An afternoon of Grace

“Mother never said there might be a day like this.”

First words out of my mouth. Couldn’t help it.

I had just been introduced — and quite warmly — by Grace Cathedral’s Rev. Canon Elizabeth Grundy, and all I could do was look out across the assembled multitude (officially 611 patrons!), and then up-up-up at the way-high ceiling, almost out of view.

Apparently everybody understood, though, because my awe-struck remark drew plenty of sympathetic chuckles.

But I’m getting ahead of things. Let’s start at the beginning.

Constant Companion and I arrived at Grace at about 10:30 Saturday morning; we had left home quite early, not wanting to take any chances with the San Francisco area’s notorious traffic (which, yes, can be ghastly even on weekends). As a result, we were first to arrive, and so killed some time by browsing through the cathedral’s gift shop. I couldn’t help noticing a counter-top rack of CDs that included several copies of Duke Ellington’s Concert of Sacred Music at Grace, recorded live September 16, 1965 ... but no sign of Fantasy’s recording of Guaraldi’s Mass, which had preceded Ellington by four months.

So I wanna know: What’s up with that?

(Ahem.)

We soon were joined by Marcia and Nancy Goodrich, two of the long-ago St. Paul’s Church choir members who, as children, had rehearsed with Guaraldi for roughly 18 months, while his Jazz Mass came together. They were excited, to say the least: positively bubbling with anticipation.

Mass appeal: Chapter 3

The rehearsal began promptly at 10:45 a.m.; choir director John McDaniel runs a very tight ship.

I spent an engaging 90 minutes Sunday morning at the Fair Oaks (California) Presbyterian Church, watching and listening as McDaniel and his singers worked through numerous selections on the program of the upcoming Guaraldi Jazz Mass Tribute Concert, taking place at 2 p.m. Saturday, August 15, at San Francisco’s Grace Cathedral. The weekly rehearsals began July 5, and they’ll continue each Sunday morning through August 9, with a final dress rehearsal Thursday evening, August 13.

John McDaniel, standing on the riser, leads the Fair Oaks Presbyterian Church Choir in a
Guaraldi-inflected version of "Adore Devote (Humbly I Adore Thee)," while Jim Martinez
adds a swinging touch at the piano.

McDaniel’s all-adult choir is roughly 70 members strong, and their well-trained voices filled the large, classroom-style music room with a joyous sound. In a word, the group is terrific. After running through a couple of the jazzed-up hymns that Guaraldi arranged for his Mass, McDaniel surprised me — I was sitting quietly in the back of the room — by asking what I thought.

“Actually, it’s rather spooky,” I said, and his gaze adopted a puzzled expression, until I elaborated. “If I close my eyes, it’s like listening to the original LP recording. You all sound awesome.”

McDaniel smiled, clearly pleased. Gentle but undeniably happy laughter rippled through the crowd.

As the August 15 event is a concert, as opposed to a formal church service, McDaniel and pianist Jim Martinez are supplementing Guaraldi’s Jazz Mass elements with additional choral pieces. Thus, the Fair Oaks Presbyterian singers have been learning not only the Mass’ vocal selections — “Kyrie Eleison,” “Come with Us, O Blessed Jesus,” “Nicene Creed (I Believe),” “Adore Devote (Humbly I Adore Thee)” and the lovely background chant and “Hallelujahs” behind the primarily instrumental “Theme to Grace” — but also five other hymns: “Come to the Music,” “Praise God,” “Total Praise,” “When I Survey the Wondrous Cross” and “Worthy to Be Praised.”

Martinez and his band, meanwhile, have been working up the Mass’ instrumental compositions: “In Remembrance of Me,” “The Holy Communion Blues” and the aforementioned “Theme to Grace.” Given Jim’s fondness for Guaraldi’s music, I’m sure he’ll also include a few other familiar tunes.