LISTEN: “Water” by Gregory Porter, on Water (2010)
This is the title track of multi-Grammy-winning jazz vocalist and songwriter Gregory Porter’s debut album. The live performance posted below took place in November 2010 at Dizzy’s Club at Lincoln Center in New York City. It features Chip Crawford on piano, Alex Han on alto saxophone, and Yosuke Sato on alto saxophone.
Water pouring down the sidewalks Cleaning widows clear to see Washing gumdrops down side gutters Rusting chains and cleansing me
Greening gardens, drowning ants Changing rhythms, bruising plants Graying vistas soulfully And again it’s saving me
Ooooo Ooooo Wash me, wash me, wash me Let me rest in you Let me flow away to glory Save me, save me, save me
City Church San Francisco put on a really enjoyable Lessons and Carols service last year, which was all-virtual given the COVID restrictions. Livestreamed December 13, 2020, it features guest vocalist Nicolas Bearde, the City Church Jazz Quintet (Patrick Wolff on tenor sax, Mike Olmos on trumpet, Marcus Shelby on bass, Adam Shulman on piano, and Jeff Mars on drums) with Karl Digerness, and a children’s ensemble. Here’s the abbreviated version I recommend, which is forty-five minutes:
The following songs are interspersed with scripture readings (the links will take you to the extracted song video on YouTube):
I suggest you light the fireplace (if you’re in a wintry clime, that is!), grab some hot cocoa, and gather the fam on the couch to give a listen together. Lyrics are printed onscreen for a few of the carols, for you to sing along with.
Or, perhaps you want to play the video while you’re doing some holiday baking!
The fuller-blown service, which is ninety minutes, includes a time of offering, a homily, communion, responsive prayers, church announcements, and a few additional songs and instrumental numbers that I’ve embedded below.
Now after the Sabbath, toward the dawn of the first day of the week, Mary Magdalene and the other Mary went to see the tomb. And behold, there was a great earthquake, for an angel of the Lord descended from heaven and came and rolled back the stone and sat on it. His appearance was like lightning, and his clothing white as snow. And for fear of him the guards trembled and became like dead men. But the angel said to the women, “Do not be afraid, for I know that you seek Jesus who was crucified. He is not here, for he has risen, as he said. Come, see the place where he lay. Then go quickly and tell his disciples that he has risen from the dead, and behold, he is going before you to Galilee; there you will see him. See, I have told you.” So they departed quickly from the tomb with fear and great joy, and ran to tell his disciples.
LOOK: Ovide Bighetty (Cree, 1969–2014), Hallelujah, Christ Has Risen, 2002. Acrylic on canvas. From the Kisemanito Pakitinasuwin (The Creator’s Sacrifice) cycle, commissioned by the Indian Metis Christian Fellowship.
Ovide Joseph Bighetty was a Cree (Missinippi-Ethiniwak) self-taught artist originally from Pukatawagan First Nation on the Missinippi River in northwestern Manitoba. He was influenced by the Woodland art style of Norval Morrisseau.
In 2002 the Indian Metis Christian Fellowship (now called the Indigenous Christian Fellowship, or ICF) commissioned Bighetty to create a series of paintings on Christ’s death and resurrection. According to their website, “among North American indigenous peoples, there is the story that, before Europeans arrived on Turtle Island, elders had visions about white people coming from the east with a story from the Creator.” One elder even had a vision of “the Creator’s sacrifice” that corresponds to elements of the biblical passion narratives and Easter story.
Bighetty fulfilled the commission in consultation with Pukatawagan elders, making sure he was properly honoring his people’s heritage.
Hallelujah, Christ Has Risen is the sixteenth painting in a sequence of seventeen. The ICF website offers the following description based on Matthew 28:2–4: “Early on the third day, there was a violent earthquake. A spirit sent by the Creator came down from heaven, rolled the stone away and sat on it. His appearance was like lightning and his clothes white as snow. The warriors were so afraid that they trembled and became like dead men.” It looks to me like the angel is playing a flute with one hand, and with the other he gestures toward the sky, indicating Jesus’s impending ascension.
DIGITAL EXPERIENCE: “Holy Night: The Christmas Story and Its Imagery”: This “Digitorial”—a responsive, multimedia, educative webpage—was created as a supplement to a physical exhibition at the Liebieghaus Skulpturensammlung in Frankfurt that ran from October 12, 2016, to January 29, 2017, which brought together over one hundred paintings, sculptures, and other precious objects, mostly from medieval Germany, to tell the story of Jesus’s birth. Featured online are a magnificent Rhenish tapestry (seriously, click that link and zoom in!), an ivory relief carving, an altar, a wooden statuette of Mary with a removable flap on her belly that reveals the Christ child, a liturgical cradle and doll, a manuscript illumination, a woodcut, and more. Also included, for listening, are readings from the Revelations of Saint Bridget of Sweden (a fourteenth-century mystic whose vision of the nativity had widespread influence) and the Gospel of Pseudo-Matthew (source of the legend of the miraculous palm tree on the Holy Family’s flight to Egypt), as well as a lullaby from a medieval mystery play at Leipzig and perhaps also sung as part of the custom of Kindleinwiegen. Curator Stefan Roller introduces the exhibition in this video:
The “Holy Night” Digitorial is written for a middle-grade reading level, I’d say; some of the narration seems geared toward kids. It doesn’t assume any knowledge of the Nativity story, and in addition to highlights from the biblical accounts, it mentions some apocryphal story elements, like Joseph’s backstory, the midwives at the birth, the palm tree and wheatfield miracles, and the identity of the “kings.” I appreciate how it covers the full story, including Jesus’s circumcision and the flight to Egypt. My only two wishes are that the images were provided in higher resolution and that full credits (especially the collection these objects are from) were given at the bottom.
I really love the Digitorial format! It’s engaging. If I could afford it, I would endeavor to hire web designers to help me produce products like this. This one was designed and developed by Scholz & Volkmer with funding by the Aventis Foundation. More about Digitorials: “Digitorials are short, interactive, online editorials that combine text, images and animations into a meaningful whole and enable innovative storytelling. Digitorials are not intended to replicate or replace physical exhibitions. Rather, they are a useful way of adding breadth and depth, and are usually used before or after visiting an exhibition. The format was developed by the Städel Museum, Liebieghaus Skulpturensammlung and Schirn Kunsthalle in Frankfurt and is breaking new ground in art mediation, as it uses digital technology to offer an accessible and approachable way of engaging with art. It has already been awarded the Grimme-Preis.” See other examples: https://www.staedelmuseum.de/en/digitorial; https://www.liebieghaus.de/de/angebote/digitorial; https://www.schirn.de/en/program/offerings/digitorial/.
“Jeg Synger Julekvad” (In dulci jubilo): This Christmas hymn of German origin often appears in English-language hymnals as “Good Christian Men, Rejoice!” or the gender-neutral “Good Christian Friends, Rejoice!” This jazz arrangement by Heidi Skjerve, with Norwegian lyrics by Magnus Brostrup Landstad, is performed by Skjerve (she’s the vocalist on the left) and students from the Norwegian University of Science and Technology (NTNU) Department of Music [previously]. The other two vocalists are Liv Ellen Rønning and Jakob Leirvik. See the full list of musicians in the YouTube description. [HT: Global Christian Worship]
“Carol of the Bells,” arr. Al White, performed by the Berea College Bluegrass Ensemble: Al White, who taught Appalachian instruments at Berea College in Kentucky until retiring in May, founded the Berea College Bluegrass Ensemble in fall 1999 to give students with backgrounds or potential in bluegrass music an opportunity to play in a bluegrass band with weekly rehearsals, performances, and travel. This is one of the many arrangements he wrote—sometime around 2008. In this 2016 video, recorded inside Berea’s Danforth Chapel and outdoors, White plays mandolin and leads four other musicians: Brenna Macmillan on banjo and vocals and Theo Macmillan on fiddle (the two are siblings, now performing and recording as the Theo & Brenna Band), Matt Parsons on guitar, and Casey Papendieck on upright bass (he’s part of the Handshake Deals). As of this fall, the Berea College Bluegrass Ensemble is under the direction of Sam Gleaves. [HT: Global Christian Worship]
“Peace Upon the Earth” by Hillsong Worship: Since being introduced to Chopin by my piano teacher as a kid, he’s been one of my favorite composers to play—his etudes, nocturnes, waltzes, fantasias. In this 2017 song from Hillsong’s Christmas: The Peace Project, Marty Sampson wrote lyrics for Chopin’s Nocturne in E-flat major (op. 9, no. 2), which actually works really well! It’s a beautiful handling of the iconic melody. Starting at 3:44, Sampson talks about his songwriting process. He says he was inspired by “Hark! The Herald Angels Sing,” which came about when William Hayman Cummings adapted the melody of “Vaterland, in deinen Gauen,” a song from Mendelssohn’s secular “Gutenberg Cantata,” to fit Charles Wesley’s hymn text.
NEW ACQUISITIONS: “2 Armenian Manuscripts Join the Getty Collection”: This year the J. Paul Getty Museum in Los Angeles acquired, among other art objects, (1) a detached leaf with a full-page Nativity illumination from a seventeenth-century Armenian Gospel-book, and (2) a sixteenth-century Armenian Gospel-book illuminated by a brother and sister team, Ghoukas and Eghisabet. (A female illuminator named in an early modern manuscript—woot woot!) “Little is known about the involvement of women in the trade of manuscript illumination, but we hope that highlighting figures like Eghisabet will spark further research and understanding about their role,” write Elizabeth Morrison and Nava Streiter in this Getty blog post.
Ms. 119 is now the third Armenian Gospel-book in the museum’s collection, and Morrison and Streiter compare one of the illumination subjects side-by-side across all three books—in addition to providing visual comparisons with Ethiopian and Byzantine Gospel-books.
And after six days Jesus took with him Peter and James, and John his brother, and led them up a high mountain by themselves. And he was transfigured before them, and his face shone like the sun, and his clothes became white as light. And behold, there appeared to them Moses and Elijah, talking with him. And Peter said to Jesus, “Lord, it is good that we are here. If you wish, I will make three tents here, one for you and one for Moses and one for Elijah.” He was still speaking when, behold, a bright cloud overshadowed them, and a voice from the cloud said, “This is my beloved Son, with whom I am well pleased; listen to him.” When the disciples heard this, they fell on their faces and were terrified. But Jesus came and touched them, saying, “Rise, and have no fear.” And when they lifted up their eyes, they saw no one but Jesus only.
And as they were coming down the mountain, Jesus commanded them, “Tell no one the vision, until the Son of Man is raised from the dead.”
In the artwork above, Moses is shown on the left holding the Ten Commandments and representing the law, and Elijah, on the right, holds a scroll, representing the prophets; Jesus stands in the center, the fulfillment of both. The painted inscription inside the picture is, of course, Peter’s words to Jesus in Matthew 17:4. The carved inscription below, however, comes from an earlier passage in Matthew’s Gospel, 13:16–17, where Jesus says to his disciples, “Blessed are your eyes, for they see, and your ears, for they hear.For truly, I say to you, many prophets and righteous people longed to see what you see, and did not see it, and to hear what you hear, and did not hear it.”
This is one of several paintings by Leandro Miguel Velasco located in the sacristy of the Basilica of the National Shrine of the Immaculate Conception in Washington, DC. (He also designed, in 2006–7, the church’s Incarnation and Redemption dome mosaics, in a much different style.) The sacristy is the room where the priest and attendants vest and prepare before the service, and where they return their vestments and used liturgical vessels afterward. It is not accessible to the general public.
SONG: “Transfiguration Hymn” | Words adapted by Jeffrey Cooper from the Collect of the Feast of the Transfiguration | Music by J.J. Wright | Performed by the J.J. Wright Trio (J.J. Wright on piano, Ike Sturm on bass, and Nate Wood on drums) and vocalists Sharon Harms and Ashley Daneman on Vespers for the Feast of the Transfiguration (2017)
Seeing your glory in the face of your Son,
Hearing his words, and knowing what he has done,
Now we pray that just what we behold
In him we may become.
That, as the prophets spoke in days long before,
We may be heirs through faith with him we adore:
With the Spirit and with you he reigns
Now and forevermore.
. . . Then, like a wildfire, the Holy Spirit spread through their ranks, and they started speaking in a number of different languages as the Spirit prompted them. . . .
—Acts 2:3–4, The Message
MUSIC: “The Elements: Fire” by Hiromi Uehara and Edmar Castaneda, on Live in Montreal (2017)
“Fire” is a collaborative composition and performance by Japanese jazz pianist Hiromi and Colombian jazz harpist Edmar Castaneda. Their virtuosity is amazing! And they have such a fun synergy on stage together.
“I was born to play the harp,” says Castaneda. “It is a gift from God, and like every gift from God, it has a purpose. The purpose of my music is to worship Him and bring his presence and unconditional love to people.”
And he [Jesus] came to Nazareth, where he had been brought up. And as was his custom, he went to the synagogue on the Sabbath day, and he stood up to read. And the scroll of the prophet Isaiah was given to him. He unrolled the scroll and found the place where it was written,
The Spirit of the Lord is upon me,
because he has anointed me
to proclaim good news to the poor.
He has sent me to proclaim liberty to the captives
and recovering of sight to the blind,
to set at liberty those who are oppressed,
to proclaim the year of the Lord’s favor.
And he rolled up the scroll and gave it back to the attendant and sat down. And the eyes of all in the synagogue were fixed on him. And he began to say to them, “Today this Scripture has been fulfilled in your hearing.”
In this passage from Sunday’s Gospel lectionary reading, Jesus enters his hometown synagogue in Nazareth and gives what is essentially his inaugural address, having recently been installed to public office by God (at his baptism) and now informing the people of his intentions as their new leader. His agenda is taken straight from Isaiah 61:1–2, and boils down to this: FREEDOM. That is his rallying cry.
“The year of the Lord’s favor,” or “the acceptable year of the Lord,” in Luke 4:19 refers to the Jubilee legislation God gave Israel, mandating that every fiftieth year, slaves were to be set free, debts canceled, and land wealth redistributed (see Leviticus 25). This ushering in of economic justice was most definitely “good news to the poor.” In his reading from the Isaiah scroll and his statement that “Today this Scripture has been fulfilled,” Jesus was calling for the celebration of the Year of Jubilee. And as we know from what follows in the Gospels, this Jubilee would be far more expansive than the one prescribed in Levitical law. Release from bondage, forgiveness of debts, restoration of what had been lost—there is, of course, still a material significance to these provisions, but there’s also a spiritual significance, in that through Christ, we are liberated from sin and ultimately brought back to the Garden in which we originally dwelt.
In ancient Israel, the semicentennial Jubilee Year was announced by the blowing of a shofar (ram’s horn) on the Day of Atonement. The Hebrew word for jubilee, yovel, actually means “ram’s horn”; in the Septuagint, yovel is translated multiple times as apheseos semasia (“trumpet blast of liberty”). The Latin form, jubilaeus, is influenced by the Latin jubilare, “to shout for joy.”
Typically I make one music selection for the week’s Artful Devotion, but I couldn’t decide between these two—so you’re getting a twofer! I’d encourage you also to revisit “Jubilee” by the McIntosh County Shouters (which pairs splendidly with the Steve Prince linocut), featured in a previous roundup.
JAZZ INSTRUMENTAL: “Jubilee Stomp” by Duke Ellington, 1928
This track was recorded at Okeh studios in New York City on January 19, 1928. It features Duke Ellington on piano, Bubber Miley and Louis Metcalf on trumpet, Joe Nanton on trombone, Barney Bigard on clarinet and tenor sax, Harry Carney on alto sax and baritone sax, Fred Guy on banjo, Otto Hardwick on alto sax and bass sax, Wellman Braud on string bass, and Sonny Greer on drums.
Blow ye the trumpet, blow! The gladly solemn sound
Let all the nations know, to earth’s remotest bound:
Jesus, our great high priest, has full atonement made;
You weary spirits, rest; you mournful souls, be glad.
Freedom! The year of jubilee is come; Freedom! The year of jubilee is come; Freedom! The year of jubilee is come; Freedom! The year of jubilee is come; You ransomed sinners, return, return home.
Extol the Lamb of God, the sacrificial Lamb;
Redemption through his blood throughout the world proclaim:
You slaves of sin and hell, your liberty receive;
And safe in Jesus dwell, and blessed in Jesus live.
You who have sold for naught your heritage above,
Receive it back unbought, the gift of Jesus’ love:
The gospel trumpet hear, the news of heavenly grace;
And, saved from earth, appear before your Savior’s face.
Hymnic poetry doesn’t get much better than that of Charles Wesley, and “Blow ye the trumpet, blow!” is no exception. I discovered this text through Kirk Ward, who wrote new music for it—a tune that is, in my opinion, far superior to the ca. 1782 tune by Lewis Edson that’s used in the hymnals of the United Methodist Church, the Orthodox Presbyterian Church, and others. Ward’s gospel-rock version of the hymn, which includes the addition of a chorus, is a congregational favorite at my little church in Maryland.
Describing his stylistic influences and aspirations, Ward writes:
I was thinking that the song would work well in a more 1960s style, civil rights era gospel-rock. I was thinking Sharon Jones and the Dap-Kings or Aloe Blacc, but the over-driven guitar sounds and my white boy vocals push it more toward something like Neil Young. Maybe one day, I’ll record it with horns and soul-power guitar riffs to get the sound I heard in my head. Regardless of the groove, my main goal was to get everyone shouting “FREEDOM!” at the top of their range.
As with all the songs posted on the New City Fellowship Music website, congregations are encouraged to freely use “The Year of Jubilee” in worship; an MP3 demo, lead sheet, and lyrics are provided for that purpose. I’d love to hear some full-band performances of this song online—if any exist, please post them in the comment field below. If you’re interested in making a commercial recording, contact Kirk Ward for permission.