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well, we'll have to wait and see, but there's no point writing something if it isn't going to get produced, is there?
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Interview with an album producer: how was it for you?

14/11/2017

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Album producer Sunim Koria lifts the lid on the production of the concept album of new British musical Tess.

In this candid interview, he talks exclusively about his reasons for taking on such a huge project and the challenges he faced along the way as well as spilling the beans on some rather scandalous studio activity.
What made you take on the Tess concept album project?
 
I must confess it took a great deal of convincing for me to take it on. I believe it was about the fifth time Michael Blore asked me that I finally said “Yes”. It was by no means due to any kind of disinterest. I just didn’t feel confident that I would have the time, or even the know-how, to do the material justice. But then it dawned on me: exactly how often do people get approached to produce a concept album for a new through-composed musical?
 
Not often, I’m guessing?
 
Not to mention being allowed a wealth of creative freedom and an opportunity to work alongside some big names in the industry. From there, I romanticised the idea of producing something that could rival my all-time favourites in the musical theatre concept album form – the original recordings of Jesus Christ Superstar and Chess. And thus, it was safe to say I was hooked. 
What’s your favourite track to listen to?
 
This is actually quite a difficult question – it probably changes upon every listen! I recall playing several early mixes to my girlfriend who exclaimed that I was prefacing every number with the comment “This one’s one of my favourites!” Even now, quite possibly having spent literally hundreds of hours listening to the album, I’d probably say the same.


​
So, sorry to go all Jeremy Paxman on you, but your favourite track is…?
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Sunim Koria with cellist and Tess administrator
​Isabella Worrall
If I really had to choose, I’d maybe pick the Quartet in Act 2 – a genius moment that is dark and tortured yet, at the same time, consoling and beautiful. Not only does it showcase the brilliance and complexity of the Michaels’ writing, but also the expressive vocal performances of four of our marvellous leads. I also love the dramatic shift and change in mood as it seamless follows on from the contrastingly upbeat and quirky Society Ladies. Another one of my favourites!
What was your favourite track to mix?
 

That would easily have to be I Always Get My Way. I think I even managed to get the kitchen sink into that one there’s so much going on! However, at one point early on in the mixing phase this song would temporarily become my biggest bane.
 
Oo, do tell. It is an interview.


​We had already recorded a version of I Always Get My Way for the demo we’d put together in 2015 and I had done everything to get that sounding as tremendous as possible.
Fast-forward exactly two years and I was now faced with trying to top the work that I had produced before on that very same song. However, due to impending deadlines for the completion of post-production, paired with working on Tess late into the night on top of working 14-hour days, the results of the first mix to my ears were absolutely disastrous!

Crumbs…
2015 recording of 'I Always Get My Way'
The energy of the demo version just wasn’t there, the instruments were stepping all over each other and I simply hadn’t done any justice to Tam Mutu’s electrifying performance. It was the one time that I truly felt defeated. I felt I had no choice but to begin again and mix the entire album from scratch, which at that point was already about two-thirds complete. Thankfully, the Michaels were gracious enough to give me the time that I needed to rethink my mixing “game plan”. For the next album mix I started with 
I Always Get My Way first and did not even think about moving on to anything else until I was completely satisfied. The song ended up becoming my benchmark for the entire album thereafter.
Can you give us the scoop on any gossip?
 
Ooh, there’s far too much to tell! But I shall save the Michaels any embarrassment and further damage to their already deplorable reputation –

 
Shame.
 
And focus on myself for this one.
 
I’m all ears.

As can sometimes happen when recording a multitude of vocal parts for a project as colossal as Tess, I discovered during the early stages of post-production that a few lines in some of the inner parts for the female chorus were completely missing here and there in a couple of numbers.
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Very rock 'n' roll - celebrating the end of production
​with the 2 Michaels. 
As the absence of these was relatively inconsequential to the overall sound, the Michaels and I debated if it was worth scheduling the respective vocalists to return to the studio to record the missing material. Sensing an opportunity to shoehorn myself into yet another performance on the album, I suggested “plugging the gaps” in the female choral sound by using my own most beautiful and soaring (vastly poor and untrained) countertenor voice. I can’t recall the Michaels overtly giving me permission to do this, but I went ahead and did it anyway - scandalous, I know!
Outrageous!
 
Most people probably wouldn’t even be able to spot those moments, but they are there. I can certainly hear my voice a mile off.
 
We should listen now and play “Spot the Prod”! 
​

[He doesn't respond.]

Perhaps another time. What were your technical challenges?

Where do I start?! For me, the greatest challenge was probably making an incalculable number of vocal and instrumental performances (well, 1,306 to be precise!) sound like they were all recorded “as one” in the same room and within the duration of a couple of hours even though they were captured over a period of nine months and across five studios. I probably used every trick in the book to achieve this – and even made up some of my own!
Furthermore, our audio engineers, Conor Manning and Richard Watson, and I had vastly dissimilar studio setups and so a lot of time was spent in pre-production ensuring we had a fail-proof system to make all recording sessions run efficiently with minimal technical fuss. Being blessed with the highly skilled and diligent team we had, working through any difficulties as they occurred was an absolute breeze. I certainly never felt we hit any technical “brick walls” at any point during production.
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With Richard Watson (left), Conor Manning (second left)
​and those 2 Michaels again
So, killer question, would you do it all again?
 
I’d love to… but maybe after a decent couple of years’ break at least! As much as I’ve loved dedicating most of my musical focus on Tess it’s definitely nice to be getting more than three hours sleep every night once again.
 
Three hours sleep? And you still look so young?
 
[He smiles.]
 
Moving on. What’s next for you?


​In terms of projects, I have my own album of material that I have been constantly putting on the back burner since 2010, so really I should be getting on with that if I want it to be completed any time before 2040!
Working on Tess for all this time has also really inspired me to make a return to composing concert music: for orchestras, chamber ensembles and soloists, and collaborating with a diverse mix of musicians – something which I adored revelling in when I had the opportunity to do so. I may even compose a musical of my very own… who knows!
I see it now. TESS 2 - T2 - Revenge of the Tessth!
 
Can I go now?
Sunim Koria was in conversation with Tess administrator Scott Collins.

Thank you for reading and following the progress of Tess. Please feel free to leave a comment. We'd love to hear from you.
​
Read again
  • How to make a musical: From page to concept album - whatsonstage
  • 5* review of Tess concept album - Londontheatre1
  • Tim Rice backs new British musical - carnstheatrepassion

​Next time on d'Blog... We bring you more news on the Tess journey from score to stage via the radio.
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Quiet please: master at work

10/8/2017

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Hello again and welcome to the latest d'blog on our journey taking TESS from page to stage.

In this post, lyricist Michael Davies writes from the recording studio as the team meet for the final time to mix the album of the show.

Exciting times. But when will it be finished? Well, read on.
It’s hard to believe but we’re sitting in the studio of producer Sunim Koria discussing the final mix of the Tess concept album.

The journey thus far has taken more than four years. To be this close to a finished product is slightly unreal.

Reverb levels, percussion cut-through, dialogue fades - this is the kind of fine detail we’re into at this late stage. And even allowing for these tiny tweaks, it’s sounding extraordinary, though we say it ourselves. In fact, there’s no reason not to say it ourselves as all the magic is being woven by Sunim and his producer wizardry.
'FINESSING'

​There’s still much to be done, apparently. Finessing the final mix after today’s session will take a little time, while the mastering process alone is a huge enterprise. Then there’s the small matter of delivering the package to the manufacturers, with attendant artwork, for them to turn into shiny, shrink-wrapped parcels of promotional delight.
Michael Davies
The lyricist listens in
Michael Blore
Composer Michael Blore goes through the notes
DEADLINE

​There is no specific deadline. It’ll be ready when it’s ready (probably around October, since you ask). But it’s important not to cut corners in a headlong rush towards the finish line. We want the concept album to be the best it can possibly be before we put it into the hands of the kind of folk who might be able to give it a future on a stage.
Because that, after all, is what this whole exciting project has been working towards: we went into it with the approach that there was no point writing something that wouldn’t ultimately be performed. The reason for the album is to use as a promotional tool. While it won’t be commercially available for contractual reasons, we will be offering listeners a chance to hear the material online and, hopefully, fall in love with it so much that they start demanding that someone makes a stage show out of it.
And so the next phase begins…
Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.
​
Read again
  • Siobhan Dillon and Tam Mutu to lead Tess cast recording - whatsonstage
  • Tim Rice backs new British musical - carnstheatrepassion
  • West End stars join the team for musical Tess - stageylady

​Next time on d'Blog... We bring you news on the first live performance of one of the songs from TESS as the album heads for completion.
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Mixing time

2/5/2017

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Michael Blore & Michael Davies
Hello and welcome back to the latest d'blog. From d'both of us!

That's right. You're getting 2 Michaels for the price of 1 d'blog giving you all the latest on progress with the TESS album. 

So take it away Michael. 

​And Michael.
So the end is in sight. For this part of the Tess project anyway. The album. Hard to believe we are saying that, nearly two years on from the first discussions we had about a possible recording of the entire show with our producer Sunim Koria (for the record, he initially turned us down).
In case you missed the news, we now have a first mix of the whole show. That’s right. All two hours of it. All singers, band members, additional instrumental sounds, foley (yes, we had to look it up) and sound effects are now in place and have gone through the first process of “A bit more that”/ “Less of that”/ “Oo, bring that bit out!”
We can actually hear the show.

THE BILLIE JEAN STORY

The only thing is, fussy so ’n’ sos that we are, this could take us a little while to finish off. Don’t groan. To give you some idea of the time it can take, you remember Michael Jackson’s Billie Jean? Well, they did 91 mixes of the song. That’s right. 91. Only for them to go with mix number 2 as the one we hear today. Click the pic of Michael Jackson to read the full story from the producer himself, Bruce Swedien.
​
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Now Bruce is something of an idol to our very own producing wizard Sunim, so let’s see if we make it to 91. Stay tuned!

​ALBUM DESIGN


Meanwhile, the album design and booklet are also nearing completion. Here’s a little sneaky peek of what we’ll be serving up:
Tess Album
A lot of people have been asking us over the past year, “Why have you done an album?” Mainly our long-suffering partners, we hasten to add, but the truth is that the cost of putting on a show far exceeds that of recording one. Plus, crucially, we are not theatre producers. And if we’re not in a position to produce the show ourselves, the question arises of how to promote it in order to attract someone who could?
Of the many options, a ‘concept album’ recording looked the strongest choice. It worked for Jesus Christ Superstar, Chess, even The War of the Worlds. There’s also the fortunate corollary that anyone staging Tess will have an invaluable resource when it comes to getting to know the show, making rehearsals a breeze before the opening night of its world premiere. We hope. 

THE STRATEGY
​The thing is, there’s no blueprint for putting on a new musical. One thing that helps is having a strategy. Ours has been about promotion, building contacts and support, and preparing a top-quality album as a calling card.

And this is where you can play a vital part. In time, we’ll be sharing excerpts from the album on the Tess website and introducing our baby to the world. If you like what you hear, please tell all your friends and acquaintances – especially any called Cameron.
With luck, we may be sharing mix number 2 very soon. Then again, it could be mix number 91. Bear with us – this may take a little more time…
Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.
​

​Next time on d'Blog... As work finishes on the first ever album recording of TESS, we bring you news from the studio for the final time.
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Interview with a composer

13/2/2017

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Michael Blore
Welcome back and thank you for clicking over to our latest d'Blog.

Though technically speaking this one ain't a blog. It's an interview. Or is that a d'Interview? With TESS composer Michael Blore. 

From the first recordings last June we catch up on how the album project is progressing and hear about some plans for the future.

​And just who is Prodzilla? 
​​So how’s it all going?
 
With vocal editing complete and the instrumental editing nearly done things are ticking along very nicely thank you. My job at the moment is mainly one of providing notes and guidance on the whole score to our album producer, Sunim.

​Oh yes, Sunim. Don’t you call him Prodzilla?
 
Affectionately, yes. He’s got a monster of a job and is doing it all with tremendous skill, dedication and patience.
​
What’s he been doing then?
 
What hasn’t he been doing! We recorded 21 voices in 5 different venues. From that wall of sound he’s pulled 
Sunim Koria & Michael Blore
TESS album producer Sunim Koria (l) sets to work with Michael Blore
everything together to create one beautifully harmonious 2-hour long new musical theatre extravaganza. Oh, and ​incorporated the recordings of 11 musicians. And begun creating sound effects, additional instrumental sounds and foley. ​

Foley?
 
The reproduction of everyday sound effects that are added to film, video and other media in post-production to enhance audio quality.

 
You looked that up.
 
Maybe…
What has been the most challenging aspect of the post-production process?
 
Well, I must admit to getting the jitters come vocal editing deadline day. Had we chosen the best takes? Had any adjustments we needed to make enhanced the quality of the performances or not? I felt the responsibility weigh heavily on my shoulders.
So you were making decisions alone?
 
Mercifully not. Sunim is a composer in his own right so I always sought his input. And Mike was very much part of the decision-making process.
 
Do you mean award-winning playwright and lyricist-in-chief Michael Davies?
 
The very same. Not only is he a formidable wordsmith, but also a top musician with an ear that can spot a musical anomaly at 20 paces.

 
Or even 20 decibels.
Michael Blore & Michael Davies
The 2 Michaels - Blore and Davies
Exactly. As we speak he’s also working on the promotional package that will accompany the CD when it is complete.

And what have you been doing?
 
I’m making notes!
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Chorus member Janette Summerfield gets some pointers from the composer
I see. So when can we get to hear it?
 
Give us a few more months and we’ll be ready. We’re planning a launch party to kick things off.

Oo, do tell.
 
In time.
 
You tease.
 
I know.
​
Michael Blore was in conversation with TESS administrator Scott Collins. ​

Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.


​Next time on d'Blog... The end is in sight for the first ever album recording of TESS as mixing kicks off.
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Another Michael's TESS story

24/1/2017

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Michael Barker
Hello again and welcome back to the latest d'Blog keeping you up-to-date with all the latest from TESS Central.

In another d'Blog special, we hear from the multi-talented Michael Barker (I know, another Michael!) - actor and singer on the TESS album who will be performing as a postman, gambler, servant and priest as well as taking on high tenor duties in the chorus. Multi-talented indeed. 

So over to you, Michael.
​Back in the summer of 2013, my partner and I had some pretty extensive building work carried out on our house that necessitated our moving out of the property.  Fortunately for us Michael Blore and his partner John came to our rescue and offered us a place to stay for what should have been four to six weeks. As is always the case with such projects the deadline came and went and we ended up staying for more than three months.
This was how I became aware of and involved with TESS. During those long hot summer days and evenings – trust me there were some in 2013 – we would hear melodies escaping from the music room where Michael had shut himself away. Sometimes we could hear the music flowing and coming together beautifully. At other times we could hear Michael struggling to get things to work and occasionally his frustration would be taken out on the piano keyboard. Such is the life of a composer! It must have been made extra hard for Michael, knowing that we were listening to what he was doing and would be constantly quizzing him over dinner as to what he was working on and what section of the show the music we had just heard him working on related to.

'ROLLICKING DANCE'
Sunim Koria & Michael Barker
Michael Barker (r) with TESS album producer Sunim Koria
​I knew Michael could sing and play the piano; what I didn’t know was that this boy could write – and he could write good stuff. Listening to those melodies I could already picture the rolling Wessex countryside, the Christmas market and the rollicking May Day dance. Little did we know the seismic and tragic turn of events that would end that joyful summer of music and laughter; and, returning back to our own home in Leamington, I assumed that that would be the end of TESS.

Thankfully that was not the case and I was thrilled to hear that Michael was continuing with the project – and even more thrilled when he asked if I would be involved with recording some of the ensemble pieces for the album. Of course I would: I didn’t even need to think about it!
Seeing the sheet music with Michael’s arrangements and Michael Davies’s lyrics gave me such a buzz. Michael also provided backing tracks for us to learn our parts before recording. To hear these songs coming to life with full arrangements and harmonies was so exciting it really made me appreciate how much work the two Michaels had put in since those early days of Michael composing from his music room.
Michael Barker
Michael Barker recording "Pleasure City" from Act 2
RECORDING DAY

​Then came the recording. I started to feel the pressure. With such a talented cast assembled I didn’t want to be the one to let the side down. Apart from anything else, I’d never recorded any vocals before - let alone been in a recording booth with headphones on. I don’t really read music. Panic was starting to set in! I needn’t have worried. Sunim Koria and Michael B were wonderfully kind and patient and guided me through the whole process. They never showed any hint of frustration, even when I might have had to do five takes on one phrase!

I loved hearing the songs come to life. I’ve still only heard them with either an electronic backing track or piano so can’t wait to hear the full orchestrated 

sound with all the instruments and voices. Both the music and the lyrics have captured the atmosphere of the book and the settings of each scene brilliantly.

I am so grateful to have been a small part of this process and am really looking forward to hearing the finished album. Having been around to witness the early days of the project I can’t wait to see how far TESS can go and really hope to see a fully staged production in the not too distant future.

Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.

Next time on d'Blog... We bring you an exclusive interview with TESS composer Michael Blore.
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The 2 Michaels discuss the last 5 months

7/11/2016

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Michael Blore & Michael Davies
Hello again and thank you for checking out the latest d'Blog.

​As work continues on the TESS album, the 2 Michaels look back on the last 5 months and completing the recording of all vocalists in the show.

5 months... Hasn't the time flown! 

So take it away, Michael. And Michael.

With all vocals now recorded, how does it feel?

​MB
: Emotional. I always get emotional when I take time to stop and reflect. Especially on such an amazing few months for the TESS project.
 
MD: Rather unbelievable. When I think back to those early discussions around Michael’s kitchen table, covered in Post-It notes (the table, not us) to work out the narrative we wanted to tell, then compare it to the ever-growing project we’re now involved in, it hardly seems possible. And yet here we are, with all these fantastic vocals in the can, and ready to launch into the next phase. Pinch me, please. Ouch! That was meant to be metaphorical…
What has been the most memorable moment?
​

MB: That’s so difficult to answer because there have been standout moments with everyone. My overriding memory though will be of the laughter and fun.
 
MD: Too many to recount. It has all been memorable.
​What has been the most unexpected moment?
​

MB: Piggy snort. We asked Nikki Cross (dairymaid Izzy) to record a flirty though comic giggle for the moment she meets the handsome Angel Clare. The piggy snort she gave us was certainly unexpected and made me laugh so much.
 
MD: Landing our trio of leads, quite out of the blue. Our audition pianist Barney Ashworth led us to Simon Bailey, who came in to meet us unexpectedly, which led us to Tam Mutu, which led us to Siobhan Dillon. The perfect domino chain.
 ​
​How do you try to get the best out of the performers?
​

MB: Be patient, kind and determined. Oh, and be prepared.
Sunim Koria & Nikki Cross
Nikki Cross with TESS album producer Sunim Koria
MD: I’ve been consistently impressed at how they’ve all delivered their best unprompted. No input required from us.
Tess team meeting
From left Richard Watson, Conor Manning and Sunim Koria with the 2 Michaels
A word about your studio technicians, Conor Manning and Rich Watson.
​

MB: What were their names again? Kidding! I thought I was a fussy britches, but these guys have an attention to detail that makes me seem positively slapdash. I am in awe at what they can achieve.
 
MD: You know how you hear and read platitudes about how projects ‘couldn’t have happened without them’? Well, it’s true. Endlessly patient, relentlessly 
reliable and always a joy to work with. Thank you, guys. Sorry, that’s more than one word.
​

What next?
​

MB: Bring on the instrumentalists. We hope to have them all booked and recorded in November. Can’t wait!
 
MD: Instrumentalists? Really? But aren’t they notoriously difficult to work with? Oh no, sorry, that’s composers, isn’t it? As you were. Can’t wait!

Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.

Next time on d'Blog... A Christmas surprise from the TESS team as the album production moves on to the next phase 
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London studio days

10/9/2016

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Hello and welcome back!

​In this latest d’Blog, composer Michael Blore discusses the London studio days for the album recording of TESS.

​A d’Blore d’Blog if you will.
 
So take it away, Mr Music.
You know when you can’t sleep, and you try everything from counting backwards from 100 to picturing yourself in a calming field of rabbits (no, really), but nothing is working so you just think “Stuff it, I’ll get up” and it’s 3 in the morning? Yeah, that. Welcome to my first day of recording principal vocals for the TESS album!
'LANDMARK MOMENT'

In a word, how did I feel? Excited. In another? Knackered. But any sense of tiredness is very quickly dispelled by the adrenaline coursing through your veins knowing you have reached a landmark moment on a journey that has so far taken 3 years of your working life.

​And what a moment! Here we are, recording and working with a performer who only a month prior I had seen at London’s Coliseum in Andrew Lloyd Webber’s Sunset Boulevard playing opposite 
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With Siobhan Dillon and engineer Conor Manning
screen legend Glenn Close giving a vocal performance of stunning beauty and control now about to lay down the first tracks as our very own leading lady for the first ever album recording of TESS. Perhaps “excited” doesn’t quite cover it.
​

​And then, thanks to the terrific work of casting director Anne Vosser, there were a few more sleepless nights to come in the weeks ahead as we prepared for recording more West End musical theatre stars in the shape of Tam Mutu, Simon Bailey, Jacqui Tate and James Dinsmore.
'STELLAR QUINTET'

And how did it feel hearing this stellar quintet perform my music? Well, oddly enough, though I’d been asked that question many times, it’s not something I pondered when getting down to business in the studio. The feeling that it is my music is lost as you try to capture a performance that is in the spirit of the music and one that is right for the storytelling.
Admittedly, there were tears, which isn’t saying much for a blubberbrain like me (the ending of The Sound of Music always has me in pieces!), but the sheer beauty of Siobhan’s voice at some of the story's most tender and intimate moments was truly heartbreaking.
'SHOCKS'

There were also goosebumps. Tam singing “Marry Me” in Act 2 would have any goose in bumps – especially this goose!

There were shocks too. Simon recorded all his material for Angel Clare in one day, which left us speechless. Selfishly, I wanted him to take longer so that I would have more days to work with such a lovely guy.

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Tam Mutu records "Marry Me" from Act II
And there were laughs - intentional as well as those best reserved for the outtakes – with Jacqui and James giving us great comic turns as Joan and John Durbeyfield.
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Simon Bailey sings the role of Angel Clare
'IMMENSE GRATITUDE'

​But above all, there is immense gratitude.

​Firstly, to London engineer Conor Manning who made our stay at his home studio an enjoyable and good-natured affair in spite of the sweltering weather!

Then, to our album producer, Sunim Koria, who kept a watchful eye on proceedings from afar (no mean feat when there are over 400 vocal audio assets to capture).
And finally, to our London cast. Our aim is to get the TESS album heard by producers and theatre companies and, if they like it, to consider staging the show. Having such “names” involved will certainly help that cause. Names though are not enough. Quality counts. And on this album, it is there in abundance. Our London cast was not only magic to work with, but, in a word, magical to hear.  And though there are no guarantees, they have given TESS the chance of a very exciting future ahead.

Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.

Next time on d'Blog... A look back at progress on the TESS album. 


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A dairymaid's diary

8/8/2016

1 Comment

 
Nikki Cross
Hello again and thank you for clicking over to the latest d'Blog.

In this snapshot of the journey we are taking with the show from page to stage (via the recording studio), actor Nikki Cross talks about her time with the TESS team as dairymaid Izzy.

So over to you, Nikki!

​After a busy few months working on Singin’ In The Rain and Sweeney Todd, I wrapped up for the summer last night with my final project, Tess - The Musical.
Earlier this year I was delighted to be asked to provide the vocals for the character of Izzy the dairymaid in the album recording of a new musical adaptation of Thomas Hardy’s iconic novel Tess of the d’Urbervilles, written by Michael Blore and ​Michael Davies.

​The new album recording also features 
West End stars Siobhan Dillon as Tess, Tam Mutu as Alec d’Urberville and Simon Bailey as Angel Clare. 

​After several months of studying the music independently, it was great to finally get into the recording studio and work with Michael Blore (composer) and Sunim Koria (album producer) to lay down the vocals and help bring the album ​that bit closer to completion. Having only ever done live theatre, where performances are fleeting and over before you know it, it was great to have the time to go back and fine tune certain sections and try doing things in different ways.
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Nikki Cross shares a moment with TESS album producer Sunim Koria
'BRISTOLIAN BANTER'

​We had lots of fun recording my few bits of dialogue, in particular a few giggles and a very spontaneous unladylike snort! I’m not sure if they’ll keep that in… We’ll have to wait and see!

​It was also really nice to finally utilise my native West Country accent which is rarely heard these days - lots of Bristolian banter flying around (especially as I’m not the only member of the team from that neck of the woods)! 


​Although my work on this project is now pretty much done, it will be a few months before I get to hear the finished album. There is still a lot more for the team to do in terms of recording more vocals and instrumentalists as well as editing, but I’m very much looking forward to getting my hands on a copy and so grateful to be part of such an exciting new musical! ​​

To follow the latest theatre adventures and updates of Nikki Cross, please click over to her pages on tumblr and twitter. 
Thank you for reading and following the progress of TESS. Please feel free to leave a comment. We'd love to hear from you.

Next time on d'Blog... The composer's perspective. Michael Blore talks about the London studio days for TESS.
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In the studio with Tam Mutu

6/7/2016

3 Comments

 
Tam Mutu
Hello again!

It's been quite a while, hasn't it? Still, we hope it's been worth the wait.
​
Coming up in this d'Blog, lyricist Michael Davies talks about the studio days with West End and Broadway star Tam Mutu - our very own TESS bad boy Alec d'Urberville.

So, take it away, Mr Words! 
A little over a year ago, the score and libretto of Tess were being finalised into a workable draft, ready to be put in front of the kind of people it needed to be put in front of at that stage in the long journey towards production.
 
Around the same time, a certain leading man was stepping out onto a Broadway stage in the title role of a new musical based on Pasternak’s famous epic of the Russian revolution, Dr Zhivago. Tam Mutu won rave reviews from the likes of the Washington Times, which described him as “really wonderful” and “utterly perfect”, and he was nominated for a prestigious Drama League Award.
Now, as the creators of another new musical based on a classic novel, composer Michael B and I are enjoying the extraordinary privilege of listening to that same soaring voice delivering the role of Alec d’Urberville, Thomas Hardy’s scheming villain who’s responsible for our heroine’s initial downfall.
Picture
​'CONSUMMATELY TALENTED'

​Tam, besides being the consummately talented singer we’d expected, is also a proper professional. Oh, and a lovely bloke too.

​Nothing is too much trouble and, as with Siobhan Dillon before him, is utterly focused and dedicated in the studio. Never mind whether the writers are happy with a take, there’s always a better one just around the corner which these stars are determined to nail.

 
It’s a joy to watch and listen to, and time flies by far too fast. If only we’d written another couple of songs for Alec. No, just kidding.
So, with half of Tess and all of Alec in the bag - at least as far as vocal tracks are concerned - things are proceeding at a pace I don’t think even we anticipated. There’s still months of work ahead, recording a dozen or so chorus parts as well as the rest of the principals and instrumentalists, before a complex post-production phase.
 
But the smooth class with which our cast are acquitting themselves is making the process not only incredibly straightforward but also immensely enjoyable.

​Long may it continue.

Picture
Tam Mutu with TESS creators Michael Blore and Michael Davies and (front) recording engineer Conor Manning
Thank you for reading and following the progress of the show. Please feel free to leave a comment. We'd love to hear from you.

Next time on d'Blog... More commentary from the studio as things get busy on the production of the TESS album 
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The rollercoaster adventure rolls on

8/4/2016

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Michael Davies
Welcome back and thank you for clicking over to d'Blog (d'Urberville, d'Blog - in case you're wondering).

Coming up, lyricist (and award-winning playwright, don't cha know) Michael Davies shares his thoughts, and a lot more besides, on the recent auditions for TESS - The Album. It's been quite a time!

​So take it away, Mr Words.
​"Well, we’ve had some pretty extraordinary moments in the TESS journey so far, but this week has surely got to be the most exciting to date.
 
Now, keep up at the back, please. It’s hard enough for us to ride the rollercoaster without you dilly-dallying about over last week’s news. Aren’t you signed up for the regular updates on Twitter/Facebook/Instagram etc? If not, why not?

 
But I digress…
 
With only the slightest hint of irony about the date, April 1 saw the two Michaels ensconced at the ever-so-helpful Dance Attic in Fulham for the second day of auditions. We were casting the five principal roles in the show for the forthcoming album recording (what do you mean, what album?). And while we were excited enough about that prospect, we couldn’t have prepared ourselves for what we actually got.
For a start, let us give appropriately grateful nods to our esteemed casting director, Anne Vosser. Next, the tenacious and ever-willing assistants she supplied – Katharine Moraz and Tam Kirk. And finally, our two audition pianists, Dean Austin and Barney Ashworth, both West End ‘stars’ in their own right and unbelievably helpful in the process of auditioning singers.
 

Across two exhausting days, we met probably 50 or 60 immensely talented, totally professional and clearly very dedicated performers. There was not one dud in the entire crop and, it’s fair to say, it has left us with the most wonderful of headaches.
Dean Austin
Day 1 with the brilliant Dean Austin 
Barney Ashworth
Day 2 with the (yes) brilliant Barney Ashworth at the Samick 
In case any of them are reading this, and the message hasn’t got back to you via your agent yet, we would both like to say a huge thank-you to everyone who took the time and trouble to come and meet us, and deliver such wonderful audition performances in all five of the roles. We’re under no illusions that we are but little fish in this sizeable musical theatre pond, so to have so much talent, commitment and sheer hard work given over to preparing so fruitfully in such a short space of time was, I don’t mind admitting, rather humbling.
If only we could have twenty-five Tesses.
​
​Now, of course, we have to address that wonderful headache: who to cast? As I write, conversations are taking place. I can’t at this stage divulge their nature, or the people involved, but suffice it to say that the excitement generated by the audition days has continued throughout this week and throughout the conversations. When we are in a position to make announcements, we will, and you will understand, I hope, why we have allowed ourselves the indulgence of becoming quite so excitable.
Audition panel
The 2 Michaels - with some tough decisions 
And so the TESS rollercoaster rides on. I just hope my heart can stand it."
Thank you for your continued support of the show. We are very grateful and appreciate all your comments, likes and shares. They spur us on.

Next time on d'Blog
... In the studio with West End and Broadway leading man Tam Mutu.
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It's pre-production time! Or is that pre-pre...?

18/3/2016

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Sunim Koria album producer
Welcome back!

In another d'Blog special, album producer Sunim Koria spills the beans on life at the planning stage of TESS - The Album. We now have a production team!

​So take it away, Mr Producer.

"As I write this, it has virtually been a year to the day we produced our very first recording for TESS – a demo of the leading character’s song ‘In My Hand’, sung by the magnificent Joanna Strand. Roll on another twelve months and here I am with the producing gig of the century!
 
It was not long after all three demo recordings were successfully completed when Michael Blore got in touch with me again to enquire as to whether I would now be interested in producing a concept album of the entire show. I was flattered to say the least! And it’s always been an ambition of mine to produce something as “epic” as TESS. However, currently having almost no concept of a work-life balance - working 40 hours a week as a gameplay designer for Guitar Hero in Leamington Spa during the day and spending a lot of my evenings playing bass in a theatre pit somewhere around the region – most unfortunately the answer had to be no. Also on top of this was a pending house move to Lutterworth; I simply couldn’t commit to a project of this magnitude, as much as I’d wanted to!
Now, it must be said, our composer Mr Blore is a very persistent fellow indeed. I lost count at what may have been about four or five different e-mails over the course of a few months where Michael tried his utmost to unabashedly “seduce” me into becoming part of this project! I resisted the temptation all I could, but alas, he always gets his way...
Tess musical quote
...and today I have to say I’m very glad he does; how could I be so foolish to throw away an opportunity as good as this! In order to give myself enough time to get my head around making this project fit around my already busy lifestyle we agreed that April 2016 would be an appropriate time to commence with pre-production of the album and I’d be in a much better position by then to completely lend my focus towards the project. “But wait!” you may proclaim, “Didn’t the last blog mention that work for the TESS concept album was already well under way?” Yes it is! It just so happens that I have managed to shoehorn in an arbitrary stage that we have dubbed the “pre-pre phase”...
So what is this “pre-pre phase” we speak of? Well, primarily, it came about around the beginning of this year when I simply couldn’t wait until April to get stuck in to TESS! Secondly, it seemed like a very good idea to do everything in the time we had leading up to the start of the project to avoid the inevitable “damn, I really should have thought about this before, Michael...” The main difference between the “pre-pre” and pre-production phases is most probably in the mindset; at the moment my role has a more organisational aspect, as I’m setting into motion a variety of methods to effectively split the potential workload into comprehensible “chunks” (management speak), and, furthermore, endeavouring to make scheduling the vast number of cast members we will be recording come July as straightforward and efficient as possible. For pre-production I am anticipating a greater focus on the technical side of things – making sure everything runs as smoothly as possible in the forthcoming recording sessions, maximising the use of the time and resources we have available during the production phase, and making sure everything’s in place for us to get the material we need to finally put the album together. I have also enlisted the talent and expertise of two fellow recording engineers (one in Stratford-on-Avon and the other in London) and very recently acquired a trusty and enthusiastic production assistant to help manage any organisational duties once my role in the project becomes more technical! ​
Tess musical quote
So, how am I feeling less than a month before we hit pre-production? Nervous? Quite a bit. Excited? Hell, yes! Even though I am almost drowning in an array of spreadsheets as I write this, I can’t say I’ve ever been as enthusiastic and determined about my involvement in a production as much as this one. In some ways, I half expect the Michaels to tell me to “calm down” when I find myself, once again, impulsively e-mailing a long "babble" of
inspiration that just happens to strike me about the project at any given moment. But every idea I’ve had so far they have welcomed with open arms. ​
​
What can I say? It’s the collaboration of dreams! It really is an honour to be “the chosen one” in helping something as majestic and beautiful as TESS to finally come to life."
​

Thank you for reading and following the progress of the show. Please feel free to leave a comment. We'd love to hear from you.


Next time on d'Blog... Audition time! We take you behind the scenes as casting for the album recording of TESS is concluded.  ​
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    Tess logo

        PREVIOUSLY...

    JESSIE-MAE THOMAS
    FROM STUDIO TO STAGE

    HOW WAS IT FOR YOU?
    ​MASTER AT WORK
    MIXING TIME
    INTERVIEW WITH A COMPOSER
    ANOTHER MICHAEL'S STORY
    THE LAST 5 MONTHS
    LONDON STUDIO DAYS
    A DAIRYMAID'S DIARY
    IN THE STUDIO WITH TAM MUTU
    THE ADVENTURE ROLLS ON
    IT'S PRE-PRODUCTION TIME!
    WHERE ARE ALL THE D'BLOGS?
    A HERSTORY (THE FINAL PHASE)
    TECHNICAL TALES
    A HERSTORY (PHASE THE 4TH)
    THE LYRICIST SPEAKS
    RECORDING TESS - THE SINGER
    A HERSTORY (PHASE THE 3RD)
    A HERSTORY (PHASE THE 2ND)
    A HERSTORY (PHASE THE 1ST)
    REVIEWS & REVELATIONS
    LOVE AT FIRST SIGHT
    WE NEED TO TALK ABOUT ALEC
    ONE HELLO IS HOW IT STARTS

    Categories

    All
    Album
    Anne Vosser
    Antony Lawrence
    Audition
    Barney Ashworth
    BBC Radio
    Conor Manning
    CTP
    Dean Austin
    Herstory
    Interview
    Jacqueline Tate
    James Dinsmore
    Jessie-Mae Thomas
    Joanna Strand
    John McLarnon
    Michael Barker
    Michael Blore
    Michael Davies
    Nikki Cross
    Sally Jolliffe
    Simon Bailey
    Siobhan Dillon
    Sunim Koria
    Tam Mutu
    WAWOW

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