I beg to differ with Jazzfender somewhat.
Unlike gospel drummers and organists, you can actually state that a gospel bassist is the best. As you stated, the "best" should mean someone who is innovative and has revolutionized bass playing in gospel music like Jaco and Stanley have done for their musical genres.
Going by your own definition, IMHO, Reggie is the best out there and he is exceptional. As was said, he is not HUMAN, but a machine. I would go as far as saying that Reggie is the Jaco/Victor of gospel music. He does stuff on the bass that had been unheard of in gospel musicdom until he came along. He has perfected his knowledge of the instrument and his "style" is indistinguishable and unlike anyone else in gospel. There have been precious few in gospel music that have accomplished this feat. In fact, besides Reggie and Andrew, can you tell who the bass player is just by plugging in the CD and not knowing who the artist is?
As Jeff Berlin would say, most other gospel bassists are doing "what they were paid to do"--keeping a grove and having a solid pocket. Does this make their playing "exceptional". I would argue not necessarily so. I would say that there are many "good" gospel bass players out there today, but few "exceptional" bass players. However, that's not to take away from their playing ability. But we must admit, that we often equate seeing a person's name on many projects to mean that the cat's playing is phenomenal. Doing a lot of gigging or being on multiple projects, especially in gospel music, does not necessarily mean that that person's playing is exceptional. We often see the same cats or names on most gospel projects and that is b/c the MD is comfortable with that person and has established a rapport with the particular musician, in this case the bassist (the same can be said regarding keyboardists, guitarists, drummers. etc). That's only natural. Does that mean that the particular bass player's playing or musicianship is phenomenal or exceptional?
Additionally, hearing a person "in living color" and outside of a recording situation is the true test as you can always go back into the studio and overdub a part or add parts/licks later.
BTW, please do not mistake my reasoned commentary for "hating" on anyone in particular or jealousy. (Obviously, if the person was requested for the gig they are good.)
Oh, jlynnb1, the dude you're referring to on Shawn McLemore's project is Barry Jackson. He also did Kim Burrell's first project. And Kenny (the young cat playing for Karen) has only been playing for approximately five years now) Reminds me of Bill Dickens and the late Anthony Harmon with his seven-string.