Reviewed by Lins Honeyman

The opus known as 'Mary Lou's Mass' - touted as being "the most openly religious jazz recording made at that time" and "an encyclopaedia of black music, richly represented from spirituals to bop and rock" - originally saw the light of day in 1975 after years in the making and has finally been re-issued thanks to historical label Smithsonian Folkways. The eponymous mastermind behind the project, originally called 'Music For Peace', was renowned Atlanta-born jazz pianist and composer Mary Lou Williams who, having cut her teeth by writing arrangements for big band royalty such as Duke Ellington and Benny Goodman and earning fame on the Parisian jazz circuit, most certainly had a lot to lose by releasing a piece of work that was so overtly Christian in its tone. Having converted to Roman Catholicism in the late '50s, Williams based her epic on the rituals and liturgy of her chosen denomination with elements such as penitence ("Kyrie Eleison"), praise ("Gloria"), reflection ("Medi I" and "Medi II"), proclamation ("Lazarus") and communion ("Our Father") all included in specific order reflecting the influence Williams' almost daily attendance at Mass had on her as an artist. Thankfully, Williams' musical expression was not limited to the strict restrictions of a Catholic service and one gets the impression that she and her fellow musicians were really trying to break through preconceived ideas of what church music (and jazz for that matter) should sound like whilst all the while keeping their eyes fixed firmly on God. As a result, 'Mary Lou's Mass' comes across as refreshingly experimental - even dipping its toe into avant garde waters in the likes of "Lamb Of God" - whilst tracks like the instrumental version of "Credo" showcase the great lady's skills as a stellar jazz pianist. Elsewhere, classical, pop and blues influences can be heard through the filter of modern jazz and, whilst the vocalists on the sung numbers either come across as too staid or unable to keep up with the demands of Williams' challenging compositions, the sheer dexterity of the musicianship and the piece as a whole override any shortcomings. Originally much shorter than the 24 tracks featured here, rarities such as the jazz trio opener "Willis" and the Edwin Hawkins Singers facsimile "Jesus Is The Best" are included whilst two tracks written and recorded shortly after Martin Luther King's assassination and taken directly from a broadcast on Rome's Vatican Radio are bolted on to the end. A 32 page booklet with extensive notes on Williams' life, the genesis of the piece and the individual tracks provides the icing on the cake of this lovingly restored work of art.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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