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Photo of Duke Ellington.

Welcome to the 35th Annual Presentation of Duke Ellington’s SACRED MUSIC

Program Contents

Click on a section below for more information.

Welcome Message

Happy Holidays from Earshot Jazz, the Seattle Repertory Jazz Orchestra, and the choirs and soloists on tonight’s program. We are so glad you’ve joined us.

It is a singular joy to gather each year around this extraordinary music. As the years go by, this long-running annual concert becomes an ever-more special marker of our time in this community; of lives lived, and the ability of great music to warm our hearts. We are grateful for the passion and excellence provided by Michael Brockman and the Seattle Repertory Jazz Orchestra in arranging this music. Their stewardship of Ellington’s music, and the joyous reverence with which they showcase the entire history of jazz, have been a blessing to the Pacific Northwest.

We extend warmest Holiday greetings and our best wishes for a peaceful, healthy, happy New Year.

– John Gilbreath, Executive Director, Earshot Jazz

The History of the Sacred Music Concerts

Every man prays in his own language, and there is no language that God does not understand.  —Duke Ellington

This thought captures the spirit of the three “Concerts of Sacred Music” that Ellington premiered in 1965, 1968, and 1973. The three large-scale works were created in the final phase of his career, a career that spanned more than 55 years. Ellington was given a religious upbringing, and through much of his life he intended to create music of a spiritual nature. He was inspired to present sacred music by the Civil Rights movement of the 1960s, saying, “Every time God’s children have thrown away fear in pursuit of honesty – trying to communicate, understood or not – miracles have happened.” When an invitation came from the Dean of San Francisco’s Grace Cathedral to create a large sacred work, Ellington accepted the challenge with relish.

Prior to the creation of the first “Concert of Sacred Music” (premiered on September 16, 1965), Ellington and Billy Strayhorn had already worked side-by-side to create many of the great suites famously performed by the Ellington Orchestra. Ellington biographies relate that both he and Strayhorn, working on opposite sides of the country, arrived at an almost identical series of thematic tones (do-me-re-te-le-me) for the melodic setting of the opening text from Genesis (“In the beginning God…”). This may have been evidence that a marvelous new endeavor – the presentation of big band jazz in sacred sites, done as only the Duke could do it – was meant to be.

The first sacred concert focused on Duke’s epic “In the Beginning God” and climaxed with “David Danced Before the Lord with All His Might,” both references to favorite biblical passages. Ellington and his star-studded orchestra (featuring the likes of Johnny Hodges, Cootie Williams, Harry Carney, Cat Anderson, and Paul Gonsalves) performed with choirs, tap-dancer Bunny Briggs, and vocal soloists (including jazz vocalist Jon Hendricks). The formidable collection of performers filled Grace Cathedral with meditative, rousing, and always reverent musical offerings.

Three years later (and after Strayhorn’s passing in 1967), Ellington combined his orchestra with vocal soloists, dancers, and a massed choir for his “Second Concert of Sacred Music” containing themes that express humility and joy in offerings from down-home gospel to moaning blues and hard-driving swing. From this concert came the beloved “Praise God and Dance,” based on Psalm 150. More than 7,500 people attended the official premiere at the Cathedral Church of St. John the Divine in New York City, followed by another performance at St. Mark’s Cathedral in New Canaan, Connecticut. The latter was an even grander presentation than the first, featuring a choir of more than 100 voices in a 155-minute concert, which DownBeat accorded the critical rating of “all the stars in God’s heaven.” Following this, Ellington and the orchestra presented hundreds of repeat performances in sanctuaries of nearly every denomination around the world, from London to Barcelona, Stockholm to Toronto.

The “Third Sacred Concert” was written to honor the United Nations, and premiered at Westminster Cathedral in London on October 24 (United Nations Day), 1973. In this work, we hear the composer’s tribute to the universal spirit of all humankind, and from it came his stirring settings of “The Lord’s Prayer.” The London premiere took place exactly seven months before the composer’s death.

Ellington considered his sacred music to be among his most important life’s work. Creating these works was an opportunity to share his personal philosophy and faith, and to state “out loud to all the world what I’ve been saying to myself for years on my knees.” All three sacred concerts live on as strong statements of Duke’s oft-uttered belief in the vast power of love, and of his enduring passion for non-denominational universalism.

– Michael Brockman, Conductor & SRJO Artistic Director

Tonight's Selections

In the Beginning
Robert Neal, baritone voice; Alex Dugdale, baritone saxophone; Dan Wickham, clarinet; Travis Ranney, tenor saxophone; Jay Thomas, trumpet
Recitation: books of the Old Testament
Genesis, Exodus, Leviticus, Numbers, Deuteronomy, Joshua, Judges, Ruth, Samuel, Kings I, Kings II, Chronicles I, Chronicles II, Ezra, Nehemia, Esther, Job, Psalms, Proverbs, Ecclesiastes, Solomon, Isaiah, Jeremiah, Lamentations, Ezekiel, Daniel, Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, Habakkuk, Zephaniah, Haggai, Zachariah, and Malachi

Heaven
Nichol Veneé Eskridge, alto voice; Michael Brockman, alto sax

The Shepherd
Michael Van Bebber, trumpet

Tell Me It’s the Truth (arr. Brockman)
Nichol Veneé Eskridge, voice; Mark Taylor, alto sax; Bill Anthony, trombone;
Kate Olson, tenor saxophone; Phil Sparks, bass

Come Sunday – instrumental version (arr. Brockman)
Dan Wickham, clarinet

Reflections in D
Randy Halberstadt, piano

Don’t Get Down on Your Knees
Robert Neal, voice

— INTERMISSION —

Ninety-Nine Percent (arr. Brockman)
Michael Van Bebber, trumpet; Robert Neal, voice

T.G.T.T. (too good to title)
Michael Brockman, soprano saxophone

The Lord’s Prayer – Gospel (arr. Brockman)
Nichol Veneé Eskridge, voice

David Danced Before the Lord with All His Might
Cipher Goings, tap-dancer; Jay Thomas, trumpet

Come Sunday – solo version
Robert Neal, voice

Praise God and Dance – 150th Psalm
Nichol Veneé Eskridge, voice; Cipher Goings, tap-dancer; Mark Taylor, alto sax;
Scott Brown, trombone; Travis Ranney, tenor sax; Brian Kirk, drums

About the Artists

Seattle Repertory Jazz Orchestra

Now celebrating its 29th Season, the Seattle Repertory Jazz Orchestra (SRJO) is the Northwest’s premier big band jazz ensemble. The 17-piece big band is made up of many of the most prominent jazz soloists and bandleaders in the greater Seattle area. The group was co-founded by SRJO’s artistic director, saxophonist/arranger Michael Brockman, long-time faculty member at the University of Washington School of Music, and drummer Clarence Acox, nationally recognized former director of bands at Seattle’s Garfield High School. For a schedule of events in the SRJO 2023-24 concert season, visit www.srjo.org.

SRJO PERSONNEL: Michael Brockman (conductor & arranger, SRJO artistic director, saxophone), Mark Taylor (alto saxophone), Dan Wickham (alto saxophone, clarinet), Travis Ranney (tenor saxophone), Kate Olson (tenor saxophone), Alex Dugdale (bari saxophone), Dan Marcus (trombone), Scott Brown (trombone), Bill Anthony (trombone), David Bentley (bass trombone), Andy Omdahl (lead trumpet), Michael Van Bebber (trumpet), Jay Thomas (trumpet), Nathan Breedlove (trumpet), Randy Halberstadt (piano), Phil Sparks (bass), Brian Kirk (drums)

Nichol Veneé Eskridge

Nichol Veneé Eskridge (alto voice) began singing at an early age at Calvary Temple, her father’s church in Savannah, Georgia. Her early accomplishments include singing lead for gospel albums by the Savannah State Wesleyan Choir and the Georgia Mass Choir. Moving from Savannah to Atlanta, she began singing with gospel great James Bignon, among many others. Her solid church background and love of all kinds of music continues to keep her growing – she has a love of traditional music as well as a desire for more contemporary styles. Her smooth, stirring voice brings both inspiration and hope to audiences. Nichol has four solo CD projects, and has grown both vocally and spiritually with each.

Robert Neal

Robert Neal (baritone voice) has entertained audiences in cities throughout the world, including Beijing, Shanghai, and Hamburg, and in the U.S. at Carnegie Hall and the National Mall. He has performed with numerous artists including as a backup singer for the Earth, Wind & Fire. He made recordings with Seattle gospel legend, Reverend Patrinell Wright; sang for the premier of Laurence Berteig’s “An American Requiem”; and performed on Notes to Carnegie Hall CD by the Sound of the Northwest. Robert’s passion is music in all forms. And be it gospel, jazz, classical, or any other musical genre, he shares his gifts from the many mentors and teachers he has had throughout his career, by lifting his voice and SINGING ON!

Northwest Chamber Chorus

Northwest Chamber Chorus has long been recognized as one of the finest choirs in the Pacific Northwest. Established in 1968, the 40-voice ensemble, now under the direction of Jeremy Edelstein, is critically acclaimed for its professional quality performances of the best classical choral music. The NWCC performs a Seattle concert series in December, March, and June attracting large audiences and extensive praise from the Seattle arts community. The group is featured regularly on KING FM’s Northwest Focus program and has performed with the Seattle Symphony, the Seattle Youth Symphony, the Northwest Chamber Orchestra, Spectrum Dance Company, and Baroque Northwest among others.

The Sound of the Northwest & Guests

The Sound of the Northwest was founded in 1987 by Juan Huey-Ray for the purpose of preserving and presenting the music of the Black American heritage, particularly the Negro Spiritual. Vanessa Bruce has served as their director until recently, and she helped to prepare all the choral music in tonight’s performance. Bruce also invited several additional singers from Seattle’s gospel choir community to participate in this concert.  Sound of the Northwest is one of a small number of choirs nationwide that focus on a repertoire of African American Spirituals, and the only such choir in the Seattle area. The Sound of the Northwest strives to enrich the lives of diverse, multi-generational, and multi-cultural audiences and artists.

Cipher Goings

Cipher Goings (tap-dancer), artistically known as Cipher Divine, began his dancing career at Northwest Tap Connection in Seattle, and first started performing professionally at the age of ten. In 2017, he began teaching at Northwest Tap Connection, and in 2019 was a finalist in the YoungArts Finalist National Competition that is annually hosted by the National Foundation for the Advancement of Artists. Primarily trained in rhythm tap, African diasporic dance, and contemporary styles, Cipher graduated in 2022 from the University of Washington with a Bachelors of Arts in Dance. He was a featured dancer in the movie Spirited (released Nov. 2022), and was recently featured (alongside Cedric the entertainer) on The Late Late Show with James Corden.