Performing Arts

MUSIC REVIEW: Hamilton Park chorus expertly supports legendary orchestra

07:05 AM CST on Monday, February 27, 2006

By PARRY GETTELMAN / Special Contributor to The Dallas Morning News

RICHARDSON – Duke Ellington's Sacred Concerts are rarely performed. Not because the music doesn't appeal to fans of his secular work, but because the complex arrangements call for both a first-rate orchestra and large, accomplished choir – and a tap dancer, to really do it up right.

Mr. Ellington employed a tap dancer both as an unusual rhythm instrument, and to demonstrate his view that God understood and accepted all artistic offerings.

At the Eisemann Center's Hill Performance Hall on Saturday evening, the Duke Ellington Orchestra, the Ann Swain Clark Sacred Concert Chorale and Richardson's own Hamilton Park Men's Chorus joined forces admirably to present a well-rounded program drawn from Mr. Ellington's series of three Sacred Concerts.

Two vocal soloists were especially memorable. Bernard Pinder's deep, smoky voice soared with surprising ease to the highest notes of "Don't Get Down on Your Knees to Pray Until You Have Forgiven Everyone." Collete Carter delivered the gospel-inspired "Tell Me It's the Truth" with such natural, extroverted joy, she overshadowed the Ellington classic that followed it, "Come Sunday," sung more theatrically by Pamela Nichols.

Tap dancer Andrew J. Nemr was featured in two numbers, receiving one of the biggest rounds of applause from the not-quite-full house on "David Danced Before the Lord With All His Might."

The greatest pleasures of the show, however, were in the ensemble singing of Ellington's unique vocal charts, especially on "The Lord's Prayer," and in the verve of the orchestra. It was conducted by trumpeter Barrie Lee Hall Jr., who joined in 1973, the year before Mr. Ellington died.

Mr. Hall's solo turn on "The Shepherd" showed how effortlessly Mr. Ellington blended the sensual and the sublime. The horns were terrific throughout, and the rhythm section provided bright colors and subtle shadings as well as a firm foundation. Pianist Thomas James showed a wonderful feel for dynamics, bassist Hassan Abdul-Ashkur displayed a fine melodicism, and he and drummer Quinten White manifested an infallible sense of swing.

E-mail pgettelman@yahoo.com