Newcastle
Choral Society Conductor and
Musical Director Mark Anyan
The Will Todd
Trio (Will Todd – piano; Geth Griffith – bass; Jim Fleeman – drums. With: Lorna James – soprano (vocal) and Sue
Ferris – alto saxophone.
(Review by Hugh C).
My attendance
at this performance was a triumph of the power of advertising – having seen the
flyer which has been at the top right of Bebop Spoken Here for the past couple
of weeks.
The event was
held in the mock baronial splendour of the banqueting suite at Newcastle Civic
Centre (Asian weddings a speciality according to the publicity). This venue proved to have a reasonable
acoustic. The Choral Society sang
without amplification; the instrumentalists and the soprano being gently helped
by modest electronic enhancement. The
choir seating was tiered and the soprano soloist and MD were raised on a
platform, the audience and instrumentalists were all on the level.
I personally
was unfamiliar with the work of, Will Todd (despite him being a County Durham
lad). My interest was sparked by the
concept of a choral concert with a jazz twist.
Will Todd
started to play piano as a child and soon became interested in the chromatic
palette offered by twelve bar blues – much to the dismay of his piano
teacher! This, combined with his love
of, and participation in, choirs and choral music came to together in Mass
in Blue. Originally written in 2003
as a commission by Hertfordshire Chorus (named Jazz Mass at that initial
stage) the Mass has been performed on many occasions both in the UK, Europe and
the US – often with the Will Todd Trio.
This success was apparently much to the surprise (and delight) of the
composer, who as with many artists, suffered from self-doubt.
Mass in Blue is in the
standard liturgical format: Kyrie –
Gloria – Credo – Sanctus – Benedictus – Agnus Dei. The text is in Latin throughout, but was
helpfully printed in full in the programme with an English translation
adjacent.
Each of these
involved the Newcastle Choral Society – who appeared to be greatly enjoying
themselves. There was apparently
initially some concern among some of the singers that it was too difficult and
they had never sung anything in the jazz oeuvre before. Conscientious practice under the direction of
MD, Mark Anyan seemed to have dispelled any of this!
The trio were
on fine form (very familiar territory for them, obviously!) with subtle melodic
interplay between the piano in particular and the soprano soloist, who also often weaved a virtuoso vocal line around the choral parts
– this being beautifully delivered by the very capable Lorna James.
The saxophone
part is optional. I am glad this option
was chosen! Sue Ferris (well known
locally as a jazz saxophonist and flautist, but also an orchestral flautist
according to the programme notes) delivered a flawless account on alto sax (I
must admit I initially thought it was tenor until I saw Sue walking out
clutching an alto!).
The Mass
contained elements of jazz, blues, gospel, and spiritual (and, I’m sure, others
I did not discern). All in all this was
a very interesting and rewarding experience for all present, both choir and
audience.
After the
interval we were treated to “Songs for Christmas” – a combination of both
sacred and secular items including the old favourites and two audience
participation numbers, both delivered with gusto. There were even a few brave car-key jinglers during
Jingle Bells! The accompaniment
(piano mainly, with organ for the audience singing) was ably provided by Mike
Dutton - well known as an accompanist on
the local choral and classical vocal scene.
Hugh.
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