Earl MacDonald: Consecrated

The searching spirit that drives the work of composer and pianist Earl MacDonald is both a reflection on musical curiosity and, to a deeper extent, a statement of faith. Bringing both of those identity-shaping aspects to the fore like never before, MacDonald uses Consecrated to work toward a higher purpose. Reshaping and resetting a series of traditional hymns in sophisticated yet accessible fashion, he conveys the core values of his Christian beliefs—love, kindness, charity—with class and creative purpose.

These arrangements, using vocalist Karly Epp to deliver the good word(s) with clarity and beauty, largely respect the melodic architecture of the psalms in play while also taking the opportunity to redefine or broaden the structures that house them. MacDonald walks a fine line in those dealings, displaying great wisdom along the way. "Be Still, My Soul," with some added spring in its step, Epp's pure-voiced delivery, Karl Kohut's pivotal bass line, David Smith's trumpet obbligato, and solos highlighting the leader's lightly flowing right hand lines, saxophonist Kris Allen's soulful voice (on soprano) and Kohut's excellent ears and reflexes, is the first and, perhaps, chief example of what MacDonald is capable of producing in this context. But the nine numbers that follow it are no less important. They further this angle of expression in fascinating ways.

Moving past the opener, a slow, spiritually-infused swing underscores and guides "O God of Love, Grant Us Your Peace." Then nurturing feelings surround a waltzing and uniquely colorful "Sweet Hour of Prayer," and a relatively routine introduction of "Holy, Holy, Holy" takes a slight turn when some bossa-esque, straight-eighth time takes over. Those opening numbers, and three additional works from the second half of the program, are brought to life by a sensitive sextet—MacDonald, Epp, Allen, Smith, Kohut and drummer Rogerio Boccato—but two of the ten pieces on the album move a bit beyond that personnel. The slightly brooding "By Our Love," which became the springboard for a video project surrounding "incongruities between faith practices and politics" (offered at www.by-our-love.com), deals in broader brass strokes with the addition of Alex Gertner on French horn and Sean Nelson on bass trombone; and Nelson makes a return appearance for "The Love of God," a performance that puts forth glistening and gliding thoughts atop a "Poinciana"-like groove.

Bridging the sacred and secular with this work, MacDonald makes high art that demonstrates how traditions and innovation can happily coexist and even benefit from symbiotic suggestions. Jazz and faith rarely bond with such beauty and sympathy.