Assemblage of Sacred Music for a Rare Ellington Treat

Duke Ellington described his “Second Sacred Concert” of 1968 as “the most important thing I have ever done.” Though some would dispute that assessment, there’s no denying the hold that sacred music had upon Ellington. The 1968 program was preceded by a 1965 concert of sacred music (which included large segments from such earlier works as “Black, Brown and Beige” and “New World A-Comin’ ”) and followed by a sacred music concert in 1973, a year before his death.

Compositions from all three events were included in a rare presentation of Ellington’s sacred music by the Southern California Choral Society on Sunday at the Beverly Hills Presbyterian Church. Also participating were the Jack Lantz Big Band and the church’s Chancel Choir. Nick Strimpel conducted.

Assembling a project of this magnitude is no easy task, and all involved can be congratulated for the smooth efficiency with which the program was delivered. The sound was generally accurate and well balanced, and the integration of the varying elements--choir, orchestra and soloists--beautifully illuminated the driving spirit at the heart of the music.

There were many highlights in what was a surprisingly fast-moving program. The collection of “Freedom” pieces from the 1968 concert came together as a kind of miniature version of Ellington’s sacred overview, with strong soloing--here as elsewhere--from alto saxophonist Jim Quam (who wisely did not make an effort to simulate the sound of one of Ellington’s most inimitable players, Johnny Hodges).

Soprano Deanna Ramsey’s interpretation of “Come Sunday” (originally from “Black, Brown and Beige”) soared over the orchestral accompaniment, the crystal clarity of her voice and the passion of her delivery among the highlights of the program. And the tap dancing of Channing Cook Holmes--especially in “David Danced Before the Lord” (from the 1965 concert that featured dancer Bunny Briggs)--was brisk and spirited, good enough to survive an awkward and unresonant performance platform.

Although the Ellington score--with its emphasis upon block harmonies enlivened by occasional call-and-response passages--did not make particularly difficult demands upon the Choral Society Singers, they rendered it with style and an infectious enthusiasm. But their most important achievement was the production of the program itself, the willingness to invest the obviously large amount of time and money required to bring this vital music to life.