MASS
by Bobby Previte
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
$12 USD or more
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DVDThis is gorgeously shot (by Ben Franzen and John Freyer) footage from the Walker Art Center premiere, 2007. all music was recorded by Mell Dettmer and mixed by Bobby Previte. Looks and sounds fabulous. This is the entire piece, running time about an hour.
Info on the piece:
After I finished THE 23 CONSTELLATIONS OF JOAN MIRÓ in 2002, a multimedia chamber piece with text from Miró’s life and slides of his great “Constellation” paintings, I started thinking about writing another large work which would take its direction from an “outside” source. At the same time I began listening again to medieval music, and particularly the MISSA SANCTI JACOBI by Dufay. I fell under Dufay’s spell as a music student in Buffalo, NY.
Guilliaume Dufay (1400-1474) straddled the Medieval and the Renaissance. His music has the austerity of the ancient, but there is something that goes beyond that and points to the modern. I became fixated with the idea of combining Dufay with something of mine, using his mass as my cantus firmus. But, like the sheep in our story, I had no idea what.
Then late one night I happened to be listening to Messiaen’s nine organ pieces, La Nativité du Seigneur. It was like a slap in the face. I soon realized: one, that the piece had to have something to do with this great work also; two, that this new work needed to have an emotional impact in our times equal to what those works had in theirs, and, three, although I don’t count myself among the religious, religion was exactly what this piece was about.
Olivier Messiaen was a 20th century composer who had one of the most radically individual voices in the history of music. A devout Catholic who shocked parishioners with his aggressive, “unreligious sounding” music, Messiaen brought his mysticism to the concert hall, leaving behind a body of work so fiercely individual that the only thing to do with it seems to be to simply listen to it (advice that I did not follow). One doesn’t go through Messiaen, only around him.
Wanting to match the powerful impact of Dufay and Messiaen then, I decided on a highly electric, almost doom metal sound. I mean, who’s more metal than Messiaen? To my way of thinking, rock and especially metal, a music whose imagery is drenched in the gothic and religious, are as concerned with these issues as is conventional religion, and metal reaches for the modern throat with the same deadliness as Messiaen, (and as I’ll bet Dufay did for the 15th century one). What music today has the same raw power to rattle the casements? I reached for the electric guitar.
With such a broad, outward music, I was anxiously awaiting Andrea Kleine’s words, but I was astonished when she presented me with the final text, an intimate, subtle but seductively deceiving atom bomb of a story. What else to do in the face of the barrage of sound I cooked up? The perfect thing. When everyone else is shouting, speak low. This “little”story, (of a sheep, no less), this dark whisper in the tone of a children’s tale proves in the end to be more subversive than all of my sturm and drang.
Dufay’s mass appears here somewhat re-arranged, but essentially verbatim. As Dufay used other melodies as the basis for his works, a common technique at that time, I have used his entire mass as my cantus firmus. I treated the Messiaen very differently, as an inspiration/springboard. I have re-imagined chosen excerpts from the Nativité, rewritten them for an improvising pipe organist, and reconnected them in sequence with each of Dufay’s movements.
THE SEPARATION, then, is a piece in the form of a nine part mass, for choir, pipe organ, electric band and actor. A meeting of Dufay, the pious but politically shrewd and connected ancient, the “greatest’ composer of his time, who wrote humanist music for the church, who occupies an important place directly in the line of the western canon, and who can count untold disciples, and Messiaen, the mystical modern man who in quite the opposite way wrote spiritual music for the secular world, labored in relative obscurity (hell, was practically shunned), was a canon unto himself, and who essentially has no disciples.
I was fortunate to have at my disposal the immense talents of the Rose Ensemble, who somehow sang around and through all the sound, and always on pitch. I believe no other choir in the world could have done what they did. And the band, Marco Benevento and Reed Mathis, two young stars shining brightly on the new music scene.
Bobby Previte
New York, Fall 2008 ... moreships out within 7 daysPurchasable with gift card$20 USD or more
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about
Amen choirs are surreally yet effectively juxtaposed with head-banging rock, grungy jazz and hazily transcendent organ atmospherics. - JAZZWISE
As widely renowned for his unerring, intuitive grooves behind the kit as he is for his inventiveness as a composer and bandleader, Bobby Previte stretches into some totally new musical terrain on Mass, his RareNoise debut as a leader and followup to 2014’s cooperative trio project The New Standard with bassist Steve Swallow and keyboardist Jamie Saft. A modernist re-imagining of the choral epic Missa Sancti Jacobi by 15th century composer Guillaume Dufay, Previte’s Mass prominently features the imposing sound of cathedral pipe organ along with an acclaimed early music chamber vocal group, the 11-voice Rose Ensemble conducted by Jordan Sramek, and a slamming core group consisting of Previte on drums, Marco Benevento on pipe organ and Rheem organ, Don McGreevy, Stephen O’Malley, Mike Gamble and Jamie Saft on electric guitars and Reed Mathis on electric bass. A kind of heavy metal requiem mass, full of thrashing feedback guitars and grinding power chords, hellacious fuzz bass, thunderous beats and the glorious sound of a Medieval vocal choir, Mass is unlike anything Previte has done before in his extensive discography, which covers recordings by his bands Weather Clear Track Fast, Latin for Travelers, The Coalition of the Willing, Bump and the Beta Popes.
“I've been thinking about this idea for at least 12 or 13 years now,” says the drummer-composer.’ ”In fact, I scored a version of it in the early 2000s that I toured Europe with. Then when when I got home, I decided it wasn't right and threw it all in the trash. It wasn't powerful enough. So I went back to the drawing board.”
Previte first encountered composer Guillaume Dufay in his Early Music class in college. “You have to remember, when Dufay wrote his music it was performed at a time in which there were no loud man-made sounds -- no amplifiers, airplanes, bombs, etc. Performed in a hard-walled stone church, the sound racing around the walls and bouncing off the ceiling, it had to have been an overwhelming experience. Now it feels quiet, meditative, but in the context of its time I believe it was a powerful, soul-shaking, transportive, otherworldly music. And I needed to match that power, so I had to go with Metal -- a reviled music that somehow still keeps coming.”
Previte and his wife, the writer and choreographer Andrea Kleine, presented the piece in 2007 as a full-blown theater production at the Walker Art Center in Minneapolis. “She wrote the book and directed it,” he explains. “It was then that I met the Rose Ensemble. They specialize in Early Music, which was essential to me. It's a very different discipline than other vocal music. And for them to have the courage and the openness to do a project like this, where I asked them to sing in a different tempo, key and time signature while the crushing metal band was playing -- that was truly inspiring.”
The players involved in Mass are old cohorts of Previte. Organist Benevento and bassist Reed played in his The Coalition of the Willing. Saft played in Previte’s Latin for Travelers band and is also a key member of 2014‘s The New Standard on RareNoise. Guitarist Gamble has been a longstanding collaborator and is also a member of Previte’s current working quartet, Bobby Previte and the Visitors. Guitarists O'Malley and McGreevy are members of the Seattle-based drone and doom metal bands Sunn O))) and Earth, respectively. “O'Malley in particular used a gigantic wall of amps in the studio,” says Previte. “If you want that sound, you can't use a little stomp box, you have to actually move all that air. It was exhilarating to watch.”
Twelve years in the making, Mass is the culmination of a long road for Previte. “I am super happy with how it turned out, as it is extremely difficult music to perform,” he says. “Each of the three pillars of the piece -- choir, metal trio, and pipe organ -- are operating within their own algorithms, their own keys, time and tempo. And the piece is written for them to be on parallel tracks but making a different fourth thing, dovetailing together on the cadences. Eventually we all began to be able to hear how it all worked, what notes the choir should be singing when you, as the guitarist, were on your third beat of your bar number 15, a 4/4 bar, at quarter note = 60, as they were in their 33rd bar of 6/8 in a completely different tempo. It sounds crazy. Well, it is crazy! But the design worked eventually, which is a testament to the musicians and their resilience.”
Previte adds about his latest opus, “It has probably the greatest cover art I have ever had on any of my records. Astonishing work by, and all respect to, the artist, Hadi Nasiri.”
REVIEWS:
Previte's doom metal trio crashes into the mystical voices of The Rose Ensemble in a re-imagination of both Guilliaume Dufay's 15th century choral epic, Missa Sancti Jacobi, and Olivier Messiaen's organ masterwork, La Nativitié du Seigneur.
The effort combines early music with droning, spaced-out doom, and the end result is surprisingly, wondrously addictive. I listened to it three times in a row without even noticing yesterday, then once I snapped out of my trance, put it on again - NOISEY
Mass is brilliant. It's alternately yet simultaneously arresting, beguiling, and menacing; it dynamically illustrates the aesthetic scope of color, timbre, and texture between sacred and secular music. This is Previte's masterpiece. - ALL MUSIC GUIDE
As widely renowned for his unerring, intuitive grooves behind the kit as he is for his inventiveness as a composer and bandleader, Bobby Previte stretches into some totally new musical terrain on Mass, his RareNoise debut as a leader and followup to 2014’s cooperative trio project The New Standard with bassist Steve Swallow and keyboardist Jamie Saft. A modernist re-imagining of the choral epic Missa Sancti Jacobi by 15th century composer Guillaume Dufay, Previte’s Mass prominently features the imposing sound of cathedral pipe organ along with an acclaimed early music chamber vocal group, the 11-voice Rose Ensemble conducted by Jordan Sramek, and a slamming core group consisting of Previte on drums, Marco Benevento on pipe organ and Rheem organ, Don McGreevy, Stephen O’Malley, Mike Gamble and Jamie Saft on electric guitars and Reed Mathis on electric bass. A kind of heavy metal requiem mass, full of thrashing feedback guitars and grinding power chords, hellacious fuzz bass, thunderous beats and the glorious sound of a Medieval vocal choir, Mass is unlike anything Previte has done before in his extensive discography, which covers recordings by his bands Weather Clear Track Fast, Latin for Travelers, The Coalition of the Willing, Bump and the Beta Popes.
“I've been thinking about this idea for at least 12 or 13 years now,” says the drummer-composer.’ ”In fact, I scored a version of it in the early 2000s that I toured Europe with. Then when when I got home, I decided it wasn't right and threw it all in the trash. It wasn't powerful enough. So I went back to the drawing board.”
Previte first encountered composer Guillaume Dufay in his Early Music class in college. “You have to remember, when Dufay wrote his music it was performed at a time in which there were no loud man-made sounds -- no amplifiers, airplanes, bombs, etc. Performed in a hard-walled stone church, the sound racing around the walls and bouncing off the ceiling, it had to have been an overwhelming experience. Now it feels quiet, meditative, but in the context of its time I believe it was a powerful, soul-shaking, transportive, otherworldly music. And I needed to match that power, so I had to go with Metal -- a reviled music that somehow still keeps coming.”
Previte and his wife, the writer and choreographer Andrea Kleine, presented the piece in 2007 as a full-blown theater production at the Walker Art Center in Minneapolis. “She wrote the book and directed it,” he explains. “It was then that I met the Rose Ensemble. They specialize in Early Music, which was essential to me. It's a very different discipline than other vocal music. And for them to have the courage and the openness to do a project like this, where I asked them to sing in a different tempo, key and time signature while the crushing metal band was playing -- that was truly inspiring.”
The players involved in Mass are old cohorts of Previte. Organist Benevento and bassist Reed played in his The Coalition of the Willing. Saft played in Previte’s Latin for Travelers band and is also a key member of 2014‘s The New Standard on RareNoise. Guitarist Gamble has been a longstanding collaborator and is also a member of Previte’s current working quartet, Bobby Previte and the Visitors. Guitarists O'Malley and McGreevy are members of the Seattle-based drone and doom metal bands Sunn O))) and Earth, respectively. “O'Malley in particular used a gigantic wall of amps in the studio,” says Previte. “If you want that sound, you can't use a little stomp box, you have to actually move all that air. It was exhilarating to watch.”
Twelve years in the making, Mass is the culmination of a long road for Previte. “I am super happy with how it turned out, as it is extremely difficult music to perform,” he says. “Each of the three pillars of the piece -- choir, metal trio, and pipe organ -- are operating within their own algorithms, their own keys, time and tempo. And the piece is written for them to be on parallel tracks but making a different fourth thing, dovetailing together on the cadences. Eventually we all began to be able to hear how it all worked, what notes the choir should be singing when you, as the guitarist, were on your third beat of your bar number 15, a 4/4 bar, at quarter note = 60, as they were in their 33rd bar of 6/8 in a completely different tempo. It sounds crazy. Well, it is crazy! But the design worked eventually, which is a testament to the musicians and their resilience.”
Previte adds about his latest opus, “It has probably the greatest cover art I have ever had on any of my records. Astonishing work by, and all respect to, the artist, Hadi Nasiri.”
In the battle between the 1400’s and the 2000’s, art in the form of uniquely inspired music wins.
SOMETHINGELSE REVIEWS
But what sets this release apart is the sheer power of the new and old. The guitars and organ loudly offset the delicacy of the singing in such a fashion that the listener is transported to place of ancient darkness. There is a distinct beauty that cannot be denied amongst all of the distortion and complexity. A highly recommended release and on my list for best of 2016.
AVANTMUSICNEWS.COM
Previte swings for the fences with Mass and in the process creates something new and bold from something old and gold.- ALLABOUTJAZZ.COM
Amen choirs are surreally yet effectively juxtaposed with head-banging rock, grungy jazz and hazily transcendent organ atmospherics. - JAZZWISE
As widely renowned for his unerring, intuitive grooves behind the kit as he is for his inventiveness as a composer and bandleader, Bobby Previte stretches into some totally new musical terrain on Mass, his RareNoise debut as a leader and followup to 2014’s cooperative trio project The New Standard with bassist Steve Swallow and keyboardist Jamie Saft. A modernist re-imagining of the choral epic Missa Sancti Jacobi by 15th century composer Guillaume Dufay, Previte’s Mass prominently features the imposing sound of cathedral pipe organ along with an acclaimed early music chamber vocal group, the 11-voice Rose Ensemble conducted by Jordan Sramek, and a slamming core group consisting of Previte on drums, Marco Benevento on pipe organ and Rheem organ, Don McGreevy, Stephen O’Malley, Mike Gamble and Jamie Saft on electric guitars and Reed Mathis on electric bass. A kind of heavy metal requiem mass, full of thrashing feedback guitars and grinding power chords, hellacious fuzz bass, thunderous beats and the glorious sound of a Medieval vocal choir, Mass is unlike anything Previte has done before in his extensive discography, which covers recordings by his bands Weather Clear Track Fast, Latin for Travelers, The Coalition of the Willing, Bump and the Beta Popes.
“I've been thinking about this idea for at least 12 or 13 years now,” says the drummer-composer.’ ”In fact, I scored a version of it in the early 2000s that I toured Europe with. Then when when I got home, I decided it wasn't right and threw it all in the trash. It wasn't powerful enough. So I went back to the drawing board.”
Previte first encountered composer Guillaume Dufay in his Early Music class in college. “You have to remember, when Dufay wrote his music it was performed at a time in which there were no loud man-made sounds -- no amplifiers, airplanes, bombs, etc. Performed in a hard-walled stone church, the sound racing around the walls and bouncing off the ceiling, it had to have been an overwhelming experience. Now it feels quiet, meditative, but in the context of its time I believe it was a powerful, soul-shaking, transportive, otherworldly music. And I needed to match that power, so I had to go with Metal -- a reviled music that somehow still keeps coming.”
Previte and his wife, the writer and choreographer Andrea Kleine, presented the piece in 2007 as a full-blown theater production at the Walker Art Center in Minneapolis. “She wrote the book and directed it,” he explains. “It was then that I met the Rose Ensemble. They specialize in Early Music, which was essential to me. It's a very different discipline than other vocal music. And for them to have the courage and the openness to do a project like this, where I asked them to sing in a different tempo, key and time signature while the crushing metal band was playing -- that was truly inspiring.”
The players involved in Mass are old cohorts of Previte. Organist Benevento and bassist Reed played in his The Coalition of the Willing. Saft played in Previte’s Latin for Travelers band and is also a key member of 2014‘s The New Standard on RareNoise. Guitarist Gamble has been a longstanding collaborator and is also a member of Previte’s current working quartet, Bobby Previte and the Visitors. Guitarists O'Malley and McGreevy are members of the Seattle-based drone and doom metal bands Sunn O))) and Earth, respectively. “O'Malley in particular used a gigantic wall of amps in the studio,” says Previte. “If you want that sound, you can't use a little stomp box, you have to actually move all that air. It was exhilarating to watch.”
Twelve years in the making, Mass is the culmination of a long road for Previte. “I am super happy with how it turned out, as it is extremely difficult music to perform,” he says. “Each of the three pillars of the piece -- choir, metal trio, and pipe organ -- are operating within their own algorithms, their own keys, time and tempo. And the piece is written for them to be on parallel tracks but making a different fourth thing, dovetailing together on the cadences. Eventually we all began to be able to hear how it all worked, what notes the choir should be singing when you, as the guitarist, were on your third beat of your bar number 15, a 4/4 bar, at quarter note = 60, as they were in their 33rd bar of 6/8 in a completely different tempo. It sounds crazy. Well, it is crazy! But the design worked eventually, which is a testament to the musicians and their resilience.”
Previte adds about his latest opus, “It has probably the greatest cover art I have ever had on any of my records. Astonishing work by, and all respect to, the artist, Hadi Nasiri.”
REVIEWS:
Previte's doom metal trio crashes into the mystical voices of The Rose Ensemble in a re-imagination of both Guilliaume Dufay's 15th century choral epic, Missa Sancti Jacobi, and Olivier Messiaen's organ masterwork, La Nativitié du Seigneur.
The effort combines early music with droning, spaced-out doom, and the end result is surprisingly, wondrously addictive. I listened to it three times in a row without even noticing yesterday, then once I snapped out of my trance, put it on again - NOISEY
Mass is brilliant. It's alternately yet simultaneously arresting, beguiling, and menacing; it dynamically illustrates the aesthetic scope of color, timbre, and texture between sacred and secular music. This is Previte's masterpiece. - ALL MUSIC GUIDE
As widely renowned for his unerring, intuitive grooves behind the kit as he is for his inventiveness as a composer and bandleader, Bobby Previte stretches into some totally new musical terrain on Mass, his RareNoise debut as a leader and followup to 2014’s cooperative trio project The New Standard with bassist Steve Swallow and keyboardist Jamie Saft. A modernist re-imagining of the choral epic Missa Sancti Jacobi by 15th century composer Guillaume Dufay, Previte’s Mass prominently features the imposing sound of cathedral pipe organ along with an acclaimed early music chamber vocal group, the 11-voice Rose Ensemble conducted by Jordan Sramek, and a slamming core group consisting of Previte on drums, Marco Benevento on pipe organ and Rheem organ, Don McGreevy, Stephen O’Malley, Mike Gamble and Jamie Saft on electric guitars and Reed Mathis on electric bass. A kind of heavy metal requiem mass, full of thrashing feedback guitars and grinding power chords, hellacious fuzz bass, thunderous beats and the glorious sound of a Medieval vocal choir, Mass is unlike anything Previte has done before in his extensive discography, which covers recordings by his bands Weather Clear Track Fast, Latin for Travelers, The Coalition of the Willing, Bump and the Beta Popes.
“I've been thinking about this idea for at least 12 or 13 years now,” says the drummer-composer.’ ”In fact, I scored a version of it in the early 2000s that I toured Europe with. Then when when I got home, I decided it wasn't right and threw it all in the trash. It wasn't powerful enough. So I went back to the drawing board.”
Previte first encountered composer Guillaume Dufay in his Early Music class in college. “You have to remember, when Dufay wrote his music it was performed at a time in which there were no loud man-made sounds -- no amplifiers, airplanes, bombs, etc. Performed in a hard-walled stone church, the sound racing around the walls and bouncing off the ceiling, it had to have been an overwhelming experience. Now it feels quiet, meditative, but in the context of its time I believe it was a powerful, soul-shaking, transportive, otherworldly music. And I needed to match that power, so I had to go with Metal -- a reviled music that somehow still keeps coming.”
Previte and his wife, the writer and choreographer Andrea Kleine, presented the piece in 2007 as a full-blown theater production at the Walker Art Center in Minneapolis. “She wrote the book and directed it,” he explains. “It was then that I met the Rose Ensemble. They specialize in Early Music, which was essential to me. It's a very different discipline than other vocal music. And for them to have the courage and the openness to do a project like this, where I asked them to sing in a different tempo, key and time signature while the crushing metal band was playing -- that was truly inspiring.”
The players involved in Mass are old cohorts of Previte. Organist Benevento and bassist Reed played in his The Coalition of the Willing. Saft played in Previte’s Latin for Travelers band and is also a key member of 2014‘s The New Standard on RareNoise. Guitarist Gamble has been a longstanding collaborator and is also a member of Previte’s current working quartet, Bobby Previte and the Visitors. Guitarists O'Malley and McGreevy are members of the Seattle-based drone and doom metal bands Sunn O))) and Earth, respectively. “O'Malley in particular used a gigantic wall of amps in the studio,” says Previte. “If you want that sound, you can't use a little stomp box, you have to actually move all that air. It was exhilarating to watch.”
Twelve years in the making, Mass is the culmination of a long road for Previte. “I am super happy with how it turned out, as it is extremely difficult music to perform,” he says. “Each of the three pillars of the piece -- choir, metal trio, and pipe organ -- are operating within their own algorithms, their own keys, time and tempo. And the piece is written for them to be on parallel tracks but making a different fourth thing, dovetailing together on the cadences. Eventually we all began to be able to hear how it all worked, what notes the choir should be singing when you, as the guitarist, were on your third beat of your bar number 15, a 4/4 bar, at quarter note = 60, as they were in their 33rd bar of 6/8 in a completely different tempo. It sounds crazy. Well, it is crazy! But the design worked eventually, which is a testament to the musicians and their resilience.”
Previte adds about his latest opus, “It has probably the greatest cover art I have ever had on any of my records. Astonishing work by, and all respect to, the artist, Hadi Nasiri.”
In the battle between the 1400’s and the 2000’s, art in the form of uniquely inspired music wins.
SOMETHINGELSE REVIEWS
But what sets this release apart is the sheer power of the new and old. The guitars and organ loudly offset the delicacy of the singing in such a fashion that the listener is transported to place of ancient darkness. There is a distinct beauty that cannot be denied amongst all of the distortion and complexity. A highly recommended release and on my list for best of 2016.
AVANTMUSICNEWS.COM
Previte swings for the fences with Mass and in the process creates something new and bold from something old and gold.- ALLABOUTJAZZ.COM
Amen choirs are surreally yet effectively juxtaposed with head-banging rock, grungy jazz and hazily transcendent organ atmospherics. - JAZZWISE
credits
released February 2, 2024
Built upon a re-arrangement of the Missa Sancti Jacobi by Guillaume
Dufay (1347-1474)
Pipe organ music inspired by Olivier Messiaen (1908-1992)
THE ROSE ENSEMBLE
Conducted by Jordan Sramek
Eric Betthauser
John Bitterman
Heather Cogswell
Lisa Drew
Linda Kachelmeier
Kristine Kautzman
Kathy Lee
Tim O’Brien
Jordan Sramek
Kim Sueoka
Paul M. Tipton
with
1. INTROIT
Stephen O’Malley -- guitars
Jamie Saft - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums, guitar, pipe organ, combo organ
2. KYRIE
Stephen O’Malley - guitars
Don McGreevy - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
3. GLORIA
Stephen O’Malley - guitars
Don McGreevy - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
4. ALLELUIA
Stephen O’Malley - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
5. CREDO
Stephen O’Malley - guitars
Don McGreevy - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums, synthesizer bass
6. OFFERING
Mike Gamble - guitars
Stephen O’Malley - feedback solo
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
7. SANCTUS
Stephen O’Malley - guitars
Don McGreevy - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums, pipe organ
8. AGNUS DEI
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
9. COMMUNION
Stephen O’Malley - guitars
Marco Benevento - pipe organ, electronics
Bobby Previte - drums, Farfisa organ
Built upon a re-arrangement of the Missa Sancti Jacobi by Guillaume
Dufay (1347-1474)
Pipe organ music inspired by Olivier Messiaen (1908-1992)
THE ROSE ENSEMBLE
Conducted by Jordan Sramek
Eric Betthauser
John Bitterman
Heather Cogswell
Lisa Drew
Linda Kachelmeier
Kristine Kautzman
Kathy Lee
Tim O’Brien
Jordan Sramek
Kim Sueoka
Paul M. Tipton
with
1. INTROIT
Stephen O’Malley -- guitars
Jamie Saft - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums, guitar, pipe organ, combo organ
2. KYRIE
Stephen O’Malley - guitars
Don McGreevy - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
3. GLORIA
Stephen O’Malley - guitars
Don McGreevy - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
4. ALLELUIA
Stephen O’Malley - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
5. CREDO
Stephen O’Malley - guitars
Don McGreevy - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums, synthesizer bass
6. OFFERING
Mike Gamble - guitars
Stephen O’Malley - feedback solo
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
7. SANCTUS
Stephen O’Malley - guitars
Don McGreevy - guitars
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums, pipe organ
8. AGNUS DEI
Marco Benevento - pipe organ, Rheem organ
Reed Mathis - electric bass
Bobby Previte - drums
9. COMMUNION
Stephen O’Malley - guitars
Marco Benevento - pipe organ, electronics
Bobby Previte - drums, Farfisa organ
license
all rights reserved
tags
discography
-
Apr 2024 -
Mar 2024 -
Sep 2022 -
Oct 2023
contact / help
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