This recording of Cristóbal de Morales' smoothly sober Missa Mille regretz originally appeared under the unlikely auspices of Deutsche Grammophon in 1996 and then was reissued by the Netherlands' budget specialists Brilliant. Neither outfit is a natural home for this performance by British early music conductor Paul McCreesh, leading his confusingly named Gabrieli Consort & Players. The album would be more at home on Ricercar or one of the other labels specializing in well-researched re-creations of Renaissance and Baroque music, for it is an unusually detailed realization of a Renaissance mass in context. The Morales piece is a parody mass -- a mass that elaborates upon several voices of a polyphonic model -- based on the famous Josquin Desprez chanson Mille regretz (A Thousand Regrets). That piece itself is not included here, although a version by Nicolas Gombert, played instrumentally, does add a third layer of the work's influence to the program. The album as a whole is intended to re-create the music that might hypothetically have been used to celebrate mass at the Feast of St. Isidore of Seville. No evidence exists that these particular pieces were ever used in this way, but McCreesh reasons that the Missa Mille regretz was suitable for the somber mood of Lent (which seems reasonable) and that, as a piece not based on a piece of chant or some other music with direct liturgical connections, it could have been used for a feast connected with a saint. The movements of the mass are interspersed among chants, keyboard works of various kinds, scriptural texts, and pieces featuring the cathedral consort of the great Spanish churches with a small consort of brasses and winds. These might have actually accompanied the choral setting of the mass at some times of year, but not, McCreesh believes, during Lent, so the mass itself is sung unaccompanied. The recording took place over several months as brass ensemble pieces, bits of chant, organ works, and choral tracks were laid down, and in places the music doesn't feel like a a single performance. But, at a budget price, this remains a good place to start for listeners interested in how Renaissance masses were used. In the Brilliant reissue, little information about the recording is provided, but the notes, in English only, concisely introduce the recording's aims.