Personnel: Duke Ellington (piano); Alice Babs, Devonne Gardner, Trish Turner, Roscoe Gill (vocals); Johnny Hodges, Harry Carney, Russell Procope, Paul Gonsalves, Jimmy Hamilton (reeds); Cat Anderson, Cootie Williams, Mercer Ellington, Herbie Jones, Money Johnson (trumpet); Lawrence Brown, Buster Cooper, Bennie Green (trombone); Chuck Connors (bass trombone); Jeff Castleman (bass); Sam Woodyard, Steve Little (drums); The A.M.E. Mother Zion Church Choir, The Choirs Of St. Hilda's and St. Hugh's School, Central Connecticut State College Singers, The Frank Parker Singers (background vocals).
Includes liner notes by Duke Ellington.
"Don't Get Down On Your Knees To Pray Until You Have Forgiven Everyone" and "Father Forgive", have been deleted from the CD release of the 2 LP set.
Personnel: Duke Ellington (piano); Trish Turner, Alice Babs (vocals); Harry Carney, Johnny Hodges (reeds, saxophone); Russell Procope (reeds, alto saxophone); Paul Gonsalves (reeds, tenor saxophone); Jimmy Hamilton (reeds); Cootie Williams, Herb Jones, Money Johnson, Mercer Ellington, Cat Anderson (trumpet); Lawrence Brown , Bennie Green , Buster Cooper (trombone); Chuck Connors (bass trombone); Sam Woodyard, Steve Little (drums).
Unknown Contributor Roles: Jeff Castleman; Alice Babs; Mercer Ellington; Buster Cooper.
A unique and intriguing project, Ellington performed this concert in 1968 as a sequel to a series which toured over 50 churches and cathedrals in the United States some years before. This ambitious and allegorical piece might be described as a kind of jazz Mass. Musical themes signifying the creation of the world, various biblical scenes, and hymns to God's glory are interspersed with long recitatives by the choir about the presence of the Supreme Being, the tale of the apple, and the importance of belief, love and freedom.
The music, while eons removed from his 1920s and '30s jams, is still distinctively Ellington, with decorative, richly textured arrangements and contributions from famous sidemen like Jimmy Hamilton, Cootie Williams and Johnny Hodges. Fans of Duke's secular rave-ups should be forewarned, however: this material is heavily religious, and the concert is more reminiscent of a night in the Vatican than a night at the Cotton Club. Nevertheless, SECOND SACRED CONCERT is yet another of Ellington's always-interesting musical experiments, one that combines his compelling message of devotion with his musical genius.