print: Israel Houghton - Interview (October 2006) | Black Gospel Music Clef (BlackGospel.com), Your Music Ministry Source!

Interview with Israel Houghton
October 2006, BlackGospel.com by Christopher Heron

Israel & New Breed could certainly be considered one of the vanguards of Praise & Worship music. His cross-cultural music and heaven-centric lyrics wrapped in intricate chords and powerful Spirit is more than the flavor of the month. It’s a musical and spiritual movement that’s taking the North American church by storm, regardless of denomination, race, culture or musical preference, while shifting the paradigm towards Kingdom-oriented celebration.

Praise & Worship music is the metaphorical runaway train, the fastest growing format of Inspirational music in Christendom and Israel Houghton and his troop of Levites are an instrumental part of that striking trend. Through their careful synthesis of musical styles and influences from Australia, Africa and America, Israel & New Breed have created an attractive musical mélange that has found new audiences in every corner of the globe.

And with the release of Israel’s latest musical offering – A Timeless Christmas (Integrity Gospel) – another stellar release by the worship leader and his altar team, Israel again shifts the attention from pine trees and wrapping paper to the Lamb of God and his descent from Canaan to Bethlehem to save the world. It was a perfect time to discuss his album, his ministry, his take on the rise of Praise & Worship music and his next great venture and BlackGospel.com took full advantage of the opportunity to pick his brain on each of the topics.

Christopher Heron: A Timeless Christmas is your latest musical edition. What exactly inspired you to release this theme-inspired Christ-centered CD, particularly on the heels of Alive In South Africa?

Israel Houghton: We’ve been talking for a number of years about doing a Christmas record. It was officially blueprinted at the start of this year, and from the onset it was a bit of a challenge. When we started to work on ‘Alive In South Africa’, it turned out to be a major financial undertaking. Our label, Integrity, said to me, “Let’s do Alive in South Africa, provided that you give us a Christmas record in ‘06”. So, I said, “Fair enough”. That’s how it came about; but, quite honestly, it was really something we wanted to do. I hope I’ve demonstrated through the years that I can do things right and epic. It was critical for me to do a big, classic Christmas record.

CH: You collaborated with a relatively new producer, Luther ‘Mano’ Hanes, whom I believe is also responsible for a recent release by Marcus Cole. Tell us a little about the experience and chemistry of working with Luther Hanes? How was it distinctively unique from your previous experience with Aaron Lindsey?

IH: There was little difference. Naturally, the chemistry I’ve had with Aaron over the last seven years has just been one of those things. It was an easy connection. With ‘Mano’, I had a blast because of what he brings to the table from a musical standpoint. He thinks outside of the box. He is very much a deep-rooted jazz lover. Working with ‘Mano’ felt very much like it would, had I worked with a legend like Quincy Jones in the late 70s, early 80s. I admire the sheer genius of what was brought to the table. Fortunately, we assembled the right team to do this project. And, when I gave ‘Mano’ the idea behind what I was shooting for, we rolled up our sleeves and got to work. This turned out to be successful beyond what I had hoped for.

CH: You’re as busy as ever, songwriting and producing for others, whether it’s with Karen Clark Sheard, Freda Battle or with other well-established artists. Where do you find your greatest joy at this particular point in your career? Is it bringing out the best in other talented psalmists and Levites? Or is it in leading the worship call as a Worship leader?

IH: It’s like this. Whatever I am doing, that is what occupies my devotion, my passion, and my heart. It really is a joy. I love the creative process. I love going into an empty room and creating something that ultimately becomes a classic record. But, I know my calling. I also know what ignites that thing inside of me that will allow me to lead people into God’s presence. So, whatever is currently occupying my time is what I’m most passionate about.

CH: You are now preparing for a special tour with another emerging force in music and ministry in Tye Tribbett. Though your musical styles differ, it appears that your spirits are very much like kindred brothers. What were the variables that brought you and Tye together? And, is this collaboration something that will transfer into the studio?

IH: I’m hoping so. To answer your last question first, we have discussed various collaborations and are looking for the right moment to do them. I have known about Tye for a long time and I have an appreciation for him based on his work on the Prince of Egypt Inspirational Soundtrack. It was at that time I was truly drawn to him. The first time I saw him minister, was live with his whole army.

I simply said, “If there’s anything I can do for you, please let me know. Beyond that, let’s please consider working together at sometime”. We talked a lot about things to look forward to, things to avoid, and things to ask for. Though we’re not far away in age, he allowed me to become his big brother in some sense. He is phenomenal and I believe that if there is such a thing as a Gospel super star, he absolutely is one.

CH: I must declare you have emerged as one of the ambassadors for Praise & Worship music. This style of Gospel music has essentially transformed Gospel music in terms of its lyrical content, its musical arrangement, and its purpose as a recording music. The culture of Gospel music has shifted to some degree and you are a part of that movement.

My next questions I ask with humility. As far as you can perceive it, has the culture of the Gospel industry shifted? For instance, do you sense a greater emphasis on the part of labels looking to change lives through Praise & Worship music? Or is it still about business, dollars, and cents? And, secondly, are Gospel artists more concerned about being transparent before God and man as they record Praise & Worship music or are they still interested in fame and fortune and are following trends?

IH: You’re asking some good questions here, my friend. I will answer the questions you asked in humility, with humility. I would be remissed if I didn’t say I have my concerns; there is not much of a chasm between dollars and cents and actually trying to find people who want to be transparent in worship. I think you used a good word, and that is, culture. I think we have to look at the foundation of our culture. As you and I both know, regarding that foundation, being transparent is not at the top of the list. With all due respect, being open, transparent, and culturally intimate is not at the top of our list. That’s why it has been a long journey.

People like Gary Oliver from back in the day, influenced a lot of what folks like Fred Hammond ended up doing. We are now seeing the results of the seeds that they’ve been planting for years. I am concerned when it pertains to labels in this industry, because I get calls all the time from different label execs that go something like this: “Hey doc, what do you think about doing one of those worship records now?” And I end up saying things like, “That’s cool, but before I do, you have to become a worshipper”.

There are artists who don’t quite understand the concept of what worship truly is about. But, I have hope and I look towards people like Pastor Donnie McClurkin and CeCe Winans who have set a standard with a purity of heart.

CH: Would you say Praise & Worship music is cross-cultural? Or is it really the artists who are the proponents for a cross-cultural movement?

IH: To answer that question, I would have to say yes to both. Inherently, I think if we look at the object for Praise & Worship then we understand that God is not an American. I’ve used that example a couple of times and have even gotten in trouble for saying that. But, God is not American. God is not African. God is not European. God is God and He is global and has a global effect. I think that the more we stop and think, “This is worship. This particular thing now is where it’s at.” Then, people sort of jump on that because it’s hot or because it’s selling, as opposed to realizing that at its core, worship should be cross-cultural. I think that a part of this is that in our western mindset, if we can categorize this music, then it’s cool. We quickly compartmentalize it and make that thing that’s hot the thing.

CH: With the rise in popularity of Worship & Praise music, new faces, new songwriters, worship leaders have found a new platform on the national stage; whether it’s Judith Christie-McAlister, William Murphy, Byron Cage, and your label mate, Stephen Hurd. Are there any particular favorites you enjoy or draw inspiration from in either their composing or in their worship style?

IH: I listen to a lot of people. Where I get fed - that is the best way I can explain it - I have looked to Hillsong out of Australia. The kingdom message in her writing has stirred me. I have seen what’s been done. I wouldn’t say it in a limited capacity, because they have literally gone global, but stylistically they are sort of one-dimensional. A friend of mine once said, “Here’s what you guys are doing. You have this one-dimensional worship style. This hard driven rock theme. But, you also have this whole other reach.” People are looking to us for inspiration. That is kind of funny because these whole cross-pollinization that is happening. I have applied a lot that I’ve learned from Darlene Zshech, Reuben Morgan and some of these artists from Sydney, Australia who are touching the whole world. We really want our music to do the same. That is why we are attempting to build a cultural movement.

For more information on Israel & New Breed, visit the official website at www.newbreedmusic.com.