A riot is at bottom the language of the unheard. --
Martin Luther King, Jr.

The decade of the 1960s was a time of major change not only in social and political life, but also in religion. Under the leadership of Pope John XXIII, the Roman Catholic Church began internal reforms that also influenced other major Christian bodies in their worship and in their relations with each other. Since the end of World War II, major Protestant denominations (predominantly white) had been exploring ecumenical cooperation through the National Council of Churches and the World Council of Churches.

New translations of the Bible into modern English were published by groups of Protestant and Roman Catholic scholars. The language of the Catholic mass was changed from Latin into the national language of the parishioners in a given congregation. Vernacular music was also introduced into Catholic worship. Jazz masses and Protestant jazz services gained a degree of popularity in urban areas, although the practice was still seen as a radical departure from traditional worship. Prominent rabbis and Catholic bishops hosted radio and television shows or wrote syndicated newspaper columns. Protestant seminary professors such as Reinhold Neibuhr and Paul Tillich were well known to the public. Tillich's "theology of culture" identified artistic activity as crucial to the "radical spiritual task of disclosing the authentic nature of God in creation." His influence led to renewed support and study of the arts within churches and seminaries. These trends were part of the cultural atmosphere in 1965 when the Duke Ellington Orchestra presented A Concert of Sacred Music at Grace Cathedral in San Francisco, the seat of the Episcopal Bishop of California. At the conclusion of the Grace Cathedral concert, Ellington expressed his gratitude for this opportunity, which allowed him to express his faith in words and music. "I'm sure," he said, "that this is the most important statement we've ever made."

The imposing Gothic structure, modeled on the great cathedrals of France, had a magnificent setting on Nob Hill. The ambitious construction task took years, but long before completion, plans were being made for a year-long celebration called Festivals of Grace. Presentations of Billy Budd and Long Day's Journey into Night were scheduled, along with many other events reflecting the concerns and tastes of that era. The Archbishop of Canterbury and Eugene Carson Blake, head of the World Council of churches, were to be guests. Professor Paul Tillich of Union Theological Seminary, in New York City, preached at the main Sunday morning liturgy on January 31.

Dr. Martin Luther King, Jr., had the previous year received the Nobel Peace prize for his civil rights leadership. His preaching from the Cathedral's lofty pulpit on a Sunday in March drew a crowd that has never been matched since then. Police security was extremely tight for his entire San Francisco visit, and there was great concern over the mob of people who were left standing outside because there was no more space inside. When they heard on the loudspeakers that the offering was being taken, they began to shout, "Where are the offering takers for out here? Send us the offering takers." "It was a testimony to the spirit of the people," said Dean Bartlett later. "They just wanted to be a part." Dates for the concert by the Ellington orchestra were penciled into the Cathedral schedule for six months later, but in no way was Ellington's participation an afterthought.

"I'm here to commission you to compose and play a concert of sacred music at the completion of Grace Cathedral."

Yet the concert might never have taken place if an Episcopal clergyman serving on the Bishop's staff had not been an Ellington devotee. Bishop James A. Pike was a controversial, liberal churchman who had lectured and preached around the country. The Dean of the Cathedral, C. Julian Bartlett was a native of New Orleans and enamored of its jazz tradition. The Reverend John S. Yaryan broached the idea of an appearance by the Ellington orchestra, and all agreed that the invitation should be issued. Ellington first heard of it in October of 1962, according to a letter written the following December by Canon Yaryan. During an engagement Ellington was playing in the San Francisco area, Canon Yaryan went to his dressing room between sets. Duke was lounging on a bed, his legs propped up against the wall. They chatted for a while, then Canon Yaryan gathered up his nerve to say, "Dr. Ellington, I'd like to tell you I'm here to commission you to compose and play a concert of sacred music at the completion of Grace Cathedral. . . Which will be about four years from now."

Duke seemed astonished by this proposal, the cleric told an international meeting of Ellington scholars and fans. "I understand that one other person had seen him nonplussed. But can you imagine, slow motion, this wonderful, handsome man - those legs came down just so very, very slowly, and he sat up and looked me in the face: 'What did you say?' I repeated myself, and he never said, 'I will'; but he inferred that this was very exciting." Duke was slow to say "I will." A series of enthusiastic and increasingly solicitous letters were sent to him over several months' time. There were questions about dates, the nature of the program, costs, and other details, but apparently no response from Ellington until almost two years later. Then Duke made a phone call and arranged for the clergymen and their wives to join him for conversation over dinner at a Redwood City restaurant and dance club where he would be playing.

Once Ellington's acceptance became official and plans were made, the event became a news item of great interest.

Once Ellington's acceptance became official and plans were made, the event became a news item of great interest. Time magazine ran a story with a picture of Ellington with Bishop Pike, giving their rationale for this barrier-breaking event. Mail began coming in to the office of the Cathedral, requests for ticket information along with critical response. Someone clipped a copy of the Time article and wrote across it "Everything about this concert is disgusting." In all press releases and news conferences, the word jazz was scrupulously avoided. Ellington called these compositions "contemporary sacred music."

For this concert Ellington used a combination of previously composed numbers, including portions of Black, Brown and Beige. The Herman McCoy Choir flew in from Southern California and sang a group of spirituals. From My People there came "Ain't But the One" and "David Danced Before the Lord," with tap dancer Bunny Brigs and jazz singer Jon Hendricks. Toney Watkins sang a calypso-style version of "the Lord's Prayer" a cappella, and Duke played his 1943 piano composition "New World A-Comin'." Two gospel-style pieces were introduced by Esther Marrow, who sang "Come Sunday" in the soulful style of Mahalia Jackson. The showpiece of the event was "In the Beginning God," a fifteen-minute long composition that featured Hendricks, Harry Carney, Paul Gonsalves, Cat Anderson, drummer Louie Bellson, supported by the choirs and the rest of the band.

Now he could express "loudly and openly" what he had been saying quietly on his knees.

Ellington presented Esther Marrow in her Sacred Concert numbers and Jon Hendricks and Bunny Briggs in "David Danced" in a Sunday program at the Monterey Jazz Festival that same month. A somewhat altered version of the concert was performed twice on December 26 at the Fifth Avenue Presbyterian Church in New York City. After A Concert of Sacred Music, Ellington continued to present these pieces in other houses of worship, including Coventry Cathedral in England. Duke began to think of himself as "God's messenger boy," he said. As surprising as this opportunity when it came, nothing could have been more appropriate or natural to Ellington as an expression of his largely private religious convictions. Now he could express "loudly and openly" what he had been saying quietly on his knees.

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