For yours is the kingdom, the victory and the majesty, the power and dominion, for all that is in heaven and earth are yours… 1 Chronicles 29:11a On October 13, 2007, a standing room only audience packed Reid Temple AME Church to experience the transforming power of Kirk Whalum’s The Gospel According to Jazz, Chapter III. Recorded live by three generations of Whalums and some of the most resounding names in jazz, pop, gospel and R&B, the CD/DVD comes ten years after the first chart-topping Gospel According to Jazz, Chapter I debuted, and six years after the Grammy® nominated, Stellar Award winning Chapter II. The Gospel According to Jazz, Chapter III, in all its breath and breadth, plaintive wailing saxophones, deep and rich harmonies, sensual romance, delightful humor, artful space, and awesome beauty tells HIS story in a way no other music can. The two-disc set, plus a DVD directed by Jim Hanon (End of the Spear; and Miss HIV, for which Kirk wrote the soundtrack) is the most expansive in the series in terms of content and concept. Kirk Whalum and company blow the roof off with subtlety, nuance, inspired performances and a message of faith, hope and love that both encompasses and transcends every point on the musical compass. Whalum shares the stage with his brother Kevin (vocals); Uncle Peanuts (vocals, sax, and piano); son, Kyle (electric bass); nephews Kenneth III (saxophone) and Kortland (vocals); plus first cousin Caleb tha Bridge (vocals/rap). The unparalleled George Duke, featured on both I and II, returns on keys and is joined by vocalist Lalah Hathaway, guitarist Doc Powell, keyboardist/vocalist John Stoddart, trumpeter/vocalist Aaron Broadus, stand-up bassist, Reginald Veal, percussionist Lenny Castro and Kirk’s bandmate, drummer Sean McCurley. The renowned gospel/R&B writer and producer Jerry Peters adds his soulful B-3 and shares credits with Whalum on two songs and also as album co-producer, along with Hal Sacks. Whalum’s signature R&B-inflected jazz, rich with romance and melodic power, imbued with blues, funk, pop, Latin and world music is solidly present, but on songs like “Ananias & Sapphira,” we see the more adventurous Whalum. As he describes it, “The song is definitely avant-garde; we go into deep improvisation. This isn’t a good groove and some licks, this is where we go somewhere.” And where he goes is in the direction of Elvin Jones, Coltrane and Henderson. Whalum is on a mission not just to share the Good News of the Gospel, but to expand it far beyond the walls of the church and traditionally accepted ways of communicating the message, and jazz is the medium. He purposely included songs and featured guests that are not traditionally thought of as “gospel” or Christian with stunning affect. George Duke offers up one of the performances of a lifetime on Diane Warren’s “Because You Loved Me.” Lalah Hathaway brings a depth of meaning and opulent warmth to the bluesy, “It’s What I Do,” and to Luther Vandross’ & Nat Adderley’s “Make Me a Believer.” The latter performed as a duet with Kirk’s brother Kevin who adapted the lyrics, transforms a sensual love song into a conversation with the Father. On “He’s Been Just That Good”—the album’s first single to Christian radio— Hathaway makes giving thanks infectiously addicting, and her nuanced performance of bonus track “The Thrill is Gone” is sure to raise an “Amen.” The album’s other bonus track is a post-concert recording of “You Are Everything,” reprising the concert version with spoken-word, featuring Bishop T.D. Jakes and his wife Serita in the steamiest performance by a minister and his wife since King Solomon wrote the Song of Songs. Uncle Hugh “Peanuts” Whalum combines Charlie Chaplin’s classic “Smile” with Isaiah Thomas’s “God Has Smiled on Me” in an irresistibly encouraging medley. Peanuts also joins Kirk and nephew Kenneth on “Fit To Battle” for a swinging triple tenor sax tour de force, backed only by McCurley and Castro, that shakes the walls and brings down the house at Reid Temple. “The experience was absolutely incredible,” cites Whalum. “I’m flanked by two generations of Whalums; Peanuts who is now 80, and my nephew Kenneth, 25. He’s playing with Jay-Z, Maxwell, Beyoncé, Mary J. Blige and Regina Belle and doing what I was doing with Whitney, and what Peanuts did with Nat King Cole. It was really humbling.” Kirk and his brother Kevin play off each other on John Stoddart’s delightfully danceable Afro- Caribbean invitation to prayer, “If You Ever Need Me” with intricate solos by McCurley and Castro. Ranging from silky smooth to eloquent sound-sculpting and steamy scatting on Frankie Beverly’s “Running Away,” Kevin creates a dramatic conversation successively with Duke, Kyle and Castro as they respond instrumentally in a language that needs no translation. Whalum’s cousin Caleb tha Bridge encourages, describes, exhorts and prays for Africa in a rap that manages to mention almost every nation on that continent, with an infectious and simple chorus that is both a blessing and a prayer in “Africa Jesus Africa.” As Whalum reflects, “Africa really responded to The Gospel According to Jazz and we thought that this was an opportunity to bless them back.” One of the night’s particular blessings was the father and son penned “Rev,” written to honor Kirk’s father and Kyle’s grandfather who suffered a stroke just before the recording. The album attests to the obvious legacy the Rev has left behind in his children and grandchildren. In a profound way, he reflects the spirit of The Gospel According to Jazz, Chapter III: expansive, inclusive, but securely anchored to the Word of God without compromise or apology.