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The CD of American folk hymns and spirituals is the 15th that has been recorded since the Mormon Tabernacle Choir started its own label, and is the first to be recorded with Wilberg as the choir director.

"It was planned and programmed before Craig Jessop stepped down," Barrick says, "but it is a fitting one for Mack. He's always had such an affinity for this kind of music."

Wilberg has done most of the arrangements, will conduct each number, as well as serve as a producer. "It's yeoman's duty," Barrick says, "but it's a testament to his dedication, how he's stepped up with a new focus."

The album will start off with the stirring "Saints Bound for Heaven" and include other hymns, such as "His Voice as the Sound," "How Bright Is the Day," "Down to the River to Pray," as well as "Come Thou Font of Every Blessing" — one of the choir's most-requested pieces. Choir member Alex Boye will be featured on two African-American spirituals, and members of the Wasatch & District Pipe Band will be included on an arrangement of "Amazing Grace."

"It is music that has such a sense of purpose," Barrick says. "You think of the early American churches and the passion they had in their beliefs. It's in their music."

Wilberg, too, loves these old, old hymns. "They have such a rich heritage," he says. "And they are part of our own LDS heritage. I can't help but think that our early Saints knew these tunes. Our own 'Come, Come Ye Saints' comes out of this tradition."

That was the way things worked in early religious music, he says. "Everyone knew the tunes, and then wrote their own words." Choosing which songs to include on this CD was "a difficult decision. We had a lot of select from. But these are such beautiful songs."

He hopes that the CD will take listeners on a journey — not only through the rich folk music tradition, but also to a better place in their own lives. Music can do that, he says.

The recording session has been going well, he adds. "It's such a team effort. We couldn't do this without a great team of sound engineers, stage crew, and, of course, the musicians."

He steps to the podium to warm up the choir before the recording begins. They start off by singing the counts rather than the words. "It not only gets their voices ready to go, it squares up the rhythm," Barrick says.

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