into something sonorous, something tangible. The songs on what eventually became the album "How Good It Is" (2022) also emerged as part of Rose's own healing through periods of adversity. She found solace in the songs and used them to regulate herself.
On it, Jimetta Rose, along with the gospel choir The Voices of Creation, has created music that reaches back to the roots and extends forward to everything the future holds while undeniably being present in the now. They embrace time.
Musical references bring to mind Pharoah Sanders' "The Creator Has A Master Plan" and its reconciling vigil, but also contemporary RnB and traditional gospel as we know it. Or, to put it in Rose's own words: "It’s new black classical music."
The skeleton of the music is thus recognizable, with unexpected turns here and there. One can almost taste the wood from the church pew and see the colored glass behind the altar and the choir. Likewise, one feels the worries lifting from the chest, becoming insignificant details in this large community.
If you're wondering why you should go to church in July instead of Christmas to hear gospel music, it's because: We need reminders that we are beings of flesh and blood with a need to feel connection, closeness – to belong. Knowing it is not enough; we must feel it. It can't be done from a distance; it requires your presence. The music is created with you as a participant; it must resonate in other souls to come to fruition. You matter.
Conductor: Jimetta Rose
Musical Director, Organ: Jack Maeby
Piano: Quran Shaheed
Percussion: Allakoi Peete
Sopranos: Gaby Hernandez, Andree Belle- Soprano, Cassandra Hawkins, Roz Kumari- Soprano
Altos: Novena Carmel, Tamara Blue, Khalila Gardner
Tenors: Kellye Hawkins
Tenor/Baritone: Zavier Wise, Samir Moulay
Baritone: Fred McNeil
Bass: Yohance Wright