Sacred. Jazz. Choral. Common as these three words are on their own, the word in the middle – “Jazz” – is the least comfortable next to “Sacred” or “Choral.”
America’s own so-called “classical music,” growing out of the rich tradition of African and African-American music, and in particular the blues, has never been welcome in most churches, whether black or white, primarily because of its various associations with sensuality and night life. (Some have suggested that the word “jazz” originally referred to the sexual act itself).
And the improvisatory nature of jazz has always lent itself more easily to solo performances and the multi-colored orchestral sounds of the big band, neither of which is easily produced by a large choir with many singers on each part. So until Duke Ellington’s historic Sacred Concerts, if a jazz choir was used, it was usually only to provide harmonic back-up for a soloist.
However, Ellington was fascinated with the sound of a choir, especially when heard by itself, unaccompanied. He was deeply immersed in the Bible throughout his life, going to two churches each Sunday with his mother, the Baptist church of his mother’s family and the AME Zion church of his father’s. He believed in the presence of the sacred in the ebb and flow of daily life, and in the verbal and musical language of his musicians. Toward the end of his life, all this led him to write some of his most memorable music – sacred music, for choir.
This weekend’s BCCS concerts are a sequel of sorts to last year’s joyful “Classic Jazz in a Sacred Space” concerts with Eric Mintel, DeVonne Gardner, and Esther Dinkins and her 2nd Baptist Church Mass Choir. The response to those first concerts was so immediate and heartfelt, we decided to see if there was more sacred choral jazz out there in the world. One result of our search was to come across the truly original and spiritually radiant music of New York composer Carl MaultsBy. His music is clearly “inspired by Ellington” in many ways, but also very much in his own distinctive voice.
We also thought it would be a wonderful opportunity to look back to the era before Ellington. To the time when newly freed slaves at colleges like Fisk and Howard began forming choirs to sing the sacred songs of their forefathers and mothers in choral arrangements that became among the most important American contributions (alongside jazz) to the musical world. These concert spirituals themselves are still more commonly heard today in the concert hall than in the sanctuary. So we hope this mixed program of sacred songs from the African-American legacy, performed both in concert and in a sacred space, will refresh your soul and bring the warmth of the spirit into your life.
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