Newest articles on The Sacramento Press tagged as "ralph hughes"

Master Singers' Celtic Christmas is a joy

2012-12-18T22:36:06Z

Nobody celebrates Christmas like the Sacramento Master Singers.

The Master Singers, under the direction of Dr. Ralph Hughes, have produced a holiday concert of beauty, musical excellence, and joy each season for the past 26 years.

This year’s offering, the first Celtic-themed event in the history of the Master Singers’ Christmas concerts, was delightfully different, and stood up well to the standard of excellence set in years past.

An unusual collaboration between the Master Singers and Men of Worth, a Celtic performance duo, set the tone and stirred in the flavor for this lively and charming concert.

The Saturday evening performance at St. Francis of Assisi church in midtown Sacramento was sold out, and the audience members queued in the cold chatted and reminisced about past Christmas concerts as they waited for up to an hour for the doors to open.

Inside, the lovely church was wreathed in simple evergreen decorations. The pews were soon filled with the sparkle of sequins and the excited chatter of guests shedding their heavy coats and settling in for an evening of musical entertainment.

Soon the lights dimmed and were then extinguished as the traditional candlelight processional began. Yet to audiences familiar with the plainsong and haunting chant of the processional in years gone by, the lilting Ecce Quod Natura was a lovely surprise. Arranged by Michael McGlynn, Dublin composer and founder of Ireland’s national choir, Aruna, the ancient text began the evening with a distinct Celtic flavor. The only accompaniment to the lovely choral harmonies was the crystalline sound of the hand chimes and the steady thrum of the bodrhan (Irish drum).

There Is No Rose followed, and then Angelus Ad Virginem, another McGlynn arrangement of a medieval Irish song once again lifted the chorus into the Celtic spirit. McGlynn’s sweet ballad Christmas Memories brought forth the full tenderness of each voice in the choir.

Men of Worth played a variety of instruments from their Irish and Scottish traditions: in addition to the bodrhan, James Keigher and Donnie Macdonald played guitar, mandocello, concertina, and the octave mandolin. Their rich voices, distinctive accents and quirky colloquialisms added greatly to the performance.

Clifford Shockney, esteemed composer, arranger and accompanist for the Master Singers, worked with the Men of Worth and the chorus to develop some collaborative treatments of songs from the choir’s repertoire and some choral arrangements of the traditional Irish and Scottish tunes sung by the Celtic duo. The resultant blend of traditions and vocal styles was a delightful departure for both groups.

The candlelight processional continued with one of these arrangements, The Rising of the Moon. Soprano Julie Jeness exhibited another musical talent as she played the flute with Tina Harris on piano.

The audience sat in profound silence as the Men of Worth sang Chistmas in the Trenches, John McCutcheon’s poignant ballad about the amazing and spontaneous truce the occurred in 1914 as opposing German and British forces in several locales across the Western Front. Soldiers crossed over no man’s land to exchange songs, small gifts of cigarettes and food, and even to play soccer together in recognition of their shared humanity, even though the following morning would find them once again firing at one another. This true tale evokes a deep spirit of the true love and joy of the Christmas season, and Keigher’s deep baritone was reverent and strong.

There followed Shockney’s arrangements of a traditional Scottish ballad, The Sound of Iona, the beloved Little Drummer Boy, and the Wexford Carol, a 12th century Irish carol, combining the voices and harmonies of the choir and the duo.

Closing out the first half of the program was a beautiful and intricate arrangement of the Peter, Paul, and Mary hit A ‘Soalin’.

The program continued with a blend of traditional carols and some surprising treatments of familiar songs, including Silent Night sung in Irish Gaelic and a wonderful a capella jazz version of The Holly and the Ivy arranged for women’s voices.

The men had their moment with a Patrick Rose arrangement of I Saw Three Ships.

Pat-a-Pan is a favorite French carol which has been reinterpreted many times, and the Master Singers delivered a joyous version as their penultimate selection.

As always, the program ended with the singing and signing of Peace, Peace, a beautiful wish for the world which blends beautifully with the audience singing Silent Night.

There were several interesting instrumental accompaniments throughout the evening. Bass singer David Robinson lent his skills on both the upright and the electric bass to several songs. Thomas Voight is an accomplished drummer and percussionist, and Joseph Silmaro played keyboards. Julie Jenness’ flute enhanced a number of songs as well.

Soloists throughout the program included Stephen Hill, Kevin Mirsepassi, Joseph Silmaro, David Manea, Justin Pratt, William Zinn, Jon Eric Hill, Carol Horner, Mia Watts, and Amber Lidskin.

The collaboration of the Master Singers and the Men of Worth came about “over a whiskey in a castle in Scotland,” according to James Keigher.

In addition to singing together for 26 years, and traveling the country bringing music education to schools and colleges, the Men lead guided tours to their home lands of Ireland (Keigher) and Scotland (Macdonald).

It was on one such tour of Scotland that Master Singers’ alto Mary Patt broached the idea of collaboration. Ralph Hughes seized on the possibilities and enlisted Shockney’s help in creating a blend of choral and troubadour repertoire.

Though the Men of Worth have occasionally sung with school choirs in their travels, this level of cooperation with a large choir is unprecedented for the duo. Neither Keigher nor Macdonald reads music, and having sung together for over two decades, they are so familiar with their repertoire and their individuals tastes and talents that they seem to intuitively grasp the right way to support one another instrumentally and harmonically.

“The biggest adjustment was rehearsing with the Master Singers,” said Macdonald. “We never rehearse, we just stand up and play.”

Both musicians said that they thoroughly enjoyed their work with the Master Singers, and even speculate about recording a joint CD.
As for Hughes, his choir has so enjoyed the Celtic music that he is planning a concert tour of Ireland in 2013 with a workshop with composer Michael McGlynn.

This adventure in music is yet another example of the power that comes from understanding and engaging in another’s experience of life. In recognition of our shared humanity and the language of music which all cultures have in common, The Master Singers are moving us yet one step closer to peace, peace.

The Master Singers and the Men of Worth will perform their Celtic Christmas twice more: on Thursday, December 20 at 7:00 pm, and on Sunday, December 23 at 3:00 pm. Both concerts will be held at St. Francis of Assisi church, 26th and K strees in Sacramento. Both performances are very nearly sold out, but there may be a very limited number of tickets available at the door; call the Master Singers at (916) 788-7464 for information.

The Men of Worth will be performing as a duo in Auburn on Saturday, December 22 at 7:00 pm at the Music and More Theatre; visit their website at http://www.menofworth.com/Calendar for information.

It Takes Two to Tango

2012-05-21T03:00:32Z

Laughing and flouncing their way onstage, the Sacramento Master Singers began their final program of the season with the playful "Vamos a Bailar" ("Let's Dance"), complete with fingersnaps, claps and an energetic four-hands piano accompaniment by Heidi Van Regenmorter and Clifford Shockney.

Shifting moods completely, the next piece was a dramatically somber a capella madrigal with subtly sustained dissonance adding to the weight of grief, and ending with a whisper sounding like "loss."

Continuing softly, the next piece, "Come to Me, My Love," began with only the men's muted voices, then added layers of sound like hope returning.

This was followed by "A Boy and a Girl" using poetry by Nobel Prize winner Octavio Paz and music by Eric Whitacre, who thought this was some of the truest music he'd ever written. This subtle, thoughtful a capella piece was sung perfectly by this choir, and it ended with the quiet power of several wordless musical phrases softly hummed. This piece was absolutely exquisite.

Other treats in the first half of the program included Piazzolla's famous "Oblivion" tango, deliciously and authentically played on piano, violin and bandoneon by guest artist trio Cowtown Tango; and a rousing solo of Albert Fossen's "Carousel," a very fast virtuoso piece for the accordion played by guest artist Nicolai Prisacar.

After the intermission, director Dr. Ralph Hughes treated the audience to the Spring and Summer portions of Piazzolla's "Four Seasons of Buenos Aires."

The Cowtown Tango trio entertained with several more songs, including the beautiful "Mi Buenos Aires Querido" ("My Beloved Buenos Aires") and the hugely popular tango "El Choclo" with the lyrics to "Kiss of Fire."

The choir sang another moody song, "Se Equivoco' La Paloma" ("The Dove Was Wrong"), which emphasized the rich tonalities this choir achieves.

Accordionist Prisacar played a final solo of an unusual medley of a Russian folksong and a Uruguayan tango that was all the rage in fin-de-siècle Paris.

The next offering was a reprise of Piazzolla's "Oblivion," this time arranged for voice, and enhanced by a slow, nuanced tango dance by guest artists Alisa Shubb and Mike Bohan, who have been dancing together for 20 years, clearly evident in the lingering subtlety of their dance.

The choir's program ended with "Youkali" or paradise, a joyful piece with a rich, fat sound that included flute, clarinet, piano, accordion and percussion.

All of the performers in Sacramento Master Singers are either professional musicians or highly trained musicians, yet they are humble enough to share the stage with several guests throughout the evening, thereby giving the audience a marvelously well-rounded program. To quote from the notes to "Youkali," which could equally refer to the whole evening, it was "a bit of musical nirvana."

If you didn't get a chance to hear them this spring, don't miss their holiday concert program, three weekends in December.

For more info about The Sacramento Master Singers CLICK HERE>>>

Masterful Master Singers Program

2011-12-13T23:14:44Z

People will go through a lot to hear beautiful music.

Each December, the line of people snaking around St. Francis Church grows. People arrive up to 90 minutes before curtain for the annual holiday performance of the Sacramento Master Singers. Many clutch their seat cushions as they chat with friends and friendly strangers waiting to enter the chilly church. They have braved rain, wind, and cold in years past; this year the autumnal weather lingering on into mid-December was a blessing.

Sunday’s matinee performance of “Glory to the Newborn King” once again hosted a near-capacity crowd. People came in groups and alone; multigenerational families crowded into the hard wooden pews. There were annual visitors from Napa and Yuba City and Richmond, and there were first-timers who decided to try something new this year.

The beauty of the old church, huge and ornate—and cold!—arrested their attention before the program began. It is a superlative setting for the Master Singers’ traditional candlelight processional, this year featuring both haunting plainsong and a gorgeous antiphonal double choir “Ave Regina Caelorum” by Elizabethan composer Peter Philips. The pure tones of the bells the choir plays as they assemble is precise and delicate, a fitting complement to the clear interplay of beautiful voices.

As the program progressed, the music advanced through the centuries, and the international flavor embraced by the Master Singers expands. Director Ralph Hughes has searched for music which brings the human experience of Christmas to all who hear it, the season of hope born in the darkness of winter.

By presenting old standards rearranged for interesting meter, audiences are welcomed into new music with ease. Jackson Berkey’s arrangement of “Joy to the World” was delightful.

As is usual for the Master Singers, the women sang two selections, including the audience favorite “Gaudete!”. When the men took the stage, their luscious “The First Noel” exemplified the rich depth of male voices blending in harmonies both haunting and exuberant.

The full choir finished the concert with a solid serving of lovely tunes and a spirited pantomimed “Rudolph the Red-Nosed Reindeer” that brought chuckles from the audience and a thunderous applause.

And in time-honored tradition, the singers circled the hall and signed the words to “Peace, Peace”, which blended beautifully into “Silent Night” sung by the audience.

Hughes coaxes extraordinary performances from his 48 singers, and Hughes showcased several soloists throughout the program, notably sopranos Sara Haugland and Eva Cranstoun. The small size of the chorus fosters a feeling of familiar relationship with the singers; personalities are allowed to shine through the music, as in the interplay between soprano Elizabeth Johnston and alto Michelle Iwase in the beginning measures of “Gaudete!”.

Part of the enduring appeal of the Master Singers is the sense that these are friends bringing this lovely music into our lives. One can imagine inviting these talented singers into one’s home to bring meaning, beauty, and warmth to the holidays.

"Glory to the Newborn King" will be performed agin on Saturday, December 17 at 8:00 pm, Sunday December 18 at 3:00 pm, and Wednesday December 21 at 7:00 pm. All performances will be held at St. Francis Church, 26th and K Strees, Sacramento. For more information, or to purchase tickets, visit the Master Singers at www.mastersingers.org or call 916-788-7464.

Master Singers' Season Opener is a Gem

2011-10-31T03:33:06Z

The American River College Theater was sold out Friday evening as the Sacramento Master Singers presented a wonderful ensemble concert to begin their 26th season.

“From Sand to Pearls: A Choral Tribute to Perla Warren” honored the longtime music instructor with an ambitious program involving four choral groups, several supporting instrumentalists and a solo jazz pianist.

Many of the musicians were former students of Warren and credited her with the transformation of young voices into accomplished musicians.

Dr. Ralph Hughes, artistic director of the Master Singers and a colleague of Warren, is also the director of the 26-voice American River College Chamber Orchestra. He led his young singers through a quartet of challenging pieces, singing in Italian, Latin, Cuban Spanish and the non-verbal language of Hutcheson’s “Lament for a Lost Child,” performed in eerie darkness with only tiny blue lights held beneath the chins of the singers.

This performance was testimony to the quality of the music program at ARC, and it seems certain that many of these talented students will go on to develop the depth and maturity evident in the alumni singers who followed.

1990-92 alumnus Jim Martinez is a classical and jazz pianist with an impressive résumé. He honored his former teacher with a sparkling medley of Hoagy Carmichael’s “Skylark” and the Harry Warren/Mack Gordon classic “There Will Never Be Another You.”

Another alumnus of Warren’s classes is Julie Adams, who directs the choir she founded in 2000, Reconciliation Singers Voices for Peace. RSVP is a talented group of slightly older singers who donate their time and talents to provide both beautiful music and financial contributions to local charitable organizations.

RSVP began their set with a whimsical, upbeat and complicated tongue-twister involving a poet and bananas, set in very difficult mixed meters. Their lovely rendition of the traditional “Poor Wayfaring Stranger” featured solos by tenor David Saul Lee and alto Gaw Vang.

Moodswing is a jazz quartet from the Bay Area, and Julie Ford and husband Paul Ford were both shaped and trained by Warren. Their sound is very close, tight harmony in a classic jazz idiom. Opening with Al Jarreau’s “Mornin’” and ending with the fabulous “Bernie’s Tune” from the 1950s, they delivered a clear and respectful reading of the genre. Yet it was the powerful and haunting “Calling You” from the film “Bagdad Café” which touched the audience with the strength of this quartet’s connection to their ARC roots.

The Sacramento Master Singers began their set with one of the most sprightly of Bach’s motets, “Der Geist hilft unser Achwachheit auf,” featuring a double chorus in a light and uplifting mosaic of voices.

In an early nod to the Christmas season, the women sang a delightful hymn of praise and rejoicing, “Gaudete!” The men followed with a beautiful arrangement of “The First Noel” and concluded their set with the charming and playful “Yo le canto todo el dia” including some complex hand-clapped rhythms.

As a finale, all the singers formed a mass chorus to present three lovely pieces, including one written by Paul Winter and Paul Halley based on themes heard in the eerie, plaintive recorded cries of a tundra wolf, and then echoed by the choir and soprano saxophonist Jason Galbraith. It was a haunting and unusual Kyrie from a Mass celebrating the whole Earth as a sacred place.

Warren’s choral groups, the American River College Chamber Singers and the American River College Jazz Choir, earned many honors and awards over the 30 years of her tenure as conductor. They performed in several countries and received numerous awards.

In her closing remarks, Warren beseeched the audience to keep music alive, in schools, workplaces and the world at large, especially in the hearts, hands and voices of all people. Her legacy is a dedicated family of musicians who will see that her vision is carried out.

Master Singers’ season finale: Fauré Requiem

2011-05-24T05:07:17Z

The final concert in the Sacramento Master Singers’ season was presented last Saturday and again on Sunday at the First United Methodist Church with guest conductor Vance George.

The program was built around the Requiem by Gabriel Fauré, composed in the 1880’s. SMS performed this durable work beautifully, aided by the Sacramento Children’s Chorus singing the Pie Jesu with angelic purity.

The concert opened with three hopeful selections, energetic and bright: the traditional Appalachian tune “Guide Me, O Thou Great Jehovah,” Finzi’s “My Spirit Sang All Day,” and another Fauré selection. A Mendelssohn motet from “Elijah,” sung in German, followed.

Still, after all of this beautiful music, it was the Bach Motet #2 which brilliantly showcased the considerable talents of these fine singers. It was magnificent. It was written for double choir, and the intricate antiphonal structure and gorgeous harmonies were stunning, sung with precision and passion. With accompaniment by guest organist Heidi Van Regenmorter and a 19-piece festival orchestra, it was a glorious performance.

There were also two special performances sandwiched between the SMS selections. Lynn Stevens directed the Sacramento Children’s Chorus in three selections. The 34 clear treble voices blended in harmony, singing a sweet ballad from the British Isles, a traditional Thai folk song (in Thai and English) and an energetic spiritual, “Chariot’s Comin’.” These children may well be future Master Singers.

The annual Asya Pleskach Scholarships for vocal students were also announced. Elyse Rosky of Nevada Union High School was present to accept her award in the 14 to 16 age category. In Category II, for singers aged 17-19, the first place winner was Kristin Knotts, of Oakmont High School.

Knotts sang “Vergebliches Ständchen, Opus 84., No. 4” by Johannes Brahms, and amazed the audience with her clear soprano and her considerable stage presence. Her graceful phrasing and nuanced tone was unexpected in one so young. Her vocal coach, Sherry Anderson, praised both her talent and her work ethic.

The guest conductor for these performances, Vance George, is conductor emeritus of the San Francisco Symphony Chorus. His wide experience was evident in his work with the SMS, as was his personal charm in connecting with the large audience. In his 23 seasons with the San Francisco group, they were awarded two Grammys for Best Performance by a Choral Group. George has also been instrumental in Emmy-winning orchestral and choral performances, and in creation of the film soundtracks for “Amadeus,” “The Unbearable Lightness of Being” and “Godfather III.”

"I'm thrilled to have the choir work with such an esteemed conductor as Maestro George,” said Ralph Hughes, artistic director and conductor of the Sacramento Master Singers. “He is like a living history book on choral music in the United States, and we've benefitted from his metaphors on how to use the voice, his immense knowledge of lyric diction, and his ability to coax new vocal colors from the choir. The choir simply sparkles on the Bach!”

This has been an outstanding season for the Master Singers. Dr. Hughes is celebrating 25 years with the elite choral group. He joined his chorus on the risers for this performance. Under his direction, SMC presented “Peace, Peace,” their annual holiday concert; “Jingle All The Way,” a holiday concert for children, and “Celtic Connections III” in March.

For more information about the Sacramento Master Singers, visit their website at www.mastersingers.org.

Sacramento Master Singers: Holiday Delight

2010-12-13T23:00:15Z

The block-long line of music lovers began to form a full hour before the doors of St. Francis of Assisi Church opened, a testament to the popularity of the Sacramento Master Singers’ annual holiday concerts.

The expectant crowd settled into the pews and filled the magnificent sanctuary, ladies in sparkly holiday dresses seated next to young people in jeans and hoodies, all brought together to experience the magic and wonder of beautifully sung seasonal music.

“Peace, Peace: 25 Years of Holiday Music” marks a quarter century of the inspired direction of conductor Ralph Hughes.

Through his tenancy as artistic director, the choir has blossomed in numbers, artistic excellence and popularity. The choral works Hughes selected for this anniversary concert include many of his favorites as well as music particularly dear to the choir and to their faithful audience and supporters.

The program began with the choir’s traditional candlelight processional. The 45 singers surrounded the audience for the haunting Gregorian chant "Puer Natus Est" and an a cappella offering of several antiphonal and Renaissance motets.

The sound was crystalline in purity, each note precisely sung into the beautiful cathedral-like church.

The members of the choir moved into various graceful circles, multilevel stances and complex arrangements featuring soloists (“Christmas Day Is Come”) and an octet (for Jan Sandstrom’s lovely arrangement of “Lo, How a Rose E’er Blooming”) before assuming their more traditional banked configuration.

The extraordinary talents of the Master Singers and their director, with accompanist Clifford Shockney, were ably showcased through the eclectic and internationally flavored program.

A great favorite of audiences, the 16th-century Spanish villancinco “Riu’ Riu’ Chiu’” incorporates complicated two-part hand percussion. “Fum, Fum, Fum!” – also from Spain – and the enchanting Peruvian “Festejo De Navidad” brought a sense of global connection to the program.

After intermission, the program opened with an a cappella spiritual, “O Wondrous Star of Bethlehem,” featuring soprano Jenny Guemmer.

Gary Garcia’s “There is No Rose” was followed by two pieces featuring only the women, directed by Tina Harris: a challenging “Ave Maria” by David MacIntyre and a bright and surprising “Variations on Hark the Herald Angels Sing,” arranged by accompanist Clifford Shockney, which drew an enthusiastic ovation. Mezzo soprano Carol McCormick was featured on “Still, Still Night,” a wonderful new arrangement of the beloved carol.

The men then took center stage for a clever and intricate version of “Three Kings” followed by a glorious rendition of Franz Biebl’s “Ave Maria” featuring a talented trio of Stephen Hill, Andrew Smith and Thomas Voigt and the solo contributions of Chris Goff, David Temme and Kurtis Kroon. The quality of tone and expression in the rich male voices lent a tender poignancy to the simple text.

In counterpoint, “The 12 Days of Christmas???” was a hilarious romp through everyone’s favorite Christmas song – no matter which one that might be.

Exuberant percussion illuminated the Nigerian carol “Betelehemu” and wrapped up the program on a note of energy and joy.

The final song of every Master Singers holiday concert is always “Peace, Peace,” a simple and beautiful wish for peace on Earth. Choir members dispersed around the audience and signed the song as they sang it; the audience was then encouraged to blend voices with the choir to sing “Silent Night.” It was the perfect ending to a lovely, heartfelt concert.

Sacramento Master Singers will sing their holiday concert three more times at St. Francis: on Saturday, Dec. 18 (8 p.m.), Sunday, Dec. 19 (3 p.m.) and Wednesday, Dec. 22 (7 p.m.). The choir will also present a children’s concert, “Jingle All The Way” at St. Francis on Saturday, Dec. 18 (3 p.m.). Tickets are available at their website, mastersingers.org or at 916-788-7464.

Sacramento Master Singers have produced five CDs of their holiday music, as well as “Follow the Sun,” a 1995 recording of world music. The CDs are also available at their website, as are details of the Spring concerts.

More than 100 performers to pay homage to 'The Duke'

2010-03-17T05:45:06Z

This weekend, the Sacramento Master Singers will perform excerpts from Duke Ellington's "Sacred Concerts." It marks several important homecomings.

It will be a homecoming for the Grammy-winning piece, which was played by Ellington and his legendary orchestra in 1965 at Sacramento's Westminster Presbyterian Church. Friday through Sunday, it will be played at the Crest Theater, less than half a mile from the church.

It will also be a homecoming for Ardie Bryant, the "Ambassador of Tap," who spent his early years in Sacramento and graduated from Sacramento High School. Saturday, the legendary bebop jazz tap dancer, who has danced with everyone from Ellington to Count Basie, Charlie Parker and Dizzy Gillespie, will turn 81.

He will join the Master Singers during a section of the "Sacred Concerts" called "David Dance," originally performed by Tap Dance Hall of Fame inductee Bunny Briggs.

Bryant said he will do two things upon returning to Sacramento. The first is to visit his parents' grave site, and the second is to participate in the Duke Ellington concert, which he said he considers an honor.

It's more than just a couple of homecomings, though. It's going to be a mammoth performance, probably the largest and most complex the SMS have ever performed, said Conductor Ralph Hughes.

All told, the stage will feature more than 100 performers, including the Master Singers, two American River College jazz bands, the Harley White Jr. Orchestra, several dancers and readers from Celebration Arts, the Capital Jazz Project, a handful of vocal soloists and Bryant.

According to Kathy Ossman, Sacramento Master Singers president and lead alto, to fit on the Crest's stage, the performers will need extra platforms to extend beyond where the current stage ends. Hughes said the score is so complex, ARC Jazz Director Dyne Eifertsen, CJP Pianist Joe Gilman and Hughes are all required to share cues and conducting duties.

Then, on top of that, there will be audience interaction. The Sacramento Regional Community Foundation, which helped SMS fund the show, wanted the group to include community participation.

"Some (audience participation sections are) with the whole audience, and some are with volunteers," Ossmann said. "There's a prayer section about what we need (to be) forgiven (for), and we have a chance for audience members to write what that may be in a booth in the lobby, and they can read that."

No one is more qualified to comment on Ellington's music than Bryant, Ellington's friend and musical partner. He also performed the "Sacred Concerts" for the first time in 2004 at the Disney Concert Hall with the Los Angeles Master Chorale.

"He composed all kinds of music, but (the Sacred Concerts) were the religious perspective of the man," Bryant said. "It's very moving, well-written and exciting to know that the man was that kind of person."

Ellington was also one of the most prolific jazz composers of all time, best known for penning some of the genre's most enduring classics, including "It Don't Mean a Thing," "Take the 'A' Train" and "Caravan."

"You really had to be on the ball to be in his company, because everyone working with him was saying something, and he gave you freedom to express yourself," Bryant said. "He used to play (piano) with me (tapping), and we would exchange rhythms," he said, adding, "bop-a-dee-bap-a-dee-bop!"

The 8 p.m. Friday show will be a free performance to high school and youth groups. Those who wish to attend should contact the Sacramento Master Singers business manager at 916-788-7464 or smsbusiness@surewest.net.

Public performances will be held Saturday at 8 p.m. and Sunday at 3 p.m. Tickets cost $20 for adults and $10 for students and can be purchased at mastersingers.org, by contacting the business manager, or at the door at 1013 K Street.

Photographs: Sacramento Master Singers, credit Bruce Patt Photograpy.