Chilcott's is a remarkable achievement in that he has written music that is approachable but never sugary, and jazz-infused but in no way irreligious. Doubtless there will be some who will consider a Jazz Mass inappropriate for liturgical use, but that number will surely diminish upon hearing either of Chilcott's . . . The Kyrie from the Little Jazz Mass and the Agnus Dei from the Nidaros Jazz Mass is where to start if you need to be convinced of this genre. * Jeremy Summerly, Choir & Organ November 2012 *
Chilcott's Little Jazz Mass employs a creative and engaging musical language right from the start . . . The writing is largely intuitive and straightforward, although singers will have to be prepared for plenty of stylish jazz crunch-chords . . . Highly recommended for choirs of mixed-ability upwards. * Tom Wiggall, Music Teacher July 07 *
There are plenty of highlights . . . from the Gloria's opening swing bass and final dramatic cut-off to the concluding moody, bluesy Agnus. Although ostensibly a concert piece, it wouldn't take a huge leap of imagination to see this work in a liturgical context, while the piano part is so well written that effective performance requires only a moderate level of improvisational skill, if any. * Matthew Greenall, The Singer June 07 *
As an ex-singer himself (in both King's College Chior and the King's Singers), Bob Chilcott knows what works vocally. You can hear this particuloarly in A Little Jazz Mass, where he perfectly fits the words of the Latin text to the whippy, upbeat syncopations of the Kyrie and Gloria . . . The work could have easily been kitschily condescending but actually works excellently. * Terry Blain, BBC Music Magazine, June 2013 *
