TAKE THE “A” TO AMEN

Luther S. Allison reimagines
Ellington’s sacred music with
power, passion, and joyful reverence.

Come Sunday: The Sacred Works of Duke Ellington at The Appel Room

A mix of jubilation and reverence was, appropriately, projected in a satisfying concert at the end of January in The Appel Room, one of the performance spaces of Jazz at Lincoln Center at Columbus Circle. To get there, you can “Take the A Train,” to borrow the title of the signature song of the Duke Ellington Orchestra. While it was an Ellington program, the set list was not the “usual suspects” such as that theme and other swell swingers, jazzy jumpers, and broken-heart ballads. No, it was time to turn to the religious reflections of the bandleader/composer. Taking the stage for the presentations (two sets each night) were 14 instrumentalists (including a string quartet), two vocal soloists, a singing trio, and a dancer. Come Sunday: The Sacred Works of Duke Ellington was certainly something sumptuous.

Luther S. Allison

Tasked to take a fresh look at the material—to reinterpret the repertoire for this and a previous event—was Luther S. Allison, also the night’s pianist and music director/host. His boldly spectacular spin on this special content made it accessible and dynamic, with some rousing and aptly reverent moments, plus thrillingly big-voiced, spirit-raising, roof-raising exultations. Can I get an “amen”?

C. Anthony Bryant

The Appel Room’s rapt listeners had plenty of singing talent to take in. The deep, rich, resonant tones of vocalist C. Anthony Bryant were the kind that can cause an audience’s goosebumps and gasps. He also delivered some spoken material with preacher-worthy presence and gravitas. Ekep Nkwelle sang with conviction and religious fervor. She was both focused and fierce. And, while each of the three young women who work as a group calling themselves The Sunhouse Singers—Joie Bianco, June Cavlan, and Kate Kortum—has proven herself to be a deft and engaging jazz soloist in other settings, the sublime harmonies and teamwork serve up a musically blissful banquet. Some of the night’s most satisfying performances came when they were joined by the other two singers for the full force and variety of sound, amplified by grander instrumental climaxes. Contrastingly captivating were brief, exquisite a cappella passages.

Luther S. Allison (on piano), Kate Kortum, Joie Bianco, June Cavlan, and C. Anthony Bryant

Crowd-pleasing, snazzy dancer John Manzari brought energy (and his tap shoes) to add more sparkle and rhythm, with “David Danced Before the Lord with All His Might” and “Praise God and Dance” serving as de rigueur selections for his participation.

Ekep Nkwelle

Ellington wrote many of the lyrics to the compositions, with some borrowings from the Bible. Selections included “The Lord’s Prayer,” “The 23rd Psalm,” “In the Beginning, God…,” and two thought-provoking, sermon-like major pieces: the two-part “Is God a Three-Letter Word for Love?” and “Every Man Prays in His Own Language.”

Such an authentic-feeling, vibrant concert is soul-stirring and is just—well, heavenly.

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photos by Leandro Badalotti

Come Sunday: The Sacred Works of Duke Ellington
Jazz at Lincoln Center
The Appel Room, Broadway at 60th St. in New York City
90 minutes, no intermission
performed January 30–31, 2026
for more events, call 212.258.9800 or visit Jazz at Lincoln Center

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