#DUKE ELLINGTON SACRED CONCERT 1965 FREE#
#DUKE ELLINGTON SACRED CONCERT 1965 WINDOWS#

Jazz went to church and became an important timbre of church music during the classical era of Swing and Big Band Music all over the USA.ДЄfter World War II when Avantgarde Jazz, Be Bop, was performed in Symphony Halls, a new consciousness for the spiritual dimension of jazz arose within the jazz community. Thomas Dorsey, one of the most influential composers of Gospel music while still working in nightclubs hired singers like Mahalia Jackson and Della Reese who sang along Billie Holiday and Ella Fitzgerald. Additionally many jazz and blues musicians who worked in nightclubs and wrote theatre music where employed as worship leaders and church music directors in African American churches. The Sounds of the gospel band and choir rehearsals and the church services could be heard all over the town and every musician in the south grew up with them.

#DUKE ELLINGTON SACRED CONCERT 1965 WINDOWS#

His brother, saxophonist and composer Branford Marsalis remembers that churches in the southern states of the USA where naturally involved in creating cross-connections between sacred and public spaces by simply having to open their windows all throughout the spring and summer to the heat. Jazz trumpeter Wynton Marsalis points out, that Jazz is a music between вЂњheaven and earthвЂќ, between the church and the night club, if you take one of them away, it looses itВґs meaning. Jazz in the USA had arrived to become accepted as вЂњAmerican Classical MusicвЂќ, a term that both Gospel composer and Billy Taylor and George Gershwin had tried to establish over several decades and became an ideal catalyst and bridge builder between the secular and sacred. These developments coincided with an interest from musicians and pastors alike to create Jazz Vespers in Churches in the USA and Europe from the 1950s onwards. Theologians and liturgy scholars across denominations became interested in embracing contemporary classical and popular music within worship services. The gap between the seemingly profane (or secular) and concert music and the established canon of church music, which was considered to be sacred music per se, had grown bigger and more and more a disconnect between the musical styles and aesthetics heard inside and outside of churches was created. It can be assumed that Praetorius, if he had had a chance to listen to Louis Armstrong and John Coltrane, would have loved to include them and their sounds in this heavenly orchestra.Дў0 th century definitions of sacred music struggled with this all embracing view. To him music inside and outside of churches could be sacred, heavenly and earthly sounds could be in unified resonance sounding Soli Deo Gloria and pointing towards a celestial sonic experience as a glimpse of GodВґs eternity. In his own body of compositions, more a thousand works overall, Praetorius made use of all the instruments and styles available for him in his time, and used compositional techniques and instruments from the court and the chapel alike. Praetorius followed Martin LutherвЂ™s view that вЂњmusic is next (like a sibling) to theologyвЂќ and essential in biblical teaching and understanding. The earliest document I found dates back to the year 1929 and is a report of the speech of the Church and Organ Congress in Hull (UK) where Sir Hamilton Harty, the, president of the Incorporated Association of Organists spoke on вЂњSome Problems of Modern musicвЂ and warned, that вЂJazz Barbarians were permitted to debase our music.вЂ™вЂќ One of these Jazz musicians, Louis Armstrong had started to play Hymns, Spirituals and Gospel tunes in the new style of music that was later called Chicago Jazz.ДЄ church musician whom the Incorporated Association of Organists treasured and in some ways owed much of their existence to, Michael Praetorius, would have thought probably very different about the importance of jazz for worship. Suspicions were also raised fifteen centuries later when Jazz was used for worship. Augustine considered it a grievous sin when the music used for worship brought more enjoyment than the words it conveyed.

#DUKE ELLINGTON SACRED CONCERT 1965 FREE#

The singing of hymns always had a deep emotional impact on him, but he struggled in his writings with a conflict of how much free musical expression was allowed within worship.

AugustineВґs complex relationship to music started during his Christian conversion.

A discussion on the interaction of liturgy and music is usually off to a good start with looking at the reflections on music by the early church father Saint Augustine of Hippo.

Duke ellington sacred concert 1965