Jazz Meets Chant - Stanton Kessler

The “Jazz Meets Chant” CD is $13.00 + $2.00 s&h (within the U.S.) = $15.00 USD.

Please allow 7-10 days for delivery.

Personnel

Instrumentalists

Stan Kessler trumpet, flugelhorn
Doug Talley tenor saxophone
Wayne Hawkins piano, synthesizer
Bill McKemy bass
Todd Strait drums, percussion

Chanters

Michael Bleich
Rev. Martin DeMeulenaere, OSB
Mike Neff
Stephen Nehring
Ron Sondag
John Winkels director

Liner Notes

When John Winkels commissioned me to do this work I was thrilled. I have always enjoyed performing in clubs, but recently I had been searching for other ways to express myself musically. I saw this as a unique opportunity to put forth something that could have a deeper spiritual impact. I was not disappointed. At our first concert the response was overwhelming and demands for a CD were numerous. What started out as a little church event has blossomed into a full-blown project. This has been a labor of love all the way, a true blessing.

[Read more]

Our purpose is to bring these wonderful Gregorian Chant melodies to life in a new way, utilizing rhythmic and chordal progressions of our time.

All modes remain melodically in tact within the arrangements, including “Amens” where they apply. Each chant in its traditional format is coupled with its contemporary version in order to provide a point of reference for the listener.

We do this with the utmost respect and reverence. Our intent is not to replace but to augment existing material.

Although these chants in their simplest and purist renditions do not need any accompaniment, nearly every composer throughout the last few centuries has utilized a chant melody for the basis of their composition. Chant has met nearly every musical style, and today it meets jazz.

–Stan Kessler

Divinum Mysterium [Swing] 5:52
Usually associated with the Christmas season, this chant can be traced back to the 12th Century.
Victimae Paschali Laudes [Salsa] 7:37
The Easter Sequence, a poem sung on Easter Sunday morning, is ascribed to Wipo of Burgundy, d. 1048. It describes Mary Magdelene running off to tell that the tomb is empty.
Conditor Alma Siderum [Waltz] 5:10
This Chant was written around the 9th Century. It is a prime example of early chant in that it has a narrow range of only 6 pitches, and each note of the melody receives but one syllable of text.
Stabat Mater Dolorosa [Modal Swing] 6:37
This is an example of late period chant, appearing in Germany in the 1600’s. The variation that follows with its hectic and driving sounds, paints the crowd jeering at Jesus on the road to Calvary. Over the noise of the crowd, you can hear Mother Mary’s simple song of sorrow as she witnesses her son’s crucifixion.
Dies Irae [Shuffle] 5:43
This text and melody were long used for the Requiem Mass (funerals and Masses for the dead) before Vatican II. In the bridge following the chant, you hear the echoing phrases and interplay between the images of death and life.
Pange Lingua Gloriosi [Bossa Nova, Samba] 7:43
Attributed to Thomas Aquinas (1227-1274), this chant was and still is sung on eucharistic feasts, such as Holy Thursday and Corpus Christi.
Veni, Creator Spiritus [Rubato, 5/4 Swing] 8:36
This plainsong in mode VIII is used within the Liturgy whenever the guidance of the Holy Spirit seems particularly necessary.
Adoro Te Devote [Ballad] 5:01
This example of plainsong is probably from the 1500-1600’s.
O Filii et Filiae [Afro-Cuban] 4:58
This late period chant probably originated in the 1400’s. There is evidence that this chant, and many others, were later sung in metered time.