Glenn Miller – Discography (1935-2006) 320 Kbps [Jazz, Swing, Big Band] 37
Glenn Miller – Discography (1935-2006) 320 Kbps [Jazz, Swing, Big Band] 37
the second part of the sacred concerts is called the song of joy. the first section is made up of four chorus pieces. don peoples first is a beautiful work, with choir and piano playing a slow, heart-felt folk melody. the choir is expanded to include four parts, including a chorus of children, which is not often used in sacred music. the children are very colorful, and their singing is as lively as the music. the sprightly, folksy arrangement follows the traditional rhyme scheme, while the melody is played in a less traditional style. the second part of the chorus segment is titled the second heart, and is a brilliant example of the ellington style, particularly as applied to the jazz idiom. the piano follows the chord changes and ellington plays a series of solo passages, which are all lyrical, harmonically complex, and extremely well-written. the work ends with a long, spoken passage of praise which includes references to both the lord and the devil. the salvation army brass band is visible in the distance, which is always a good sign. the final chorus piece is titled joys and pleasures, and is a jaunty, perky affair with the pianos a little more boisterous than usual. ellingtons last outing as a pianist on this record is particularly impressive. later in the concert, he would be forced to use his left hand for the first time in years, but his right hand was as strong as ever.
as with the other concerts, the third sacred concerts theme is medley, and this time it is bigger than the other medleys. ellington has a message to deliver, and he told his musicians to make sure he had plenty of time to get it out. they obliged. the first section of the medley is a reprise of the opening theme of the first sacred concerts, love and marriage. the second section is an instrumental called pain in my heart, which is a multi-section work which centers around the solo piano. the third section is a 12-minute medley entitled it doesnt take much to make me smile, and is once again very well-constructed. a change of mood is evident in its music, and the players are allowed to demonstrate their abilities to the fullest.
a continuation of the suite from the first sacred concert is reinterpreted by ellington and the harlem string quartet. in between heaven and earth is a gospel song which is sung by a contralto. the instrumental interlude with the harp and fiddles is highlighted by the solo of the string trio, but the vocal passages are really the star of the piece. ellingtons decision to score the harp with sustained strings and quick, muted trumpets recalls the brilliant works of henry cowell. in an era when just about every piano was played by a harp, it seems almost incredible that ellington would not have used an accordion. the harp is the perfect instrument for the wide-ranging emotional expression of this hymn. the song is another example of ellingtons creativity in music, and his ecumenical spirit in choosing not to choose. ellington wrote more than a hundred gospel songs over the years, but probably never learned a song from the bible, or even a hymn. he just knew what he wanted to hear. this is one of the few gospel songs which he did not write, though he wrote the words to in the beginning, god. the piece is only five minutes long, but it features a great deal of variety. a number of ellingtons own compositions (including the gospel standard, thats what the good book teaches me) are heard here, and some of the most complex portions of the suite are introduced here as well. [the harlem string quartet was one of the first string quartets formed in the united states. the group included the legendary double-bassist eddie south who had already left duke for a successful career as a leader on the west coast. south and ellington were close friends, and they were often seen together at the cotton club. south eventually left ellington to form his own quartet with the legendary double-bassist ray brown, another one of ellingtons associates. south died in 1958, and ellington wrote the song midnight is the right time to die for him which was recorded on the new york, 1937 session.]
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