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Tell us a little about yourself - ‘cos we’re nosey like that. I’ve adored musical theatre for as long as I can remember, however I started performing with amateur companies in my local area when I was 10 years old. I’ve since studied singing privately and also performing arts at Stratford-Upon-Avon College, as well as participating in a variety of other amateur performances and workshops.
have to say one of the dairymaids as they’re just hilarious! I have a real soft spot for Marian in particular as she’s such good fun. What was the challenge of recording “The Wrong Side Of The Door” – now available to buy at tessthemusical.com/store (just sayin’) – compared to performing it live on stage? On stage it was very easy to get caught up in the acting and emotions as there was a live audience reacting to me, so once I was confident and comfortable with the vocals I could really do what I felt would work (within reason!) with the acting. Recording in the studio was a great experience as I not only got to focus on making the singing sound good, but I also got to work with the writers on how they wanted it performed, which was incredible. What’s your favourite song in the show? Both to listen to and perform, it has to be Quartet. I’m absolutely obsessed with harmony and always have been, so when I first heard it I was hugely excited to get started. I’m also a major perfectionist, which made it so much more rewarding when we got the piece perfectly as it really felt we were doing justice to the gorgeous music.
As Tess is asked in the show, so I’ll ask you. Have you ever put your head against a cow’s behind? Unfortunately in the time since Tess has finished I haven’t had chance to get to that yet! Could be a potential fun day trip with the dairymaids though. Jessie-Mae Thomas was in conversation with Tess administrator Scott Collins. Thank you for reading and following the progress of TESS.
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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.
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.
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.
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!
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!
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
Next time on d'Blog... We bring you more news on the Tess journey from score to stage via the radio.
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.
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.
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!
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.  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.
MD: I’ve been consistently impressed at how they’ve all delivered their best unprompted. No input required from us.
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 |
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
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