Music is an integral part of worship at Oakhurst. We seek to join together the music program with the ministry and mission of the church and to use the variety of musical talents within this fellowship in the worship of God. Central to our commitment to inclusion and diversity are the two adult choirs: the Sanctuary Choir, which sings each week, and the Gospel Choir, which sings twice a month. The different styles reflect the diversity of musical interest in our congregation. Occasionally the two choirs combine for an anthem or choral work.

We are committed to enriching the lives of the children by attracting them into a program that can improve their singing voice, help develop their character, deepening and broadening their cultural experience as they contribute to the life and work of the church. In the 1940s, Oakhurst was one of the first Baptist churches in the Atlanta area to have a children's choral program; our aim is to explore new ways of working with children's choirs.

Choir members and musicians experience what they offer, not as performance, but as ministry integral to worship. Involving the congregation as participants, rather than audience is important in Oakhurst's worship life.

Formal and informal music ensembles have evolved to fill the needs and interests of our congregation. We celebrate the spiritual joy of music and the talents of our members and guests. We invite your participation in making a joyful noise. Please contact Karen Shipp for more information or to volunteer your musical talent.

The choir schedules are: 
Carol Choir—9:30-9:45 a.m.
Gospel Choir—1:00-2:30 p.m.

Cherub Choir—6:30-7:30 p.m. 
Sanctuary Choir—7:40-9:30 p.m.

Oakhurst's instrumental music features a self-contained 2-manual tracker organ (built by Dan Jaeckel of Minnesota and installed in 1990), a Yamaha grand piano, a harpsichord, and a fine set of handbells. The church has hosted a variety of musical events and recitals.


The Jaeckel Organ





56 pipes of 75% tin



12 pipes of wood; 44 pipes of 15% tin



56 pipes of 75% tin


Mixtur IV

224 pipes of 75% tin



56 pipes with 50% tin resonators




12 pipes of wood; 44 pipes of 15% tin



56 pipes of 15% tin



56 pipes of 75% tin


Sesquialtera II

100 pipes of 15% tin




30 pipes of wood



26 pipes of 50% tin; 4 from Hauptwerk Prinzipal


Wind pressure: 70 mm from a single wedge-shaped bellows

Temperament: Well-tempered; “Vogel 5W” with A' at 440

Controlled from a keydesk attached to the organ case. Case built of fumed solid white oak. Classic carvings in solid white oak.

Manual keys—bone for naturals, grenadil for sharps.

Curved pedalboard.

Pedal keys—oak, hard maple, rosewood.

Adjustable bench. Bench and pedal keyboard lights.

Key action—mechanical suspended action.

Stop action—mechanically linked.

Wooden trackers of spruce and red cedar. Action parts of hard maple and padouk.

Manual I coupled to Pedal by reversible foot lever. Both manuals and Pedal coupled by drawknobs. Swell pedal to control opening and closing of swell shutters. All stops but the façade under expression.

Designed and built by Daniel Jaeckel Inc., Duluth, Minnesota

From The Organ Maker

The organ for Oakhurst Baptist Church represents what I would consider to be an encouraging trend in mechanical action organ building in the United States. Although the organ is relatively small in terms of stops, it is designed to perform some very specific duties in a most genuine way, without compromise.

Knowing full well that their budget was limited, the organ committee chose to contract for an organ that would fulfill their requirements as an instrument that is particularly designed to enhance their worship life: one which leads congregational singing well, one which accompanies the choir well, and one which allows for the performance of the majority of classical organ worship-based literature. (These parameters for a church organ coming from a church body that is normally associated with non-liturgical and non-classical music was the most exciting part of this project for the builder.)

Ironically, perhaps, to some people, an organ of this calibre can make much more of the literature come to life and can be much more of a satisfying experience than can the output of a larger, less carefully conceptualized organ. This organ  accomplishes it versatility because of the carefully designed and installed mechanical action, because of the transparency and individualized beauty of the 11 stops, because of the solid wood resonating cabinet, because of it free-standing placement in the room, and because of the swell enclosure which places all pipes but those in the façade under expression.

Those involved in creating this organ were Frank Mehle, David Rollin, John Thoennes, David Hanlon, Dean Hauge, Lance Rhicard, Michael Korchonnoff, Pere Macartney, and Dan Jaeckel.

—Daniel J. Jaeckel, organ builder