This was a one off performance but Jubilation‘s next engagements are listed at the end of this review.

First up, for the uninitiated, ‘Gospel Music’ is defined, (according to my on-line dictionary), as ‘highly emotional evangelical vocal music that originated among African American Christians in the southern United States and was a strong influence in the development of soul music’. 

Secondly, and again for the uninitiated, Jubilation, formed in 2000, is a nearly all-white gospel choir, who are not affiliated to any church (in fact many are not religious) and who exist purely because they love to sing gospel music.

So here’s the thing: what makes this secular choir singing religious music to a secular congregation – seemingly mild mannered folk – affect their audience to the point where by the end they jump to their feet, yelling, stomping, and hooting for more?

Quite apart from the obvious enjoyment and entertainment factor – Jubilation are brilliant – I think the answer lies in the fact that the sound is very tangible, creating a shared enriching experience. A cappella gospel is uplifting, unfettered and immediate. In a global and local culture that so often isn’t, when we hear gospel’s simple charm, we want to be part of it. Then again, maybe Jubilation is preaching to the converted: great music is pure divinity in my book.

But does Jubilation have soul? Hell yes. While preconceived notions of gospel music being a non-pakeha phenomenon in New Zealand disappeared decades ago, with icons such as Tony Backhouse on the scene, Jubilation have now eclipsed many choirs in notoriety.  Due in part to Don McGlashan inviting them to sing back-up to soloist Hollie Smith on ‘Bathe in the River’, (the signature tune for New Zealand film No. 2), more than that, Jubilation have grown immensely in popularity, because six years down the track, the vocal discipline and ability of each one of its members, is notable. They have come far.

 

The choir is made up of 30+ singers, (some also write and arrange for the group), plus several professional musicians and actors.  All members deserve to be named, as the magic of Jubilation arises from the sum of all of its parts. They are Rick Bryant, Isolde Grunwald, Tim Tenbensel, Jean McAllister and Sally Dodds, (who also share arranging and conducting duties), Alan Jones, Clinton Gore, James Moore, Nic Beets, Nick Rosenberg,  Simon Pierpoint, Amanda Billing, Buzz Worley, Jackie Clarke (not present on 4 November), Fiona Samuel, Jennifer Ward-Lealand, Jinni Easterday, Linda McPhee, Liz Fletcher, Mimi Lewell, Olivia Stephens, Karen Rutherford, James Nicholson, Lorraine Havill (Not present on 4 November), Peter Kirkbride, Roger Pitcher, Tessa Farnsworth, Rachel Key, Jenny Gordon, Suzi Moore and Tim Dodd.

So how did their latest offering pan out? Highlights a-plenty, as they performed to a near capacity crowd.

A waka-sail inspired instillation by Kim Kirkbride, of rich green leaves and bright red flowers, sets the scene for a voyage of song. Lighting compliments singer and set, thanks to an extremely talented member of The Edge’s team, Vera Thomas, whose ocean blue wall and warm tones reserved for faces, creates the perfect picture.

The venue, and the unprecedented investment in lighting and set, is a worthy step up from the many smaller, casual cabaret environments the choir has performed in to date, such as K Road’s Alleluia Café in St Kevin’s Arcade, or Leigh Sawmill Café. While this more formal venue, with theatre seating, may have caused the audience to be less interactive at first than I’ve seen them in the past, in all other respects, this was the perfect setting for the choir’s expanding horizons. They were elevated, well lit, well mixed (Tony Macmasters does a sterling job at the sound desk) and well spaced: for the first time, I could see every singer. Perhaps a suitable variation for the future would be cabaret seating in the Chamber.

The evening kicks off with Rick Bryant at the helm, with ‘Wan’t Gonna Tell Nobody’ (Testify) (composer/arranger Abyssinian Baptist Gospel Choir). Bryant looks out of breath and agitated as he reaches centre stage, but once he starts singing, he has a quality to his voice that somehow fuses chocolate with gravel and sounds effortless to produce. He makes an instant impression and toes are a-tapping all around. Hallelujah.

An immensely powerful and crafted soloist, Bryant leads many songs throughout the evening, including ‘People Get Ready’ (Curtis Mayfield), where he brings jazz styling to this gospel standard, and ‘Peace in the Valley’ (traditional), during which he sustains a stunning note in falsetto, then drops 2 octaves to close, in the same breath.

‘Come On Up to the House’ (composer Tom Waits/arranger and conductor Tim Tenbensel) features the silky vocal stylings of Buzz Worley. Worley appears to have the words written on her hand, and seems nervous, even uncomfortable in her skin at times. However, her voice is outstanding, and when she relaxes later in the half, leading ‘Wanna Ride That Glory Train’ (Abyssinian Baptist Gospel Choir), her performance really starts to come to life.

‘John the Revelator’ (traditional) follows, with soloist James Moore. The bass section is particularly strong, providing the continuo with smooth confidence, under conductor Jean McAllister. Later in the programme, it is refreshing to hear the deep end of the choir on lead, as Nick Rosenberg’s seemingly bottomless tones deliver ‘Roll Jordan Roll’ (traditional; after The Fairfield Four).

Throughout the evening, Fiona Samuel steps forward to chat. Samuel is witty, gracious, and informative and as the perfect compare, is under-utilised.

Linda McPhee led Nina Simone’s ‘Nobody’s Fault But Mine’ (Blind Willy Johnson/Tim Tenbensel after Nina Simone), one of many numbers that really showcases the choir’s craft as an a cappella ‘band’. The fusion of voices is strong, confident and expressive with exquisite chords – none more so than the final note.

Just as I was hoping we would get to hear the choir on its own (without a soloist), Isolde Grunwald took centre stage as conductor to guide ‘Hard Times’ (Steven Foster/Willi Zwodesky & Helen Phare). Starting with the women, this song is smooth, soft, simple, beautifully constructed and conducted, and we hear Jubilation at their finest. Personally, I would like to hear more choir-only numbers like this, so the audience can truly appreciate Jubilation‘s flawless blend.

 

Soloist Pete Kirkbride is Jubilation‘s answer to Leo Sayer, adding a new texture to the vocal mix, singing falsetto in ‘Everything That Has Breath’ (Richard Smallwood /Tony Backhouse). As Samuel said: he’s their boy soprano. Conducted by Isolde Grunwald, she guides everyone expertly through the ‘praise him’ rave section.

In a programme of contrasts, Samuel sings lead on another spell-binding softer number – ‘Poor Wayfaring Stranger’ (Traditional/Tim Tenbensel). Samuel is a born storyteller, conveying emotion through the purity of her vocals, with the choir matching her quality perfectly with simple yet effective block harmony.  Samuel knows how to sell her song. She understands that how you look, and emote (from the perspective of most in any audience), is just as important as how you sound. Great soloists are masters of all three cornerstones of performance.

Early in the second half, Amanda Billing, an engaging performer, takes the lead on Thomas A. Dorsey’s ‘Every Day Will be Sunday’. Arranged to let the women shine, they do just that, with Billing building to an exciting crescendo.

Newcomer Liz Fletcher, who usually sings with the tenors, debuts as a soloist with flare and is a crowd favourite singing ‘If You Miss Me Singing’. Jean McAllister gives a passionate, theatrical performance leading one of Jubilation‘s own creations, ‘Learn to Forgive’ (Rick Bryant/Tim Tenbensel).

Near the end, Pete Kirkbride is chosen as the soloist for the compulsory ‘Bathe in the River’ (Don McGlashan). You haven’t experienced all that McGlashan’s song has to offer until you hear Jubilation sing "Mighty River hear that rushing sound…" live.

The programme closes with ‘Don’t Ride That Hell-bound Train’ (Elder Charles Back), during which the soloist’s microphone is handed round the choir, to give a truly shared, stompin’ ensemble close.

Thunderous applause results in an encore of contrasting river songs. The first is from the hit film Brother Where Art Thou – ‘Down to the River’ (traditional). An extraordinary piece, with open, unusual harmonies, it builds beautifully as all parts join together by the end, in quiet jubilation. And to finish, a rousing chorus of ‘River of Jordan’ (traditional).

Although Jubilation have a loyal fan base and are enjoying a significant increase in demand for their unique talent, they are also at a very interesting point in their development. To go further, attract a wider audience, and go on to be a world-class gospel choir, they need to tighten their overall visual performance, so that their exquisite musicianship and spirit, is matched by unified visual expression and charisma, from every member. As they are, half the choir is visually engaging, while the other half could improve, under the right creative guidance.

Upcoming dates & venues:

Saturday, 25 November 2006:
St. Paul’s Church, Victoria Street, Devonport, Auckland

Sunday, 26 November 2006, 4:00 pm:
Leigh Sawmill Cafe, 142 Pakiri Road, Leigh

Saturday, 3 February 2007, 2:00 pm:
Parnell Rose Garden, Gladstone Rd., Parnell, Auckland

Sunday, 11 March 2007:
The Famous Spiegeltent, Britomart, Auckland (as part of AK07).

Copyright © in the review belongs to the reviewer