In the Light: Keith Jarrett

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

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

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)

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)

"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

Can you name all these cats?

Prayer as Improvising

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.