Mass in Blue Nonsuch Singers, L'estranges in the Night & Tom Bullard

• 1 Mass in Blue, Op. 28 (Version for Jazz Trio & Choir): I. Kyrie 06:39
• 2 Mass in Blue, Op. 28 (Version for Jazz Trio & Choir): II. Gloria 03:46
• 3 Mass in Blue, Op. 28 (Version for Jazz Trio & Choir): III. Credo 08:10
• 4 Mass in Blue, Op. 28 (Version for Jazz Trio & Choir): IV. Sanctus 04:50
• 5 Mass in Blue, Op. 28 (Version for Jazz Trio & Choir): V. Benedictus 04:38
• 6 Mass in Blue, Op. 28 (Version for Jazz Trio & Choir): VI. Agnus Dei 09:00
• 7 Love Walked In 02:59
• 8 On a Clear Day 05:35
• 9 Someone to Watch Over Me 04:50
• 10 Beyond the Sea (After Trenet's "La mer") 03:55
• 11 Li'l Darlin' 04:45
• 12 Back Bay Shuffle 03:35
• 13 How Do You Keep the Music Playing? 04:33
• Total Runtime 01:07:15

Info zu Mass in Blue

“It’s wonderful to have a new recording of Mass in Blue available, this time in the piano trio version rather than the original full band scoring. Nonsuch Singers and conductor Tom Bullard have done a fine job of giving a new spin on the piece, with sparkling contributions from soloist Joanna Forbes L’Estrange and pianist John Turville. The choral timbres are vibrant and engaging and the energy of Mass in Blue shines through in spades.” (Will Todd)

Many choirs have tackled Mass in Blue in its short history, and it has become a staple of the “lighter” choral repertoire. Choral jazz itself is a hard thing to define – modern British composers such as John Rutter and Bob Chilcott have woven jazz into their musical styles for many years, yet to find a choral piece that puts jazz style front and centre, as with Will Todd's Mass in Blue, is a surprisingly rare thing. After a very successful concert performance in June 2015, I chose to present it here, as then, in the context of some of the jazz standards that are the fabric of the musical world that Mass in Blue inhabits.

Joanna, Alexander and I have all been lucky to count Ward Swingle as a mentor and friend during our time in The Swingle Singers, and so I jumped at the opportunity to do some of Ward’s big band arrangements, from the group’s 1979 album Skyliner, with a choir. Rarely tackled due to its complexity (the arrangement is scored for no less than 13 voices, expertly imitating the sax, trumpet and trombone sections of a big band, with lyrics by Jon Hendricks), Ward’s arrangement of Back Bay Shuffle was an instant hit with the choir! Alongside one of Alexander’s ingenious Great American Songbook arrangements, originally written for the King’s Singers, I wanted to pay tribute to one more of the great vocal jazz groups, New York Voices, with Darmon Meader’s effortlessly cool reimagining of On a clear day, plus a beautiful a cappella arrangement by Jamey Ray of the Gershwin classic, Someone to watch over me. ​

All these standards, and the legacy of vocal jazz that they have inspired, form the backdrop for Mass in Blue, bringing Nonsuch Singers a world away from the classical world that we normally inhabit and into the realm of close-harmony singing, using my own background in the Swingle Singers to mould the choir’s sound into that of a close-miked jazz choir, presenting the Mass as it has never been heard on CD before. It is a huge privilege to work alongside my own predecessor as Musical Director of the Swingle Singers, Joanna Forbes L’Estrange, and the multi-talented performer and producer Alexander L’Estrange, as well as their amazing trio, to bring this wonderful piece to life. (Tom Bullard)

Nonsuch Singers
Tom Bullard, conductor
Joanna Forbes L’Estrange, soprano
John Turville, piano
Alexander L’Estrange, bass
Felix Higginbottom, drums

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