Tea at Trianon: Fully Human Lives: The Jazz Greatness of Kurt Elling

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Thursday, February 19, 2026

Fully Human Lives: The Jazz Greatness of Kurt Elling

Jazz is to some people what opera is to me. From Mark Judge at Chronicles:

Elling is the premier male jazz vocalist in America. He’s been nominated for eight Grammys and won two. Elling also very plainly adores American jazz music. That seems like an obvious thing to say about a jazz singer, but in Elling’s case, it is clear that his love for it is all-consuming because it is infectious. His heart seemed to expand whenever he lovingly spoke of “this music” or of artists like Duke Ellington, Wayne Shorter, and John Scofield.

Even as so much of our culture stares into a digital AI void , the best music, Elling said, still comes from acoustic instruments, which hit you in the “right here.” When he said “here” Elling put a fist to his chest—as well as to the backside and the brain. No matter how much AI takes over, Elling was saying, we are souls. We want to live fully human lives and feel things with all of our being.

I’ve been following Elling since 2008, when I first saw him perform—and at the same location. Elling, a former divinity student at the University of Chicago, had then commingled the lyrics of the jazz standard “My Foolish Heart” with the poetry of St. John of the Cross. Seeing him do this in concert for the first time, I was seized with a kind of spiritual rapture. As the Biblical translator Stephen Mitchell once said about encountering God, it was a feeling so big that it wasn’t inside of me but I was inside of it.

In 2010 I was able to interview the singer at Blues Alley in Georgetown. This time around, in 2026, I got to meet Elling backstage before the show. He was joined by Daniel Jamieson, the conductor of the new Strathmore Jazz Orchestra.

“When I agreed to take on the role of conductor of the Strathmore Jazz Orchestra,” Jamieson said,

one of my core stipulations was that this orchestra would never function as a backup band. The musicians themselves are the heart of the project. I want this ensemble to be presented with the same artistic importance and visibility as any guest soloist we bring in. The players are the identity of this orchestra, and I am committed to building a culture that places them at the center of every performance.

There was no mistake about that at this concert as the orchestra was the beating heart of the performance. (Read more.)