Jazz Notes

2012-02-24T14:00:00.000-08:00

I sent a personal card to jazz saxophonist Ravi Coltrane, John Coltrane's son. I pray he gets it and reads it and reads the booklet I included, "Are All Religions One?"

Pat Martino

2012-02-23T22:50:00.000-08:00

Jazz, baby.

"Infinity"

2012-02-22T00:32:00.000-08:00

Often majestic, February 21, 2012

By Douglas Groothuis "Douglas Groothuis"

Amazon Verified Purchase(What's this?)

This review is from: Infinity (Audio CD)

Somehow, although a Coltrane aficionado (to put it mildly), I had never heard this recording. It may have not been released on CD previously, and I had never seen the album.

While only 38-minutes long (which was normal for an LP at the time), this recording brings the widow of John Coltrane back to his recorded music. Alice takes selected solos from her late husband and orchestrates them with strings, organ, harp, and more. The effect is often magical, majestic--although, at times, a bit cluttered. Yet the density is not deadly, but alluring, entrancing. I plan on listening to it many more times.

Mrs. Coltrane understood her husband's work. The orchestrations seems to fit the earlier solos, which were recorded with a smaller group. We still hear Jimmy Garrison and Elvin Jones as supporting musicians. These were members of "the classic quartet" (1960-1965). We also hear from Charlie Haden on bass.

While I cannot endorse the references to the philosophy of astrology in some of the music, the music itself stretches the soul in new directions. For this, I am thankful.

2012-02-21T22:29:00.001-08:00

I listened to a 1972 release by Alice Coltrane called "Eternity," which was just (I believe) released on CD for the first time. She takes her late husband's solos and adds strings, harp, organ, and more. It is a dense, lush, exhilarating exploration of other realms. It is helping me recover from the 10 seconds of Kenny G that a cultural terrorist inflicted on me yesterday.

Pat Martino, "The Maker"

2012-02-13T23:22:00.000-08:00

I just listened to "The Maker" straight through on headphones tonight. What a wonderful set of numbers it is: long-form, plenty of space for group and individual improvisation, fine fidelity, and the inimitable guitar stylings of Pat Martino, whose attack, note choice, and swing are without peer or parallel in jazz.

2012-02-09T23:39:00.001-08:00

"It don't mean a thing if it ain't go that swing"--Duke Ellington.

Pat and Pat

2012-01-17T22:13:00.001-08:00

Having listened to most of Pat Martino's most recent recording, "Undeniable," I must say that the man is the best straight-ahead jazz guitarist living on this planet. The way he builds a solo is unparalleled; the tone is perfect. Yes, I love the other Pat--Metheny..but not this much in this genre of jazz.

Big, Good

2012-01-17T16:03:00.001-08:00

Duke Ellington, Count Basie, and Stan Kenton

knew how to make big

very good.

Ellington's America

2012-01-12T23:05:00.000-08:00

Here is a short, but apt, review of Cohen's magisterial work, Duke Ellington's America.

Solitude

2011-12-21T00:34:00.001-08:00

Here is a gorgeous solo piano version of "Solitude," written by Duke Ellington and performed by Duke Ellington. It is accompanied by some apt black-and-white photographs.

Take that Train!

2011-12-20T00:35:00.001-08:00

Here is a short essay on "Take the A Train."

Rare Duke

2011-12-18T14:25:00.001-08:00

I just found this LP of Duke Ellington playing Grieg and "Suite Thursday" at Twist and Shout in Denver. The two suites can be found on "Three Suites" by Duke.

2011-12-07T23:38:00.000-08:00

It just struck me that Sun Ra was a big band leader, too, despite his extraterrestrial orgin.

Music in The World To Come

2011-11-20T22:35:00.000-08:00

In my restless, eager, and perhaps exorbitant pursuance of all things Ellingtonian, I at times lament that much of Duke's early music was recorded on less than stellar equipment. The exquisite arrangements and virtuoso soling are muted, distorted, or improperly balanced--and not in stereo. Yet, the beauty speaks through it all, nonetheless--so my search continues.

Given my eschatology, I believe that the best of human culture--from every tongue, and tribe, and time--will somehow be conserved in The World to Come. I was convinced of his years ago when I read Richard Mouw's short but compelling book, When the Kings Come Marching In (now out in a second edition by Eerdmans). The chapter addressing "true beauty" in Truth Decay underscores this as well, for what it is worth.

If this is so, then, one glorious day, in the presence of the Triune God and all the redeemed (and I hope Duke is among them), we shall in some manner listen to the aesthetic apex of Duke's nonpareil orchestra form every period, whether badly recorded, well recorded, or not recorded at all. Surely the ears of heaven cannot forget such beauty--or hoard it.

Advice from Duke

2011-11-13T21:46:00.001-08:00

In an interview, Duke Ellington said that my "first job is to listen." See James 1:19.

2011-11-13T00:28:00.000-08:00

The Maestro

Duke with the Boston Pops

2011-11-06T00:11:00.002-07:00

Duke Ellington played several of his centerpieces with the Boston Pops at Tanglewood on a recording I found on vinyl today. Each piece is short, with little elaboration and no extended solo work. This is no blowing session. However, the live date has its own charm: these infectious and mellifluous melodies are augmented by a full orchestra, which adds lawyers of lustrous color. As Duke said, "It was a good day for the piano player," and, I must add, to all who listen with a Dukish soul.

This recording is also available on a three-disk CD called "Live and Rare."

Duke on CD

2011-11-01T00:18:00.000-07:00

My Duke Ellington collection is swelling to a tremendous size. You see, compact disks are going out of style, and much of Ellington is out of print. Yet there are hundreds of used CDs available on line, often for excellent prices. I do not want to lose these gems of jazz history.

Duke's Flaw

2011-10-22T13:37:00.000-07:00

For the past two years, I have been progressively initiated into the majestic world of Duke Ellington. The Maestro held together his big band for nearly fifty years, pioneered new jazz sounds, and kept developing as an artist. It is all so wonderful that I cannot stop getting Ellington CDs and books about the man.

However, to my mind, Duke has one fairly large musical flaw: hiring trumpeter, William "Cat" Anderson. Anderson was known for his high notes and bright tone. He could hit some remarkably high notes, but often attempted notes he could not hit (unlike, say, Doc Severinsen). Further, his highest notes sounded little like a trumpet, but not unlike a dying animal (a cat, perhaps). Duke gave Cat a lot of solo room, and often cringe at this attempts to hit the stratosphere. He almost managed to cancel out the beauty of the entire rest of the band at times.

Duke's other trumpeters were another matter: Ray Nance, Clark Terry, and so on. But Cat...I just do not understand it.

Epiphany at Twist and Shout

2011-10-16T19:18:00.000-07:00

It does not take long. When I walk into a store that is play jazz on the sound system, I immediately listen intently. Before long, I can usually ascertain which artist is playing. Today, after walking into Twist and Shout (the best store in Denver for jazz CDs and albums), I heard a small combo with an insistent saxophone taking the lead. After a few minutes, I realized it was the legendary Miles Davis Quintet live in a newly released recording. Miles is joined by Tony Williams on drums (then about 20), Wayne Shorter on tenor saxophone, Ron Carter on bass, and Herbie Hancock on piano. This is the free-bop, pre-electric Miles, with lyricism, telepathic coordination, and an open sky in which most anything could happen.

I marveled at the timing, and at the quality of the old JBL speakers (similar to one's I had in high school) bringing this sublime music to me there and then. You never know what you may hear at Twist and Shout. I have cringed at rap, been hammered by heavy metal, and generally sickened by other defective forms of music. But today, it was pure stereophonic magic.

I stopped, looked into the old, open-faced speakers--and thanked God for the beauty.

Doc

2011-10-09T23:53:00.000-07:00

Now, so many years later, having not watched TV on a regular basis for over a decade, I realize that one of the best things ever on TV was the old Tonight Show Orchestra, led by Doc Severinsen.

Big Bands Today

2011-10-08T21:59:00.001-07:00

I have been luxuriating on the big bands of Duke Ellington and, to a lesser extent, those of Count Basie and Stan Kenton. Do any of you recommend any contemporary jazz big bands?

Jazz Language Chop

2011-10-01T18:57:00.000-07:00

Jazz vocabulary:

Dukish: the quality of being of or resembling the work of Duke Ellington.

2011-09-28T10:46:00.001-07:00

Tony Bennett's painting of Charlie Parker.

Jazz and Apologetics

2011-09-26T21:13:00.001-07:00

Today, in Defending Christian Faith at Denver Seminary, I played two pieces of classic jazz: "Sophisticated Lady," by Duke Ellington and sung by Rosemary Clooney, and "Passion Flower," an instrumental, featuring Johnny Hodges on alto saxophone. These were from "Blue Rose." We reflected on aspects of this music and how it pertained to the virtues required for Christian apologetics. What great fun that was! And our new classrooms have stereo speakers.

2011-09-23T23:39:00.000-07:00

Review of Duke Ellington, The Private Collection, Vol. 5: The Suites: New York 1968 & 1970

2011-09-17T23:22:00.001-07:00

This long CD (over 71 minutes) is taken from Duke's capacious "vault" of recordings not released during his lifetime (d. 1974). The band would gather between gigs to rehearse new material and rework old material before taking it on the road. Duke was the producer, unlike his "official recordings." And unlike some of the other vault recordings, this has a polished and finished feel to it, rivaling that of "Such Sweet Thunder."

The first suite was composed for a film about the painting of Degas, which was never completed. However, we are graced to have the music. It is multi-layered but unified in expression. Both the ensemble work and the solos are impeccably executed. This clocks in at over twenty-minutes and is a delight.

"The River," originally composed for a ballet, is the second suite is longer and much more modernist or even avant-guarde. It texture approaches chamber music at times and takes some wise chances with melody, meter, and harmony. It can swing, but not always. The "Whirlpool" movement is quite adventuresome. It startled and amazed me the first time I heard it, and continues to do so. I risk sacrilege here, but it reminds one a bit of some of Frank Zappa's best instrumental work.

A world with Duke Ellington cannot be absurd. This is a sufficient (but not necessary) condition for defeating nihilism. This work is objectively beautiful; created by a great soul. Therefore there is meaning and goodness in the world. Thank God.

Jazz and...

2011-09-15T20:42:00.000-07:00

What Christian Apologetics book mentions John Coltrane twice?

Duke, Monk

2011-09-11T21:30:00.000-07:00

A few days ago, I walked into a Starbucks that I seldom set foot in. I heard a piano, jazz piano. Nearly instantly, I knew it was Thelonious Monk. However, having not listened to Monk lately and having inundated myself in the richness of Duke Ellington, I heard for myself something I had only read about before: There is Duke in Monk. Now I know. Despite their vast differences, there is Duke in Monk.

Jazz is endlessly fascinating.

Jim Hall in Denver

2011-08-30T23:58:00.001-07:00

Jazz guitarist Jim Hall will be in Denver in late October at the famed Dazzle Lounge. It is worth the $40 cover charge, to be sure, especially since Greg Osby will accompany him on alto saxophone.

Duke

2011-08-30T23:48:00.001-07:00

The move from

sound into

silence

can be beautiful--

especially in music.

The wondrous note

fades into nothing and finds its home

in the quietness surrounded by

memory.

Jazz Grace

2011-08-21T14:57:00.001-07:00

Walking outside and toward a local Starbucks, I cannot mistake the jazz saxophone greeting me from the speakers. Now, who is it? Is it Coltrane? Not quite. That means it is probably Dexter Gordon, although I have not heard the particular piece he is playing.

I asked the worker (who was my age, I wager) behind the register to tell me who was playing. She eagerly went back to check, and replied with a smile, "Dexter Gordon!"

"I have been listening to a lot of Dexter lately," I said. "Are you a jazz fan?" (One can sense these things.)

"Yes, I love the way jazz emotes one's feelings..."

We exchanged a few more words of jazz talk (not small talk) before I left. "My mother saw Duke Ellington in New York in the 40s and 50s," I bragged. "Oh!" she exclaimed with a smile while touching her heart with her hand.

Jazz grace strikes again (when needed; as it was).

Duke Alone

2011-08-19T22:22:00.000-07:00

In all my years of listening to, savoring, and comparing jazz pianists, my ears and soul have never heard anyone play the instrument as did Edward Kennedy Ellington. Yes, his orchestra was his instrument, but so was his piano--and no one could touch his touch, his humor, his spacing, his quirky perfections. I marvel and am thankful to you, Duke Ellington wherever you are.

Monk and Miles in Frisco

2011-08-16T08:48:00.000-07:00

Two superb paintings in a coffee shop in Frisco, Colorado called Rocky Mountain Coffee Roasters. What a pleasant surprise to find them. The paintings are by the owner, Tim Adrian.

"Moon Maiden"

2011-08-13T17:47:00.001-07:00

I just discovered this idiosyncratic, but delightful piece by Duke Ellington called, "Moon Maiden" (from "The Intimate Ellington"). Duke recites a poem with the backing of a keyboard of some kind, not regular piano. Perhaps it is a harpsichord.

Notice how perfectly Duke intones the lyrics--having fun, ahead of the beat, behind the beat, on the beat. It is "beyond category" once again.

My link to this music features a video created to accompany it. I suggest you not watch it, at least the first time you listen.

Ah, Jazz as it Should Be!

2011-07-25T22:51:00.001-07:00

I just listened to side one of jazz guitarist Pat Martino's 1972 recording, "Footprints," on vinyl and through a tube amplifier and courtesy of my old, steady, ready 1973 Pioneer turntable. Some high-level, noise-cancelling headphones gave me a more modern assist. The back cover was a long essay by the gifted jazz writer Gary Giddens on the life and art of Martino, plus his comments on each number on the album. I read as I listened. I purchased this recording for only $3.00 at a used record store in Denver.

The sound quality was superb: only one small pop, an immaculately clean and present acoustic bass, perfectly mixed drums, and two guitars. The music was jazz at its best: fine melodies, individual improvisation within a structure, and interplay between musicians.

There is a time--for me, call it today--simply to sit and listen to artistically excellent and acoustically brilliant jazz; and to thank the Giver of every good and perfect gift for it.

Monk's Patron

2011-07-20T23:18:00.001-07:00

David Kastin has written a new book on jazz pianist Thelonious Monk's exotic patron, Nica Koenigswarter, or "the jazz baroness." It is called Nica's Dream. I have yet to give a full review of a jazz book here, but I will try. The book should be fascinating. Monk's son, T.S. Monk endorses the book as a "must-read" and notable jazz writers such as Robin D. G. Kelley and Ashley Kahn hail it as well. I doubt we will find Nica a saint (she left her family to come to America and support Monk), but jazz personalites often paint a rich, if flawed, picture of humanity.

Lil Greenwood

2011-07-20T10:58:00.000-07:00

Lil Greenwood, a singer for Duke Ellington's band, has died at age 86. A good friend described her as “a woman who loved God ... She never drifted from it.”

Interviews with Duke Ellington's Band Members

2011-07-19T21:53:00.000-07:00

Here are some excerpts from interviews with members of Duke Ellington's band. I just purchased an Ellington LP today for $3.00!

Duke Ellington

2011-07-08T00:11:00.001-07:00

Here is a newspaper (remember them?) article from 1961 on Duke Ellington--a bit tongue-in-cheek, but clever, not cheeky.

James Farm

2011-07-06T22:31:00.001-07:00

National Public Radio, which is superb in covering jazz, has a short piece on the new jazz group, James Farm, which includes one of our best contemporary saxophonists, Joshua Redman. I have not yet heard the recording, but do not doubt its excellence.

Soundies

2011-07-04T22:40:00.000-07:00

Here is an essay (with videos) about the earliest music videos, including some jazz greats.

Historic Site at Risk

2011-06-30T22:18:00.000-07:00

John Coltrane's home was saved from demolition a few years ago, but is now in bad shape and needs restoration. Please read this article about the situation. Sadly, someone broke in and sprayed graffiti there as well.

Mike Abbot Trio at Dazzle

2011-06-03T21:38:00.002-07:00

I saw these gentleman play a tribute to Wes Montgomery at Dazzle on May 31, 2011. Mr. Abbot narrated the highlights from We's life and art and the trio smoked and swung hard throughout the night. Mr. Abbot played directly through his amplifier without effects, just as Wes did. It was a nice and classy touch. (He did not need any special effects.) I led cheers for an encore. Jazz fans will want to experience this tightly-knit and talented group.

Listen to another performance of Wes's "Jingles" here.

Sonny Rollins

2011-05-27T23:05:00.000-07:00

Sonny Rollins is no less than a towering and legendary hero of jazz, with well over fifty years of jazz artistry to his credit. Born in 1930 in New York, Rollins was a prodigy on the tenor saxophone, beginning his recording career at the age of 18. He quickly established himself by playing with the luminaries such as Bud Powell, Thelonious Monk, Miles Davis, J. J. Johnson, and Charlie Parker. Rollins is known for his rich tone, rhythmic sense, and brilliant improvisations—often inflected with humor and quotations.

As a serious and self-critical artist, Rollins has never settled into cliches or allowed himself to be boxed in by his music. He is also an accomplished composer of works for small jazz groups, many of which have become jazz standards, such as “Oleo,” “St. Thomas,” and “Sonnymoon for Two.” While he prefers live settings to the studio, Rollins has recorded classic jazz albums such as “Saxophone Colossus” (1956) and “The Freedom Suite” (1958). He continues to record and tour, delighting audiences with his flights into the saxophonic stratosphere.

Why--Not--Jazz?

2011-05-25T01:10:00.000-07:00

Why are so few people interested in jazz today? One reason is that the best jazz is subtle; it does not bowl you over with special effects or acoustic tricks. It, rather, invites listening. Few truly listen to anything today. Instead, souls are saturated with various sounds engineered to produce certain effects. People consume readily, but listen infrequently. Our ears are buzzing; our hearts are empty; our tastes are uneducated and crass.

But you must listen to jazz, let it penetrate into your sensorium. It is a deep and rich well, but one must decide to drop the bucket in and to pull it out.

The End is Near

2011-05-20T12:47:00.000-07:00

The signs are everywhere. The end is near--the end of the compact disk. My on-line CD store is going out of business, and I cannot resist buying a few at $4.99, shipping included. Borders and Barnes and Noble have drastically reduced their CD selection. Borders no longer has a discrete jazz section for CDs. I can think of only one Denver-area store with a rich selection of CDs--Twist and Shout.

What does all this mean for music and culture? Music has been increasingly miniaturized and made more portable in recent decades. It has also dematerialized. The preferred form is the MP3, which is a cluster of data stored in various devices. Now the link of the medium and the music is gone. For many years, album art and liner was as significant as the music. CDs retained this to some extent, but on a smaller scale. With MP3 files, there is no container for the music. It just in--somewhere in cyberspace.

Further, music becomes more de-contextualized. The play listreplaces the order of pieces on a recording. We shuffle on through. The idea of a concept album--a coherent body of work establishing and developing a set theme--is nearly dead. (In 2007, Neal Morse created a concept album based on the struggles of Martin Luther, but this is now very rare.)

I am reluctant to go the way of the iPod. I do not favordematerialization, however economically expedient. I cannot bring myself to think of dematerialized books at the moment.

Duke and Billy

2011-05-17T23:11:00.000-07:00

Today, at Twist and Shout music (which has the best music selection in Denver, despite its funky atmosphere), I found a recording that I previously did not know exited (and I am an Ellington fan): "Great Times: Piano Duets," by Duke Ellington and Billy Strayhorn, which makes up the only such recording of these two giants of jazz. It was originally released in the early 1950s, but was issued on CD in 1984. It is still in print.

Duke and Strayhorn composed music together for three decades, although Strayhorn rarely performed publicly on piano. The two had a deep sympathy and understanding of one another musically, which is evident in this recording. Sadly, the fidelity is quite bad, since the session had to be reconstructed from old disks, but the interplay and new angles they bring to Ellington/Strayhorn compositions more than makes up for that.

I doubt we will ever see the likes of this duo again.

Beauty and Desecration

2011-05-09T09:36:00.000-07:00

Although he does not write directly about jazz, Roger Scruton considers beauty and desecration in this profound essay in City Journal. Sadly, some jazz fits under the category of desecration, not because it is innovative or path-breaking, but simply because it is ugly for ugliness sake. This, to my experience, is extremely rare, but I must put much of Pharaoh Sanders's playing with John Coltrane (who never played in an ugly fashion), in this category. Sanders more recent playing has abandoned this pointless quest.

Seize the Beauty

2011-05-02T13:42:00.001-07:00

If an older jazz legend comes to your town, take in the show. You do not know how much time the artist has with us under the sun. I regret not seeing Elvin Jones when he was close to Denver about a decade ago. Seize the beauty while it lasts.

A Blog Supreme

2011-04-30T21:44:00.001-07:00

While listening to NPR today, I discovered a jazz blog called A Blog Supreme, which looks quite interesting.

Jimi Hendrix and Jazz

2011-04-12T21:04:00.001-07:00

Some may not realize that the last number Jimi Hendrix played at Woodstock (before the encore of "Hey Joe"), was a short improvised instrumental that was very jazzy. It included some beautiful octaves and had a haunting melody.

Hendrix was moving more toward jazz toward the end (he died young in 1970), and even set up a jam session with Tony Williams, Miles Davis, and David Holland. Sadly, it never materialized. However, Jimi did play with jazz organist, Larry Young on "Electric Lady land." Some called Young, "the John Coltrane of the organ."

Further, there was always a jazz sense when Jimi played with Mitch Mitchell, who managed to swing while playing rock. Jimi once referred to Mitch as "my Elvin Jones."

New Ideas for Jazz Appreciation Month

2011-04-10T12:44:00.000-07:00

1. Listen to a classic jazz recording and do nothing else but listen. Here are some possibilities:

Miles Davis, Kind of Blue

John Coltrane, A Love Supreme

Duke Ellington, Ellington Indigos

2. Listen to some jazz on vinyl, if you can find the equipment. Notice the difference in sound from CDs or MP3 files.

3. Learn some jazz language: chops, gigs, time in the woodshed, etc.

Jazz Appreciation Month

2011-04-09T12:45:00.000-07:00

April is Jazz Appreciation Month. I have been hearing jazz musicians speak of this on KUVO in Denver, the best jazz station I have heard. These announcements have suggested several ways to enjoy this month. Here are a few with a few of my own:

1. Explore a new area of jazz if you are already a fan.

2. Go to a jazz club, taking a friend who does not know much about jazz.

3. Purchase a jazz recording and give it to a friend.

4. Watch a jazz film with some friends.

5. Read a thoughtful book about jazz, such as Kevin Whitehead's new introduction, Why Jazz?

6. Read some of the essays on this blog and tell a friend about it.

7. Ritually destroy any Kenny G CDs you might have.

Jazz: made in America, enjoyed worldwide.

Rock Drummers and Jazz

2011-04-02T19:47:00.000-07:00

Mitch Mitchell, the drummer for the Jimi Hendrix Experience, was, to my mind, the best of all rock drummers. This is because of his sophistication. sense of swing (even in rock--listen especially to the last several minutes of "Third Stone from the Stone," especially), innovation, subtlety, and fire.

I've been listening to him since I was a teenager, and still cannot get over it.

My general thesis is that the closer a rock drummer is to jazz, the better he is. This why I place Ginger Baker in the number two spot of rock drummers: he was very influenced by jazz. Further, the the live improvisations of Cream were very jazz like. This thesis also puts some famous rock drummers low on the list, particularly John Bonham, who had no finesse at all.

Jazz Anthology

2011-03-19T02:48:00.000-07:00

Ben Ratliff, an excellent writer on jazz, reviews the Smithsonian's new anthology of jazz--and finds it not jazzy enough.

For Charlie Parker

2011-03-16T22:01:00.001-07:00

Bird,

you flew high,

crashed hard,

and left a legacy

of how

and how not

to live.

Against Background Music

2011-02-16T10:49:00.001-08:00

Why is there background music? Music should be serious. It can stir the soul, sharpen the mind, provoke the imagination, engage the will. Or: it can sicken the soul, dull the mind, or impede or pollute the imagination. It brings joy, pain--and boredom.

Music is nothing to play with, then; but play with it we do--all the time; it is inescapable, or nearly so. In days or yore, background music in public was limited to elevators; hence, the phrase "elevator music." This mean bland, colorless sounds to perhaps sooth the catastrophic or impatient. One could tolerate this, especially if one was infrequently in elevators.

Now, however, music--uninvited and often quite blaring--is everywhere. This ought not be for at least two reasons.

First, silence helps us recompose our souls and focus our thoughts on some one thing. Music always take up part of our precious--and very limited--consciousness, thus taking something away from other concerns: reading, praying, conversing. If I am trying to curb my fears and rehearse my speech in a doctor's office, I need silence, not distraction or irritation. Yes, I have heard Kenny G these environs.

Second, with the expansion of musical styles available for public broadcast, the odds of one enjoying the invited music are quite low--in my case, the chances of this eventually occurred are vanishingly small, given my esoteric (jazz, of course) tastes. If one has worked to develop one's musically sensibilities, bad music can be acutely painful. It becomes a rude intrusion into one's sensorium.

Of course, many people compensate by engaging in sonic warfare. You isolate and insulate yourself by your own music system: noise-cancelling headphone or ear buds. This will fend off the musical intruders, but it will also make you an island amidst the living. Common space and conversation is attenuated, if not obliterated.

On a recent flight from Atlanta to Denver, I suffered through horrible background music, and insufferably comedic flight attendant, and cramped seating. I turned to talk to the women next to me only to find that the ear buds were in, so the conversation was out.

What can we do about this plague? Not much, I suppose. However, in environments that we control, we can prize silence and good music. Nietzsche and Kierkegaard can be our guides. Nietzsche wrote that life without music would be a mistake; and the melancholic great Dane said ..."create silence."

Selah.

Ellington Band in Anchorage

2011-02-14T11:29:00.001-08:00

A Duke Ellington tribute band will be in appearing in Anchorage, Alaska, this week end. From what I read, it looks very good. It is my home town, but I cannot attend, unless someone wants to sponsor me!

Duke's Unique Gift for the Queen

2011-02-12T21:39:00.001-08:00

I read in Harvey Cohen's meticulously-researched volume, Duke Ellington's America, that the American Duke met the English Queen in 1958 while he was on tour in the United Kingdom. As was his wont with women, Mr. Ellington was quite captivated by her elegance and regal charms. The queen, however, could not attend any of the band's performances.

Instead of being bitter, angry, or merely disappointed, Ellington wrote a suite for her, "The Queen's Suite," and recorded it with his legendary ensemble. But something was quite different from other compositions and recordings. Duke made but one pressing of the piece and had it sent to Her Majesty. Ellington performed an achingly-beautiful solo piano section of the suite, "The Single Petal of a Rose," on occasion (as he did in London in mid 1960s), but nothing else. The full suite was only released after his death. Then the gift was made available for all to experience.

This event helps mark a remarkable, although very flawed, man, whose sentiments could themselves be quite regal.

What moral or lesson might you draw from this touching vignette?

Comparisons Three

2011-02-05T21:06:00.001-08:00

Kenny G is to jazz

What Thomas Kinkade is to painting and

What Barack Obama is to governance.

Achingly Beautiful

2011-01-21T17:47:00.000-08:00

Often when I listen to Duke Ellington's big band work I am nearly overwhelmed by the force, feeling, and beauty of it all--a deep and resonating goodness comes forth and enters in. I am sure many others have experienced this as well. Let me know if you have.

Rediscovering Dave Brubeck, 2001

2010-12-29T23:16:00.001-08:00

The DVD, "Rediscovering Dave Brubeck," was produced by PBS in 2001 and is a fine overview of this geniuses long and productive life in jazz. Brubeck fought for his own style, blending classical and jazz with a unique sense of swing and time. He once said his secret was playing music that that no one else could play.

You learn of Brubeck's upbringing on a California ranch (taught piano by his cultured mother; taught ranching by his uncultured father), his education, and his matchless career as a jazz innovator. Mr. Brubeck was about 80 at the time of the interviews for this program, and he provides sanguine reflections on his storied and satisfying career. Jazz critics Ted Gioia and Stanley Crouch also provide astute commentary on Brubeck, as do other friends, producers, and collaborators.

The DVD lacks any complete performances of any of Brubeck's pieces, which is a loss. Nevertheless, one gets a good sense of the drive and genius of Dave Brubeck, who recently turned 90 and who is still writing and performing.

Jazzy Christmas

2010-12-16T22:40:00.000-08:00

While as a rule, I dislike Christmas music (especially pop tunes, not the classic hymns), some of them are real jazz: they swing and improvise on the standards forms. It helps when one cannot avoid Christmas music in stores, some of which is nothing less than appalling.

"Apex" Video

2010-12-10T21:59:00.000-08:00

Here is a six-minute, very classy, promotional video for the new recording by Rudresh Mahanthappa and Bunky Green (both on alto sax). The work, "Apex," is hot, swingingly, compositionally-challenging (as is Rudresh's work with Vijay Ilyer).

Trane on Style

2010-12-08T23:11:00.000-08:00

"You can only play so much of another man"--John Coltrane speaking of the need to develop a personal style of playing music. This applies more broadly to life as well, I wager.

From The Wall Street Journal

2010-12-05T14:19:00.001-08:00

Remembering Katyn

Jazz pianist—and World War II veteran—Dave Brubeck's history lesson.

Other than WikiLeaks, two notable events occurred over the weekend: Russia's parliament issued a resolution taking responsibility for Stalin's murder of 22,000 Polish officers in Katyn forest in 1940, and Dave Brubeck celebrated his 90th birthday in a set at the Blue Note jazz club in New York City. Permit us to connect the dots of history.

The Katyn resolution passed over the objections of the Communist Party, whose members continue to deny a Soviet role in the massacre. Also, the Polish government wants the Russians to go further, accepting legal responsibility and agreeing to compensation for the victims' families. The Polish director Andrzej Wajda put the event before world audiences with his haunting 2007 film remembrance, "Katyn."

Associated Press

Mr. Brubeck wrote 'Dziekuje' as a thank you to the people of Poland for resisting Communism.

Still, the resolution is progress. One senior Russian parliamentarian said, "Our task today is to get this lie out of our way." The parliament called for declassifying Russia's Katyn archives "to restore the honorable names of all who died." The Russian human rights group Memorial has also called for opening archives and identifying the perpetrators.

Toward the end of a long and very fine set Saturday evening at the Blue Note with his quartet, Mr. Brubeck, who turns 90 next week, took hold of the microphone aside his piano and began to talk about a remembrance of Poland. He said that President Eisenhower had sent the Dave Brubeck Quartet to Poland in 1958 to perform as representatives of the American people. Earlier in his career, Mr. Brubeck had represented the American people as a member of Patton's Third Army in Europe.

After a visit to Chopin's home and being surrounded by "all these pianos," Mr. Brubeck composed a Chopinesque jazz piece with the Polish name "Dziekuje." Mr. Brubeck asked if anyone in the Blue Note audience knew what "dzieuke" means. "It means 'thank you,'" a lady called out.

"That's right," said Mr. Brubeck. "It means thank you. And I want to play this piece as thanks to the people of Poland for resisting Soviet Communism."

It wasn't possible to ask Mr. Brubeck as he left the stage whether he had seen the Katyn story in the news earlier that day. We guessed he had. At the time of that 1958 trip he said of the jazz scene in Poland: "No dictatorship can tolerate jazz. It is the first sign of a return to freedom."

It is possible to minimize the Russian parliament's resolution of responsibility for Katyn. It is also possible that it is a small but significant step toward greater liberalization in the least-free nation of the former Eastern bloc.

The White Rose

2010-11-29T19:06:00.000-08:00

Let's get really obscure and bohemian. Does anyone know how to find the short film (1967) called "The White Rose," which is about Jay De Feo's huge painting? The score is by Gil Evans. I read about this work in The Accidental Masterpiece.

Jazz Grace

2010-11-23T22:59:00.000-08:00

I had just left my dear mother's hospice room where I tried to show her love and appreciation, although she could not respond very well with words. She did grasp my hand tightly and manage a slight smile as I left after her husband and his friend came to visit. Mom didn't want to let go of my hand, but I told her that her husband was here, and she did

The emotion was welling up like a geyser within me: gratefulness and loss; warmth and pain--all mixed into one radiating lump at the center of my being. Our friend said that I might want to go to a used book store in town. I did, and there found two very rare and precious recordings as part of a minute used jazz section: Allan Holdsworth's "Secrets," which I had never seen except on line and a trio recording of Duke Ellington live that I was not even aware of. Both were modestly priced. I snatched them both up and savored the find (or rather the gift). And these gems they were mixed in with more than one Kenny G contaminent!

This was a small gift from God, an Omniscience who knows my musical loves and hates, and knows the joys I receive from music, which is, ultimately, his gift to us all. This does nothing to change the aweful facts of death, decay, and loss (see Ecclesiastes 12). Yet some light peaked through and shined down on me.

My mother had seen the Duke (as well as Count Basie) live in New York in the 1940s and 1950s. May you dance to their music again, my beloved mother, in The New Heavens and New Earth. We will swing and never sag on that divine dance floor.

Trane, Flame-out

2010-11-07T19:28:00.001-08:00

See myAmazon review of John Coltrane, "At Temple University." It is a short lament.

"Mirror" by Charles Lloyd

2010-10-22T20:41:00.001-07:00

Charles Lloyd, the veteran and journeyman saxophonist, has released a new ECM recording called, "Mirrors." This music is at once sparse, focused, and free. He is accompanied by Eric Harland on drums, Reuben Rogers on acoustic bass, and Jason Moran on piano. This group previously released a stellar live recording, but this is their first studio offering. They understand each other, and it shows.

Lloyd has a signature tone on the horn, both soft and intense. He does not have a big, round, deep tone, but rather projects a kind of airy, soulful array of notes. I hear "the cry" of Coltrane, but Lloyd is own man. The man has been living inside his horn for many decades. He is not afraid of silence, of space, of the aridity for the sake of beauty. This is not rich sound that washes over you, but a contemplative sonic pallet, offered patiently. Some of his repeated runs--on both tenor and soprano--can become a bit cloying, but the overall sound remains cogent.

Mr. Lloyd narrates a kind of Hindu poem--which speaks of "the Atman"--through the final piece. The source is not listed in the liner notes. It may be his own writing or from some other source. His voice is rather muffled, and the philosophy unsound. One wishes he would have stayed within that sound of his saxophone, sans commentary.

This is jazz worth savoring, worth listening to deeply.

Henry Threadgill

2010-06-24T21:29:00.001-07:00

NPR did a thoughtful piece on the music of Henry Threadgill, composer and reed man. I have only heard one of his recordings, which I checked out from our local library some years ago. I would like to hear more. Let me know what you think of him.

A note from jazz pianist, Vijay Iyer.

2010-06-11T21:58:00.001-07:00

Dear friends,

This is Vijay Iyer wishing you a great summer. I hope this finds you well. It's been a few months since I wrote, and a lot has happened that I didn't get to email you about. I've included some of the highlights down below.

But first: It's a stellar month for live music here in New York. I'm pleased to take part in it with a trio run at Birdland Jazz Club next week.

WEDNESDAY-SATURDAY, JUNE 16-19
VIJAY IYER TRIO
Vijay Iyer, piano
Stephan Crump, bass
Justin Brown (Wed-Th), Marcus Gilmore (Fri-Sat), drums
BIRDLAND, 315 West 44th Street, NYC
Sets at 8:30 and 11pm each night
birdlandjazz.com tel 212-581-3080

half-price tickets available for some sets

Our trio was just awarded the German equivalent of the Grammy, known as the Echo Award, for "Best Ensemble (international)." Above is an image from the televised ceremony for the Echo Jazz awards last month in Bochum, Germany. Deutsche Welle ran a nice article about the award (in English) and a radio feature.

Then we'll be at the Montreal Jazz Festival on June 25 (where I'll also play a solo concert), and on tour in Europe for in the first part of July: Ljubljana, Warsaw, Copenhagen, Rome, Kiev, London, Gent, Porto, and Rotterdam. Then Rudresh and I team up for a couple of duo concerts in Spain and Italy. See the full schedule.

-----

I just made my first solo piano album, titled Solo. It will be released at the end of August on ACT Music + Vision. I had a nice trip back to the Bay Area's OTR Studios to record and mix it. Like the cover to last year's Historicity, this album cover features a sculpture by the contemporary artistAnish Kapoor.

-----

An audiovisual installation I created with filmmaker Bill Morrison, titled Release, is currently up and running at Eastern State Penitentiary in Philadelphia. It also showed as an experimental short film at this year's TriBeCa, Sydney, and San Francisco Film Festivals and picked up a Golden Gate "New Visions" award in SF. It's now available as a DVD and Blu-ray directly from Eastern State.

-----

In May I also resurrected my 2007 chamber orchestra piece Interventions in Los Angeles with the Idyllwild Arts Orchestra. The ensemble is made up of exceptional high school students from Idyllwild Arts Academy and local professionals from LA. I was blessed with two great performances of the work. And last weekend Arturo O'Farrill's Afro-Latin Jazz Orchestra ripped through my first big-band piece, Mad Hatter, at Symphony Space in NYC.

-----

I recently participated in a fascinating panel discussion, "Asian Americans: Redefining 'Mainstream' for the 21st Century." Check out this video of the entire discussion.

-----

Lastly, I'm honored to have received five nominations for the JJA Jazz Awards, whose ceremony takes place this Monday afternoon in NYC. Should be a party!

-----

Thanks for reading. I hope to see you at Birdland or elsewhere sometime soon. Feel free to spread the word!

Best wishes,
Vijay Iyer
vijay-iyer.com

"Jasmine"

2010-06-10T12:04:00.000-07:00

This is from "Notes to 'Jasmine,'" written by Keith Jarrett for "Jasmine," the exquisite new ECM release by Jarrett and acoustic bassist Charlie Haden:

Art is dying in this world, as is listening, as the world becomes more full of toys and special effects. With this death will come the undoing of many possible feelings: beautiful, tender, deep, trusting, true, sad, full of internal meaning and color. . .

Here is some music for you. Take it and its' your's. Charlie and I are obsessed with beauty An ecstatic moment in music is worth the lifetime of mastery that goes into it, because it can be shared.

Either-Or

2010-05-30T13:09:00.000-07:00

Is it:

Twitch or gesture;
Impulse or outgrowth;
Opinion or conviction;
Kitsch or art;
Smooth jazz or real jazz?

Sentimentality or reality?

2010-04-16T23:56:00.000-07:00

To produce a mighty book, you must choose a mighty theme. No great and enduring volume can ever be written on the flea, though many there be who have tried it.

Jazz Appreciation Month

2010-04-15T22:07:00.000-07:00

The Smithsonian has some very hip jazz posters for Jazz Appreciation Month. This year's poster is of Dave Brubeck.

Jazz Appreciation Month

2010-04-15T19:33:00.001-07:00

Amazon.com tells me it is jazz appreciation month. This sounds good. Does anyone know more about it?

2010-04-11T22:16:00.001-07:00

Jazz art. Here are some interesting pieces.

Highway Rider, Brad Mehldau

2010-03-23T22:27:00.000-07:00

Listen to a very tasteful NPRreview of Brad Mehldau's new CD, "Highway Rider." Mehldau explains the conception of the recording in winsome ways. I just purchased this recording, and have not listened to it in depth as yet. When I do, I will try to write a short review.

I love Joshua Redman's short and highly articulate comments on Mehldau's playing. The man is intelligent in his playing and his speaking, as is Mehldau

"Interstellar Space" by John Coltrane and Rashad Ali

2010-02-27T23:54:00.000-08:00

Howling,
Growling, but
Singing,
past the moon,
toward the Sun, beyond the Sun
toward heaven
shoots the duo soundings.

Flooding, flowing, dancing...
stunning.

Earth made rare
through soul,
seeking asylum beyond,
but in the midst it wails.

Wordless voices, choices
jutting out, and up, and out.

Notes: outstanding,
extraordinary,
extra-mundane.

Unconstrained by key
or harmony.

The pulsations
are revelations
and celebrations
of visceral cerebrations
through horn and drum,
never done, before
or since.

Heidi Schmidt at D'Vine Wine, February 20

2010-02-19T23:19:00.000-08:00

Singer, guitarist Heidi Schmidt will perform Saturday, February 20, at D'Vine Wine (1660 Champa) in Denver. She will be accompanied by guitar and tenox saxophone. I reviewed her gig there with the same band in January on this blog and look forward to seeing her perform again.

Short Praise for Vijay Iyer

2010-02-12T21:08:00.000-08:00

Vijay Iyer is one of the most rhythmatically, harmonically, and melodically advanced pianists on the scene today. His trio is tight even while performing pieces a bit outside the norm. Their ability to vary the tempo of individual tunes is remarkable. There music is challenging and rewarding--chops everywhere, but no grand-standing. I write this after listening to his newest trio recording, Historicity, recently

Johnny Hodges, Alto Saxophone

2010-02-07T14:51:00.000-08:00

Silky sharp,
bending up.
Never letting down.

Articulation, precision,
deep feeling: Fire,
without frenzy.

Vibrato,
vibrant and mellow.

Fitting in

while
standing out:

Johnny Hodges

Discursive and Embodied Jazz in Days Gone By

2010-01-19T22:23:00.000-08:00

In the beginning was the Word....And the Word became flesh and dwelt among us--John 1:1, 14.

One wag has said that sentimentality is caring about something more than God. If true, that would be idolatry, an offense to God, reason, and even to oneself, since one was designed for better things. Thus, it is best avoided. Nonetheless, one may savor--or even pine over--the goodness of things now rare or extinct. We should applaud the past as well as hissing it when necessary.

That brings me to Stan Kenton's 1959 album, "Standards in Silhouette," which I just acquired for a welcome low price. As I was listening to these mellifluous melodies and sonorous solos, placed into Kenton's unique orchestral voicings, I was also reading--and there was much of great interest to read on the back cover as well as on both sides of the album jacket. An introductory essay explained the mood of the album as "blue." Each piece of music was thoughtfully described in a short paragraph. There was a black and white photograph, but it did not dominate the back cover. Prominent was the claim that this recording was "full dimensional stereo," which was only then breaking on to the scene. In fact, the very concept of stereophonic music and something of its technology was explained on one side of the album jacket. I marveled at the clarity and seriousness of the prose. It was assumed that the buyer of this record was interested in how stereophonic differed from monaural sound representation. One was also instructed that a special "cartridge" was needed to play stereophonic albums. A monaural cartridge (and needle) would not do; in fact, it could damage a stereophonic album. However, a stereophonic cartridge and needle would not damage a monaural record.

Now, this may seem like ancient and rather boring musical and technological history, but consider how discursive and embodied it all is. Albums took up space and offered room for words, if desired. The words and music complemented each other. The words (both about the technology and the nature of the music itself) introduced and augmented the music. If one listened intently and read the descriptions (of the music ) and explanations (of the technology), one's sensorium would be taken up with the event a rich and multidimensional manner. You would be taken up and taken in.

Fast forward (to use an outmoded technological expression based on tape recordings) fifty years and consider the means by which most now usually listen to recorded music. Subtract both the embodied and discursive quality. First, the CD, which was smaller, taking up less space, having no album jacket, and using technologies more opaque than groves and needles. Second, consider music put on digital files on iPods and so on. "There is no there there," as was once said about Oakland. The music's medium is now disembodied completely. Sound is produced, but not housed in any form that is graspable, visible, or tangible. One downloads music, not entire albums necessarily. Then one creates one's own play lists, instead of listening to the ordering of music as conceived and recorded by the artist.

What has happened? Well, more than I can write here. But consider miniaturization (a large- scale trend applicable to most technological change) and dematerialization. CD were smaller than albums. The iPod is smaller than a CD and holds oceans of data (if the metaphor is apt). Sounds is still presented through a technology, but the medium itself has radically altered from what I described in the second paragraph is this essay. This, I aver, affects the experience of music qua music. The idea of a "concept album" (such as "Standards in Silhouette) is nearly lost, given the dematerialization which allows for rearrangement of musical units. And whereas one might carry around an album and let friends read the essays on the back cover and dust jacket, no such thing is possible with an iPod. Some CDs come with booklets that may contain significant essays. This is often true with vintage jazz records by the likes of Miles Davis, Thelonious Monk, and John Coltrane. I often read fine essays by Nat Hentoff, Gary Giddens, Francis Davis, and others. Yet even here, the feel, the materiality of the record album is diminished, even if not lost entirely. And, of course, if you bracket the problem of pops, albums sound better than CD and CDs sound better than iPods.

Given this phenomenology and ontology of the jazz record album (that's what I was discussing, to use pompous philosophical language), I pine for this kind of embodiment and discursiveness (or textuality). But if one haunts the right stores and retains the necessary technologies (my 1973 Pioneer turntable and tube amplifier), these discrete sublimities may still offer their (dated and delicious) charms.

Now, who wants to have a record party?

Jazz at Jacks

2010-01-19T17:20:00.000-08:00

What's the word on Jazz at Jacks in downtown Denver? It appears to have a smooth jazz ambience, or am I wrong?

A Title, A Judgment

2010-01-17T23:22:00.000-08:00

This is the title of an instrumental piece of music from the 1976 Keith Jarrett release, "Mysteries"--"Everything that lives laments." This stunned me.

"Paris Blues"

2010-01-17T20:49:00.000-08:00

Today I found a mono record album of "Paris Blues" (1961), taken from the film with Paul Newman, Joanne Woodward, Sidney Poitier, and Diahann Carroll. The music is by Duke Ellington, with a guest appearance by Louis Armstrong. I saw the film on video cassette some years ago, but it has not been released in the US as a DVD.

The music is superb, and features a small combo version of "Take the A Train" and take of "Mood Indigo" featuring trombone. Besides Ellington and Armstrong, no musicians are named on the album, although I recognize Johnny Hodges, who sounds like no other alto (or other) saxophonist I have ever heard. His slurs, articulation, and dynamic precision are astounding and instantly recognizable.

This was quite a find (for $5), since the CD on Amazon goes for over $40. I purchased it at Wax Trax in Denver, an excellent and affordable store for jazz albums. (However, I cannot say much for the music they usually play in the store [mostly punk and metal], and you better be prayed up before going into the bathroom). I found the trailer for the film on YouTube. The basic plot is that a two jazz men--one white, one black--go to Paris to find their musical muse. Paris was more welcoming to black jazz musicians in that day as well as more appreciative of jazz. (Not a few jazz musicians--such as avant-guarde drummer Sonny Murray and post-bebop tenor saxophonist, Dexter Gordon--found sanctuary there.) Newman and Poitier also find supernaturally beautiful lovers. There is sexual intimacy without commitment (otherwise known as sin), producing some broken hearts in the process. I'd like to watch the film again now that I know more about jazz. As a cultural artifact, it would be fascinating; it likely displays some Existentialist themes, given jazz and the time period.

Let me know if you have seen the film and if you have any commentary on it.

Heidi Schmidt at D'Vine Wine

2010-01-16T21:10:00.001-08:00

"God bless the Child."

Local musical artist, Heidi Schmidt, performed at D'Vine Wine (1660 Champa) tonight in downtown Denver from 6:00-to after 9:00 PM. Heidi played acoustic guitar and sang, and was supported by Peter Taylor on acoustic guitar and Jeremiah Johnson on tenor saxophone.

Since I arrived before anyone I knew, I was able to sit and simply listen for most of my time there (7:45-9:00), while sipping a good and reasonably-priced glass of wine. The combo graced us with jazz standards, such as "Summer time" (which I requested), "God Bless the Child," and others. At first, the instrumentation struck me as a bit odd and improbable for jazz. Yes, the jazz trio is a staple of the music, but it usually is comprised of piano, bass, drums; or bass, guitar, piano; or organ, drums, and guitar; or (rarely) saxophone, bass, drums (you need a killer saxophonist to make that work: think Sonny Rollins back in the 1950s). But two acoustic guitars, vocals, and saxophone is an unlikely arrangement.

Or so I thought. Heidi often accompanied herself and Peter accompanied and soloed capably. Jeremiah soloed soulfully and did not overwhelm the guitars, which is a real possibility with the tenor, which John Coltrane called, "the power horn." I never missed bass or drums, because all flowed together so seemlessly and beautifully.

Heidi (I met her, so I suppose I can keep using her first name) has a warm and expressive pressence without being a poser. She has a strong and supple voice and is a very good guitarist as well. I don't know of too many female jazz vocalists who accompany themselves on acoustic guitar. In fact, I cannot think of any. The show-stopper was "God Bless the Child," a Billie Holiday centerpiece, which is often performed, but rarely performed well, since it requires a vocal and emotional range that few can touch. Heidi (and her saxophonist) touched it. They reached deep and found gold.

This is jazz!

Entering an Old but New World

2010-01-15T23:34:00.000-08:00

Duke Ellington's music, as performed by his orchestra, is so large, so refined, so warm, so fascinating, so painfully beautiful at times. I am just a neophyte to it all, since my love of jazz has been mostly limited to smaller groups, trios, quartets, quintets, and so on. But an entire orchestra, led by the Duke, at full throttle, simply is "beyond category." I thank God for this gift of aesthetic goodness.

Edward Kennedy Ellington

2010-01-13T20:48:00.001-08:00

Duke Ellington,

note selection,
sound perfection,
beauty protection.

Concentration. Concertation.

Elegance. Elation. Elevation.

Ecstasy.

Fantasia.
Ambrosia.

Duke Ellington!

Doug Groothuis Reviews Robert Gelinas, Finding the Groove: Composing a Jazz-Shaped Faith

2010-01-13T17:53:00.000-08:00

Robert Gelinas, Finding the Groove: Composing a Jazz-Shaped Faith. Grand Rapids, MI: Zondervan, 2009. 218 pages. $14.99. ISBN: 978-0-310-28252-5.

[First published in Denver Journal.]

There have been too many attempts to link Christianity to something else in order to jazz it up—as if the Gospel itself was not sufficiently compelling. Those both on the liberal and conservative ends of the theological spectrum—and even those in the middle—have been guilty of this. The “Christian atheism” of the middle 1960s took this to an absurd extreme. Jesus has been likened to a CEO, a therapist, a salesman, and so on, in order to pad his paltry resume. At best, these efforts highlight something in Jesus not previously apparent. At worst, they deny Christianity and replace it with an ersatz religion that has no gospel at all (see Romans 1:16-17; Galatians 1:6-11). Jesus Christ, the crucified and risen Lord of the cosmos, does not need to be jazzed up. Nor does Christianity need a make over.

Robert Gelinas avoids these pitfalls by showing that jazz can teach much about following Jesus. In fact, we should “compose a jazz-shaped faith.” Gelinas, a Denver pastor and graduate of Denver Seminary, neither twists the gospel, nor forces jazz into an alien religious mold. Instead, he finds in jazz deep and fascinating themes that resonate with the adventure and challenge of Christian living. Although he is not a musician, Gelinas discovered jazz in college and loves “the gospel in jazz.” Readers of this revealing book will come to know more of jazz and more about being a disciple of Jesus Christ.

After recounting his initiation into jazz, Gelinas briefly explains the nature of the music. Louis Armstrong said, “Jazz is jazz,” but this does not go too far. Jazz grew largely out of the music of African-American slaves. African music was mixed with Christian themes learned from their oppressors. “Pain gave way to the blues, and the blues gave way to jazz—they are all connected.” Gelinas, an African American, says that “to talk about jazz it to talk about race”—and the plight of African Americans, who were, in the words of Ralph Ellison, “un-free in a free land.”
The origin and nature of jazz is a deeply contested subject. While one cannot deny that jazz was born and grew up from the African American experience, it has roots and variations that place it beyond any one racial ethos. Gelinas never claims that “jazz is black” or that non-blacks have not contributed greatly to jazz. However, his narrative overemphasizes the racial element somewhat. Later in the book, Gelinas states that “jazz was produced by those who were ‘un-free in a free land,’” thus excluding those musicians who were freer in a free land because they were not black. White musicians such as Benny Goodman (who led one of the first racially integrated jazz bands), Harry James, Dave Brubeck, and many others filled out the multicolored pallet of jazz. Despite this minor caveat, Gelinas explores a vital aspect of the music: jazz as a form of life seeking freedom and justice for those wrongly denied it.

Jazz displays many creative, ennobling, and beautiful elements. Gelinas emphasizes its roots in the blues, syncopation, improvisation, ensemble cooperation, and creative tension—all modes of being that should be applied to the Christian life.

The blues are rooted in the pain of living in a fallen world, but refuse to wallow there. The old slave songs and spirituals lamented a life lived in chains, but transcended the bondage through song itself, and hoped for those chains to unbound one day. The blues roots of jazz give it a gritty sense of hope for a fallen world crying out for redemption. We, too, should see life for what it is, lament the losses, but press on with vision for better things through the power of God today and tomorrow and in the End.

Syncopation is what makes jazz swing. The jazz rhythm emphasizes the off beat, and, as Duke Ellington put it in a song title, “It don’t mean a thing if it ain’t got that swing.” To transpose this to the Christian life, syncopating means emphasizing the off-beat, finding novelty, and having “en eye and ear for that which goes unnoticed and unheard in life,” as Gelinas puts it. Jesus syncopated when he saw what others missed and reached out to the socially invisible or ostracized. A jazz-shaped faith does the same thing: it learns how to swing.

Improvisation is also constitutive of jazz. “Improvisation is what allows jazz to exist in a continual state of renewal,” Gelinas notes. A player improvises within the theme of a piece of music, but brings something new and distinctively his or her own to the old. Louis Armstrong went so far as to say, “Jazz is music that’s never played the same way once.” Every jazz solo is an adventure of self-expression that must, nevertheless, harmonize with the self-expression of the other musicians. This collaborative aspect of jazz is what Gelinas calls “life in concert.” Each musician contributes something unique himself or herself, but never in isolation from the larger group. The metaphor from jazz is rich for Christian existence. We must find out own voice (or calling), but never merely for our own sake, but for the sake of the group (the Body of Christ) and before the audience (the listening world of unbelievers).

Thus far, I have been appreciative of Gelinas’s explanation of jazz themes and how they radiate models of Christian living. He gets inside of jazz and pulls out some hip chops. As a jazz lover and Christian, I say, “Pastor, you swing!” However, as a philosopher, I must address a few missed notes found in the chapter “Creative Tension.” Gelinas rightly emphasizes that jazz thrives on tension and does not fear it. Being creative—as genuine jazz always is—means being willing to risk on stage. If one improvises on a melody, one may miss the melody entirely. Wrong notes are hit—and then cannot be hidden or retracted. As jazz critic, Ted Gioia puts it, jazz is “the imperfect art” because it requires composing on the spot during solos; those accompanying improvise as well. Gelinas tells of John Coltrane’s pursuit of musical excellence and the tensions he had to face and overcome in that musical and spiritual journey. So far, Gelinas is solidly in the groove.

But he goes out of key by applying the ideas of tension and especially paradox to Christian living and theology. One the one hand, a tension may pull us in two directions simultaneously and to good effect. For example, Christians are to be in the world, but not of it. There is no contradiction here. We should not escape cultural involvement (Matthew 5:13-16), but we should not be defined and defiled by the ways of the fallen world (Romans 12:1-2; 1 John 2:15-17, etc.). As Gelinas notes, a suspension bridge stays up precisely because of the tension supporting it.

Nonetheless, when Gelinas speaks of paradoxes he threatens to undermine the coherence and truthfulness of Scripture, of theology, and of apologetics. Gelinas writes that “I believe in absolute truth, and I believe that truth can be known.” Moreover, he believes the Bible is true. Yet Gelinas claims that the Bible affirms many paradoxes. He cites James Lucas’s ominously entitled book, Knowing the Unknowable God: “Resist your enemies and love them; ignore hypocritical spiritual leaders and obey them…” Gelinas calls these paradoxes “impossible possibilities,” which, of course, sounds contradictory. Gelinas writes that “I no longer read books that offer the Scriptures devoid of seeming contradictions. I take them for what they are—the words of the most creative being in the universe.” Yet he affirms that the Bible contains no real contradictions. Can we make sense of this?

A contradiction occurs when one statement is logically incompatible with another statement. Consider: (1) Doug Groothuis can play the tenor saxophone solo on John Coltrane’s “Giant Steps” and (2) Doug Groothuis cannot play tenor saxophone solo on John Coltrane’s “Giant Steps.” If someone told you that both (1) and (2) were true, because this is a paradox (and not a contradiction), you would send them off to the woodshed for more practice in logic. There is no reason to think that the conjunction of (1) and (2) could be true without some plausible way of resolving the opposition between (1) and (2).

Now, if the Bible is true in all that it affirms, it cannot contradict itself (or any truth outside of what is stated in the Bible). One may try to rescue or protect the Bible from apparent contradiction by invoking the category of paradox, but unless there are plausible ways of resolving the paradoxes, they appear more like flat-out contradictions. And if any two statements contradict each other (in the Bible or elsewhere), they cannot both be true. At least one of them must be false. Even Charlie Parker would not improvise his way out of that kind of tension.

This issue is tremendously important for theology and apologetics. A necessary criterion for theology is that Scripture must be viewed as a system, a coherent set of truth claims. If any theology affirms that a proposition is both affirmed and denied in Scripture, then that theology is contradictory; and it is, therefore, false. In apologetics (the rational defense of Christianity as true and knowable), noncontradiction is likewise a necessary criterion for truth. In commending the Christian worldview, the apologist must present it as a logically coherent model of reality. For example, the apologist cannot claim that the idea of the Incarnation (Christ as both human and divine) is an irresolvable paradox and hope to draw anyone closer to Christianity through reasoning. Apologetics needs a strategy to argue that the doctrine of the God-Man is logically coherent. (On this, see the section on the Incarnation in Gordon Lewis and Bruce Demarest’s Integrative Theology.)

One can appreciate Gelinas’s recognition of paradoxes in the Bible and his desire to stay true to Scripture by not imposing a false coherence upon biblical teaching. One can also agree that the Christian life presents us with some difficult existential tensions. However, if one is left with a Bible rife with irresolvable paradoxes, then there is no reason to think that Scripture affirms truth that is absolute, noncontradictory, and knowable (as Gelinas commendably does). As the philosopher Gordon Clark said, “A paradox is a Charlie Horse between the ears.” As such, paradoxes should be dissolved, not embraced.

Gelinas does briefly write dealing with paradoxes by finding a tertium quid (third way), but he does not seem to realize that this strategy resolves the paradox. (The philosopher Blaise Pascal was a master of this method.) Soon after mentioning the tertium quid strategy, Gelinas continues to write of “embracing tensions.” But the tertium quid strategy releases tension by providing a logically satisfying solution to the apparent contradiction (that is, paradox).

Despite my philosopher’s complaint against about five pages of this 218-page book, I applaud Pastor Gelinas’s creative, knowledgeable, and winsome way of bringing jazz and Christianity together. While I wish he had developed the biblical concept of justification by faith in more detail in connection with the meaning of the Cross of Christ, I am happy to report that his next book will be called Strange Fruit: A Jazz Theology of the Cross.

Douglas Groothuis, Ph.D.
Professor of Philosophy
Denver Seminary

Jazz Impressarios Unite

2010-01-12T21:45:00.000-08:00

How many creative ways are there for non-musicians to introduce people to this majestic music we call jazz? One need not be a concert promoter or recording executive. Here is one simple idea.

When you are in a public place, such as a coffee shop, ask someone in charge if he or she could change the music jazz. I did this (in a very low key way) tonight at Solid Grounds Coffee Shop (a comfortable and friendly and pretty place in Littleton), thus changing the environment for the better.

Let us know if you have some other ideas.

In the Light: Keith Jarrett

2010-01-09T23:54:00.001-08:00

Many years ago, I read a review (perhaps in Rolling Stone) waxing nearly mystical about Keith Jarrett's double-album entitled, "In the Light" (1974). Yet, for some reason, I never purchased the recording or even heard it. Last week, however, I found the album at the premier music store of Denver--Twist and Shout--for only $2.99. At the time, Jarrett was playing in jazz trios and other smaller groups. But this recording is from another place. Jarrett composed for a sympathy orchestra, a brass quintet, and only performs on two of the pieces.

I have neither yet listened to, nor come close to digesting, this enigmatic and intriguing offering. Rather, I want to relate a comment made by Jarrett on the liner notes (as they used to be called). Realizing that many would not understand this piece of work, he gives a brief apologetic for artistic freedom. This paragraph gripped my attention:

Western Society is so hung up today on the great god "Opinion" that they [sic] are beginning to forget the there is such a thing as Truth. This is a direct parallel to the fact of their being also hung up on "Style" and forgetting that there is such a think as Music and, whereas something is either True or not, something is either Music or not.

Jarrett is presenting his work, this music, as something worth considering, worth listening to in its own right--apart from conventional senses of style and mere opinion. He is asking us to attend to objective qualities inherent in the art. In C.S. Lewis's categories, Jarrett is bidding us to "receive" the music instead of "using" it according to a predetermined purpose and sensibility. To receive a piece of art-whatever the art form: painting, photography, writing, or music--requires that we let it be what it is to us, that we not make it mere fodder for our own devices or desires. This requires discipline, a bridling of ego--in a work, humility.

Humility is a virtue and a gateway into reality. Art may (or may not) summon it forth.

Jazz On Line

2010-01-07T23:59:00.001-08:00

Here is a free Internet portal for various styles of jazz. I just found it. There is no "avant-garde" or "free jazz" option, though; and the fidelity is not the best. Do you have any other suggestions for jazz music sources on line?

Three Wishes

2010-01-06T21:32:00.000-08:00

In 2008, a fascinating document of jazz history was revealed to the public: Three Wishes: An Intimate Look at Jazz Greats, a collection of photographs of jazz musicians in New York taken by The Jazz Baroness, Pannonic de Koenigswarter (or Nica). In the 1960s, She asked many of these musicians what their three wishes were. I am only part way through the book (more commentary to come on this blog), but two sets of answers stand out to me:

Ornette Coleman:

1. Eternal life.
2. Love.
3. Happiness.

Mary Lou Williams:

1. To love God more.
2. To do His will.
3. That he should save souls through me.

Think on these things...

"Mostly Coltrane." Steve Kuhn Trio (2009)

2010-01-05T10:26:00.000-08:00

Although not familiar with Mr. Kuhn's work, I had a veridical hunch that this recording would be excellent. Why?
1. Joe Lovano, one of the most distinctive and virtuosic saxophonists of our time played on it.
2. Mr. Kuhn had played briefly with John Coltrane. 3.
It was mostly the music of John Coltrane.
4. ECM, the incomparable, was the label.

All the musicians have a deep sensitivity for this music, which they play respectfully but creatively. You feel the spirit of Trane, but as it is reflected through the prism of each of these superb musicians. Mr. Kuhn is a rich and sometimes surprising pianist. Mr. Lovano has gotten completely inside these pieces and Trane's playing as well. He is confident in his own voice, yet inspired by the feel of Trane. Mr. Baron is highly creative and plays the difficult no-time pieces flawlessly. The band plays material from all of Trane's moods, including some of the more difficult late-period music, which takes considerable courage to play. They execute it all flawlessly.

There is beauty in this world. Let us give thanks and enjoy it.

"On the Road with Duke Ellington" (DVD Review)

2010-01-05T10:12:00.000-08:00

"On the Road with Duke Ellington" is less a full documentary of Duke's incomparable life as it is a glimpse of his life on the road in the mid to late 1960s. We hear him speak of his passion for music-making and life in general (including his philosophy of breakfast).

The film is minimally and tastefully narrated, and lets Duke and his orchestra do the talking. We see and hear Duke with his road band, with symphony orchestras, performing sacred music, and in a trio format, which ends the film. His rendition of "Take the A Train" accompanied by only bass and drums is (to use a Duke-ism) "beyond category." There is so much information supercharged in every note, every chord, and every pause...that one feels the entire history of jazz in just a few fleeting but unforgettable moments.

I hate most all television for many reasons, but this was shown on television in 1974. In this case, the medium fits the message, even if the man is larger than life. I recommend it to every student and lover of jazz.

Legends, All

2010-01-05T10:10:00.000-08:00

Can you name all these cats?

Prayer as Improvising

2010-01-04T20:48:00.000-08:00

My fellowship, Wellspring Anglican Church, offers a wonderful "side altar" ministry during communion, which we celebrate every week. One or two people stand in the back and offer prayer for anyone who seeks it out. These "prayer ministers," who are selected by a person well-schooled in the discipline, are given a few basic guidelines on what to do. We do not counsel; we do not touch the person without asking; and so on. The ministers simply wait for people to walk to the back of the sanctuary and ask for prayer.

On Saturday night, I was reflecting that my service the next day as a prayer minister had a lot in common with a solo in jazz. One needs to know the tradition, listen to the other cats playing, and improvise accordingly.

I have been praying with the Bible as my guide since I became a Christian in 1976. I have read all the biblical prayers, some (especially in the Psalms) many, many times. I have prayed most of the prayers in the Scriptures and have prayed in other ways countless times over the years, doing this by myself and in groups. I am not a virtuosi, but I am a journeyman.

As a prayer minister, I have no idea what people will ask me to pray about. It could concern health, relationships, or direction in life. There are no written prayers to read at that time, although the Book of Common Prayer contains many deeply biblical and powerful prayers. As I pray, my chops come from my knowledge of the Bible and from the presence of the person before me. I have to have "big ears" to hear what these souls are saying and what the Holy Spirit may be saying to me about them. I endeavor to pray according to the biblical tradition, in terms of the spiritual lessons learned in my life, and the through the inspiration in the moment to love my brother or sister in the power of the Holy Spirit.

I am sometimes surprised by what I pray. Sometimes I seem to get "in the grove." Other times, I wonder. But I do not have the option of remaining silent. I must improvise--in the pressence of the Lord and his people.