Between 1965 and 1973, a year before his death, Duke Ellington created three concerts of sacred music, large-scale works that incorporated dancers, choruses, and gospel singers in addition to his own band. Describing these efforts as "the most important thing I have ever done," he said they allowed him to "say openly what I have been saying on my knees." As far as this 1998 version is concerned, well, since the subject is sacred music, perhaps some sacred language (i.e., Latin) is appropriate: caveat emptor. Not because this is terrible--it is not--but because it isn't Duke Ellington. Oh, it's his music all right, but it's played by musicians who may be household names in their native Switzerland (the program was filmed in Lugano) but are unlikely to be mentioned in the same breath as Johnny Hodges, Ray Nance, Harry Carney, or any of the other celebrated members of Ellington's legendary big band (jazz fans may recognize the few Americans, like trumpeter Jon Faddis, drummer Adam Nussbaum, and featured singer Michele Hendricks, daughter of Lambert, Hendricks & Ross's Jon). Perhaps it's unfair to expect these players and singers to measure up to Ellington's own, because Duke's band was the music; they were the tellers of the stories he wrote. Certainly all of the soloists here--especially Faddis, whose superb muted and open horn work on "The Shepherd" and elsewhere recalls the great Cat Anderson's--are more than capable. Hendricks and fellow singer Allan Harris are fine too. And the material? It's elegant, swinging, soulful, filled with humor and deep spirituality, both worldly and reverent, the voicings and orchestrations inimitably Ellingtonian. But there is something missing--these musicians seem to be visiting Duke's music rather than inhabiting it. --Sam Graham
