Since October, the Kennedy Center has treated audiences to a series of concerts displaying the range of Duke Ellington’s music, and on April 29, the actual date Ellington was born, was the finale performance “Cyrus Chestnut: Duke Ellington Sacred Concert.”
The evening offered several selections from Ellington’s full three-part “Sacred Concerts” performances and faith music from other composers. For this Kennedy Center scenario there was a small trio led by pianist, composer, music director Cyrus Chestnut, with Rodney Whitaker on bass and Carl Allen on drums. The full ensemble for the evening also included a jazz orchestra conducted by Chestnut, a choir conducted by Malcolm Merriweather, vocal soloists, and tap dancer Brinae Ali.
Ellington’s “Sacred Concert” opened with “In the Beginning God” sung with dynamic strength by bass vocalist Martin Hargrove. He sounded like the commanding voice of God.
Following Hargrove, was a jaunty, almost New Orleans brass-style song, “Tell Me It’s the Truth” sung by soloist Kim Harley. The lyrics ask for straight honesty from the heavenly source.
Next was soloist Rasul A-Salaam in a spoken word approach, backed by Merriweather conducting the Ellington Sacred Concert Chorus. They performed “Will You Be There.” It’s that question about whether your name will be called when it is your time. That song went right into “Ain’t But the One,” a reminder that there is only one presence that is the source of one’s strength.
‘Sacred Concert’ Interpreted Through Dance
Dancer and choreographer Ali, came to the stage tapping to “David (Brinae) Danced Before the Lord with All Her Might,” adapting the title for the evening’s female dancer. Originally performed by tap dancer Bunny Briggs in 1965, Ali was powerful in her interpretation of this sacred Ellington composition. To say the audience was “wowed” is an understatement.
Other selections performed during the “Sacred Concert” were songs Ellington composed to uplift his people. Some of the other songs performed for this concert included “Heaven,” “Something About Believing,” and “It’s Freedom.”
Perhaps one of the best-known songs performed in the “Sacred Concert” is “Come Sunday” which was originally on Ellington’s album “Black, Brown and Beige” (1958). Harley, once again, was the soloist. Her moving contralto performance allowed audiences to feel the importance of looking forward to Sunday after toiling hard the other days of the week.
Ellington Led By His Faith
Ellington’s “Sacred Concerts” were performed as three separate concerts between the mid-1960s to mid-1970s. That was when civil rights was at the forefront of national concerns. Assassinations of national leaders traumatized Blacks and white Americans alike.
Ellington’s health was beginning to fail in the early 1970s. The handling of this precious selection of music presented by music director Chestnut and conductor Merriweather reminds audiences that Ellington was committed to inspiring his people to keep their eyes on the prize.
This concert was the finale for the “Ellington 125,” the Kennedy Center’s tribute to the extraordinary pianist, composer, and bandleader from Washington, D.C. A classically trained pianist, Chestnut has collaborated with many musical artists during his career. He is currently a master instructor in jazz piano and improvisation at Howard University.
Chestnut opened the evening by acknowledging his mother who was in the audience. He then shared words of wisdom and support from his late father.
“He said ‘Son, I could have left you an inheritance. … But I felt if I got you to music, you’d be all right.’”
Chestnut has definitely done “all right” and he will continue to give audiences his best because of his spirit-filled approach to music.