Concert of Sacred Music [Import]

Today marks the 100th anniversary of the birth of Duke Ellington, one of the giants of twentieth Century music. Few would contest the claim that Ellington contributed more to the development of jazz music than anyone else who ever lived. But there is one thing about him that is not widely known: His abiding Christian faith.

Ellington was raised in a deeply Christian home. Every Sunday his mother took him to at least two church services, and she frequently told her son that he was blessed and that God would take care of him. The Duke never forgot those early lessons.

As a young man, Ellington immersed himself in the Scriptures. A friend from Ellington's early days in Washington, D.C., recalled how the musician would often come home after a performance and read the Bible while taking a bath, and continue reading until the water turned cold. Ellington was meticulous about saying grace before meals, and he once wrote that "the greatest thing one man can do for another man is to pray for him."

During his middle years Ellington was not exactly a model Christian. He was thought to be somewhat of a womanizer, and he didn't attend church regularly. But according to biographer James Lincoln Collier, "there can be no questioning the sincerity of his religious feelings."

It was in 1965 that Ellington made his deep faith public. That year he was commissioned to do a liturgical composition for the inauguration of San Franscisco's Grace Cathedral. This work, the first of three sacred concerts, signaled a permanent change for Ellington.

"This music," he declared, "is the most important thing I've ever done or am ever likely to do. This is personal, not career. Now I can say openly what I have been saying on my knees."

The centerpiece of this concert (Duke Ellington: A Concert of Sacred Music from Grace Cathedral) is a 15-minute piece entitled "In the Beginning God." There was also an a cappella version of the Lord's Prayer, and the closing number, featuring famous tap dancer Bunny Briggs, is called "David Danced Before the Lord with All His Might."

From then on Ellington saw himself as "God's messenger," and he dedicated his last years to serving God through his music, writing three sacred concerts before his death in 1974.

The reception to these works was mixed. Some religious people thought jazz inappropriate for praising God. And many jazz musicians thought praising God inappropriate for Duke Ellington.

When people complained that Ellington's third sacred concert was taking too long to complete, Ellington defended his meticulousness, saying "You can jive with secular music, but you can't jive with the Almighty."

Ellington joins other musical giants like Bach and Mendolson as geniuses who sought to serve God through their music. Music historians rarely mention Ellington's faith but you and I ought to reclaim cultural heroes like Duke Ellington and proclaim the truth about his beliefs.

Why not celebrate the Duke's birthday today by purchasing his sacred concerts. Listen to them with an unsaved friend who likes jazz. After all, God has never been praised in quite the same way . . . before or since.

Copyright (c) 1999 Prison Fellowship Ministries

In all seriousness, this is some of the most spiritual work Ellington ever composed and it shows greatly in listening. I personally am not the biggest fan of "christianified" popular music, but Duke Ellington had a certain right to do what he saw fit with "his" music. In this regard this is one of his most significant works.

It begins, appropriately, with 'In the Beginning', a nice mix of spirituals with jazz, and a nice soothing vocal by Brock Peters. This is followed by an interlude containing the rather perky recitals of the books of the bible. Not my favorite component of the work, but this IS a spiritual work. Great sax and trumpet work however, by Paul Gonsalves and Cat Anderson, respectively. A reprise of the "books" theme brings the piece around again, and some great drum work here by none other than Louis Bellson is well worth noting.

'Tell me it's the Truth' features a nice swinging horn section and a happy romp through the southern sprituals with awesome vocals by Esther Marrow! BEAUTIFUL!!

'Come Sunday' was almost a given to be included in the Sacred Concerts. Esther Marrow again performs with all the feeling of Mahalia Jackson.

'The Lord's Prayer' is a strong hand on any listener's forehead, again sung by Esther Marrow. Great rhythm and swing for this emotional spiritual.

'Come Sunday' is next reprised in a nice, more subdued version, to complete it's role in the concert and lend a theme to the work in an instrumental, vocal-free way. Well worth the purchase price alone to hear yet another Johnny Hodges miracle on saxophone. PERFECT!!

'Will You Be There? Aint But THe One' is a choir-heavy challenge to the listener and a one-on-one discussion, between Jimmy McPhail and the listener, to look at our own inner spirituality. Followed by a swinging spiritual walk through Duke's world of jazz and the lord. Great stuff here.

'New World a Coming' is perhaps the most refreshing ingredient in the performance. This beautiful Ellington suite is always welcome and finds a strong position here in the Sacred Concerts. Duke plays the theme statement in an aggressively beautiful way, leading us to come to understand the work as one of upbeat hope and forwardness to all that awaits us in our future. One of Ellington's best recorded versions and quite possibly one of his best recorded piano performances ever.

'David Danced before the Lord...' features Bunny Briggs tapping away a wonderful introduction of a reprised 'Come Sunday' choired theme and a great rhythm section. Unparalleled arranging by Ellington here once again proves his mastery at his craft. If this doesnt get you to swing than nothin will.

This concert is perhaps one that grows on the listener like no other. Listen to it once, its good, listen to it twice, its better, listen to it three times and you may begin to find it more beautiful than you ever imagined. Thank you Duke.