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    The Lighthouse June 1996/Jaci Velasquez
    Jaci Velasquez — Heavenly Place cover

    Jaci Velasquez

    Heavenly Place

    (1996)

    Reviewed by Vanessa Crooks

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    Label MyrrhThe LighthouseJune 1996
    adult contemporaryccmpop

    Heavenly Place from Myrrh's newest and youngest artist, Jaci Velasquez, is the second release in as many months from Hispanic women. What a refreshing development! Contemporary Christian music has been a "white music" ghetto for far too long. Although African-Americans are credited with giving birth to Gospel music, the CCM genre as a whole has not encompassed extensive ethnic influences. Certainly Hispanics should have a prominent role in CCM-their culture has had an incredible impact on music in general (salsa, merengue, conga music, etc.), and they are known for their spirituality and their passionate worship. Unfortunately, the Latin presence in Christian music has been relatively minimal thus far. In fact, with regards to projects recorded in their native Spanish language, the Hispanic community has had to look beyond their own people to artists like Margaret Becker, Crystal Lewis, and Steve Green. So, at the very least, Heavenly Place is culturally relevant and important. But what makes this album even more remarkable is the fact that Velasquez is just 16 years old. Like Amy Grant and Crystal Lewis, who also began their careers at tender ages, Velasquez is a rare and refreshing talent.

    While she may be young, Velasquez is far from inexperienced or immature. She grew up in a family which was immersed in both music and ministry. As a result, Heavenly Place possesses a polished musical delivery and a solid spiritual foundation. With a strong pop approach, she belts out up-tempo grooves and ballads with gusto and skill. Producer Mark Heimermann has chosen the perfect stylistic accompaniment for Velasquez' amazing vocal ability. Tapping the talents of songwriting notables like Bob Farrell, Chris Eaton, and David Mullen, and session luminaries like Dann Huff, Jackie Street, and Terry McMillan, he weaves a cohesive and sophisticated sonic backdrop. Heimermann is also quick to draw upon the subtle textures and flavors of Velasquez' ethnic background. "Un Lugar Celestial (A Heavenly Place)" most ably highlights her heritage. Co-written by Velasquez' father, David, it intersperses expressive Spanish phrases throughout its poetic verses, painting a powerful picture of our true and eternal home.

    Although the majority of the album was written by others, Velasquez does leave her own creative imprint on Heavenly Place. Many of the themes were gleaned from conversations about her life. For instance, "Shelter Me," a duet with Chris Rodriguez, speaks not only of the refuge we can find in Christ, but also of the safe retreat and security that Velasquez' earthly family has provided her. She even co-wrote "I Promise," one of the most moving pledges to remain sexually pure that I've heard. Indeed, Velasquez shows insight beyond her years as she challenges her listeners to wait until the Lord brings the one they are to marry:

    I have seen the suffering Loneliness can cause When we choose to give our love away Without a righteous cause.

    Heavenly Place offers more than just a little bit of "heaven sent from up above." It begins the critical task of including and celebrating the cultural diversity within our Body. It also introduces Jaci Velasquez, one of the most gifted and perceptive young artists to come along in quite some time.

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