This was no Jessye Norman recital of the usual kind, but a Jessye Norman fantasy, an evocation of the world of Duke Ellington. In a close-packed sequence of 90 minutes (wisely without interval) we had over a score of Ellington's numbers inspired by his religious faith, all written in the last decade of his life for three sacred concerts in 1965, 1968 and 1973.
It made an ideal and unusual Ellington celebration in the year of his centenary. Granted that none of the melodies matched in memorability his great numbers from the 30s, let alone the finest spirituals, primary source of his inspiration, Jessye Norman made us share the positive passion behind her background in the black communities of Georgia.
Presented in the Barbican Theatre, not the concert-hall, it was very much a theatrical presentation, with the diva herself credited as executive producer. In a blackened theatre what we first heard of Jessye Norman (after an overture from the jazz combo, the Guy Barker Band), was the golden voice from afar, unaccompanied - In the Beginning God. She entered, imperious in shimmering blue turban and cloak, and the magnetism was complete.
In almost any Norman recital the most intimate, most intense moments are those when - usually in encores - she turns to spirituals, and on this occasion it was where we started, at least in mood. Not that the diva took part in all the numbers. The aim in this entertainment was to provide necessary contrast, with the Guy Barker band under Maurice Peress playing in its own jazz spots, including one with "breaks" for the principal players.
There were instrumental numbers which were choreographed, and beautifully danced by Margie Gillis, and the London Community Gospel Choir, as well as supporting the soloist in a whole sequence of numbers, had its own moments of glory, looking suitably ecclesiastical in black cassocks with long white scarves.
Though neither the Duke String Quartet nor the fine pianist, Mark Markham, nor the charismatic string bass, Ron Carter, had individual items, they regularly provided the biggest contrasts of all in their accompaniments, when the wild, upbeat items, blazing the gospel, gave way to the songs of meditation. With Jessye Norman at her most fervent, her voice in glorious condition, defying the years, those were the moments to cherish most - as in the song, Heaven, together with its reprise.
Yet by the end the sustained fervour, at maximum voltage throughout, began to lose some of its impact, and for that, I fear, one has to blame the late Ellington. No one doubts the sincerity of his sacred inspirations, but nagging reservations refuse to be put down: that these devotions are too easily won. When all is fervour without question, where are the doubts, the darkness, the inner searchings? For that we have to go elsewhere, as no doubt we shall in the next recital from the unique Jessye Norman.
