Watch & Listen

The 2017 performance of 'Pavane for a Dragonfly' was a new arrangement put together by the late Ed Kirkpatrick. Knowing full well that the 2013 version could not be replicated, Ed pulled from his considerable experience in 'Big Band Jazz' to conceive a broader expression of the Pavane. (Ed was the lead alto in West Chester University's Criterions in 1966 replacing the legendary Ernie Watts) Jazz veterans saxophonist Dave Schiff, percussionist Glenn Ferricone, bassist Peter Paulsen and vibraphonist Wes Morton provided an organic backdrop to trumpeter Rick Gazda, who played the lead melody. Rick's tone on the trumpet is a rich sound filled with passion so appropriate for the lead line. Rick is a musician's musician and has played regularly with Bruce Springsteen as well as polka master Bernie Witkowski. The tasty solo work of Wes Morton and Ed Kirkpatrick speaks for itself. This performance was a feature of the 2017 Jazz Christmas at the Tatnall School, Greenville, Delaware and a production of Music with a Mission (formerly Mass for the Homeless, Inc.) as a benefit for Friendship House, Inc. Wilmington, dedicated to founders Bill and Marcy Perkins.

David Danced Before the Lord - the title comes from a story in the second book of Samuel in the Old Testament (2 Samuel 6: 14-22). Duke Ellington used this passage as part of his Sacred Concerts utilizing an uptempo version of his 'classic' sacred ballad 'Come Sunday'. Building on Ellington's canon, I set my version as a Cuban-Latin jazz feel. This performance was part of a Jazz Vespers in 2014 at Episcopal Church of the Advent, Kennett Square, PA. The 'cool style' of Ed Kirkpatrick's alto saxophone is complemented by the extraordinary flute playing of Philadelphia's Trumpeter/Flautist Stan Slotter. This is on top of a very tight organic rhythmic feel by the exceptional talents of percussionists, Jonathan Whitney and Wes Morton. Once again, Bassist Peter Paulsen applies his bass playing to what is essential and with mastery.

Pavane for a Dragonfly was first recorded here as part of a Jazz Vespers performed by the Chancel Choir of Episcopal Church of the Advent, Kennett Square, PA at the Philadelphia Episcopal Cathedral in 2013. As all instruments are acoustic, the way the alto saxophonist of the late Ed Kirkpatrick soars above and fills the church is profoundly 'other worldly'. Bassist Peter Paulsen and Percussionist Glenn Ferricone added the perfect accompaniment in making this so special. It is well known that Duke Ellington and Dave Brubeck invested a great deal of energy in presenting jazz as 'sacred music' especially at the end of their lives. Just like the sacrifice of a 'Merciful Jesus' in the Pie Jesu, it is no secret that the canon of jazz is an expression of a people who were formerly enslaved in a country that professes 'that all men (and women) are created equal.' The pavane's story is too personal to get into here, but it is fair to say that the composition is based on a blues pattern of great empathy for 'an oppressed person/people'. As people of faith, my wife and I see these offerings of both classical and jazz expressions in this context.

Pie Jesu which means 'Merciful Jesus' is the seminal composition from Requiem for 9/11, the first piece composed of 12 movements. Visually, I have always heard this as the 'soundtrack' to Michaelangelo's Pieta in the Vatican.
After I committed to writing the work, my wife Joan and I were on an extended escape to our former beach house in Avalon, New Jersey at the end of March in 2002. As Avalon has a beautiful pier at the end of 30th Street, I was walking alone on a cold deserted beach and stopped underneath the pier. Listening to the rhythm of the waves, this music was 'given' to me. I just heard it, went home and wrote it out note for note, for real. (This was also true in the writing of 'The Commission' from Mass for the Homeless.) To be clear, composition for me is a divine/mystical process and has always been since I began writing music in my later teen years. I can't really explain it, all I know is that I experience it and try to 'shut up and get out of its way'. I wish to thank Tony Kosar, Chair of theTheory/Composition Department, Westminster Choir College, Princeton for his encouragement and support in the earliest days of writing Requiem. Although this performance of 'Pie Jesu' features the late Betsy Kent, one of University of Delaware's finest accompanists ever, I prefer the aria accompanied by harp. Soprano Courtney Ames is the consummate extraordinary artist who has interpreted 'Pie Jesu' at the 2012 premiere at Wilmington (DE) Grand Opera House as well as performed in a new realization as a duet with Andrea Lauren Brown. The latter is available for viewing as Track Ten (X) from the 2021 Ensemble Version on this website.