I really like listening to jazz. But a Baptist "jazz Mass"?

This is, I think, a bit strange:

Wynton Marsalis will be turning the House That Jazz Built at the Time Warner Center into the House of the Lord when he premieres his first jazz Mass, which blends the gospel and jazz traditions in a celebration of the 200th anniversary of Harlem's Abyssinian Baptist Church, New York State's oldest African-American congregation.

The 100-plus Abyssinian Baptist Church Bicentennial Choir will lift their voices in song as they make their way through the Rose Theater in the traditional Processional to join forces with the Jazz at Lincoln Center Orchestra to perform Marsalis' "Abyssinian 200: A Celebration," a 19-part piece based on the liturgy found in many African-American Baptist churches.

I've been in several Baptist churches in my time (admittedly, none of them black Baptist churches), and I've never heard about a Baptist liturgy and Mass. Worship, yes. Services, yes. Mass, no. On the contrary, as this article in the New Georgia Encyclopedia explains, such notions are quite foreign to black Baptist communities:

Baptists, like the state's numerous white Baptists, are thoroughgoing Protestants. The sermon is the centerpiece of the worship service, and the minister's central task is to preach the Word, or Gospel message of Jesus Christ, which calls for a distinctly individual, inward response. In keeping with this requirement, Baptist churches receive an individual member only when that person has made a commitment of faith in his or her own right. The ritual of baptism, whether in a church font or in a body of water, is the critical outward marker of the new believer's entry into membership in the church. Also, in keeping with the inward focus, Baptist churches are typically unadorned, and the worship service has none of the liturgy found in Catholic or Episcopal churches.

The composition of "jazz Masses" is not common, but a couple of such compositions do come to mind: Mary Lou's Mass, composed by the brilliant pianist Mary Lou Williams (who converted to Catholicism in 1957 at the age of 47), and To Hope, composed by legendary pianist Dave Brubeck (who became Catholic in 1980). Although I have several albums by both Brubeck and Williams, I've never heard those pieces; I have around 2500 jazz CDs, but I don't like the idea of hearing jazz at Mass, just as I cringe when I hear Palestrina music in car commercials. (However, if push came to shove, I'd far prefer a "jazz Mass" to a "folk Mass." I've experienced the latter, and it was painful.)

While jazz draws from a wide range of sources, and has traditionally been rooted in the blues and gospel music, there are only a few jazz artists, as far as I know, who have explicitly referred to or used sacred choral music in making non-liturgical music. One of the more interesting—and best-selling—of those efforts was Jan Garbarek's 1994 album, Officium, in which the Norwegian saxophonist (one of my favorite horn players) improvised haunting lines over medieval chant sung by the Hilliard Ensemble; a sequel, Mnemosyne, came out in 1999. Anyhow, back to Wynton Marsalis and his new composition:

Before composing the music, Marsalis spent hours talking with Butts about the significance of each part of the prayer service. He further drew upon his diverse influences: his music professor father's lessons about traditional spirituals, hymns and gospel music; his own experience as a classical trumpeter playing the religious works of Bach, Handel and Palestrina; and his encyclopedic knowledge of all styles of jazz dating back to its roots in his native New Orleans.

Marsalis also highlighted the common links between jazz and the African-American religious rite by including call-and-response patterns and leaving room for improvisation.

I am curious about the music, especially since Marsalis is a fine player and composer (however, I tend to prefer the work of his brother, Branford, whose work has a less affected, didactic quality and more emotional immediacy). And I am quite curious as to why he calls his composition a "jazz Mass." Is it simply to give it a more dignified, traditional name (as opposed to "jazz church meeting music")? Is it meant to emphasize the meeting of jazz and classical that apparently takes place in the composition? Are there any theological beliefs being purposefully emphasized? Is Marsalis himself a Catholic? If I had to guess at the answers to those four questions, I would say, in order: Yes, yes, no, and no. If you know or think otherwise, leave a comment.

Comments

[Father Andrew]

Before composing the music, Marsalis spent hours talking with Butts about the significance of each part of the prayer service.

This was the most telling statement. Faithful Catholics who composed Masses throughout the years are typically those who live the Mass every week if not every day. They are infused with the goodness, beauty and truth of the Mass so that they can express this reality through their musical genius. At least hopefully. It seems that will not be the case for Mr. Marsalis.

[Harrison Ayre]

I am a HUGE fan of Mary Lou Williams. Her CD "Mary's Idea" is perhaps one of the, if not THE, greatest CDs of music that have been put out from the vintage jazz era. I listen to it all the time and can never get enough of it.

Unfortunately, I could have done without listening to her jazz Mass there...was a bit lacking...

-Harrison

[Catherine Harmon]

Carl, just out of curiosity, do you often hear Palestrina in car commercials? Is this an Oregon thing?

[Carl Olson]

Carl, just out of curiosity, do you often hear Palestrina in car commercials? Is this an Oregon thing

Cate, it's definitely an Oregon thing; this is a very Catholic state. ;-) Actually, my comment was not entirely accurate. One specific example that comes to mind is the use of chant in all sorts of commercials. Back in the early/mid-1990s, the Chant albums were huge sellers, and suddenly advertisers were using "monk music" to sell products, including a car or two, as I recall. As for Palestrina, I cannot think of a specific example. But I bet it has been used to peddle goods in some way or another...

[Augustine II]

No music is sacred to the advertising swine.

[Stohn Nishino]

This kinda reminds me of the UO Newman Center...

[Little Gidding]

"Jazz masses" can be found around here occasionally in the area around the Nation's Capital. I know of one that's scheduled for once a month at an Episcopal Church in the area. I haven't ever been to it, so I don't know if the parts track with an actual Catholic Mass. In fact the Episcopalians I know don't ever refer to their service as a "Mass." It may simply be the case that the phrase "Jazz Mass" sounds melifluous as well as important and serious, and for that reason alone is used by composers putting together a multi-part composition for a religious service.

[Brian Day]

...in which the Norwegian saxophonist (one of my favorite horn players)...

Carl, just a little nit to pick: the saxophone is a reed instrument, not a horn. Maybe he (she?) plays another instrument to make the statement true?

Carry on.

[Carl Olson]

Brian: Nice catch, thank you. Jan plays both tenor and soprano saxophone. He is a fabulous musician. His daughter, Anja, is a fine pop singer/musician.

[Carl Olson]

It may simply be the case that the phrase "Jazz Mass" sounds melifluous as well as important and serious, and for that reason alone is used by composers putting together a multi-part composition for a religious service.

Yes, that's what I'm thinking as well. It has a certain heft that indicates it is supposed to be serious, important music. And that is certainly in keeping with how Marsalis approaches many of his projects, sometimes to the point where you wonder if there is actually any joy in it.

[Lorraine V. Murray]

In Georgia, where I live, we have to suffer through all sorts of weird Masses, as far as music goes. Many parishes are stuck in the sixties and seventies, so we have Communion songs like "One bread, One Body" with words emphasizing that there are really no differences between men and women, Jews and gentiles, etc. For the feast of the Transfiguration we sang "Transfigure me, Oh Lord." Someone, please beg the pope to visit the South. We need help!!

[LJ]

-"so we have Communion songs like "One bread, One Body" with words emphasizing that there are really no differences between men and women,"-

They use that one at our Mass as well, on occasion. I think it is found in the supplemental songbook found at the backs of the pews, the one with the two androgenous figures on the front. That cover turned me off from the day I first saw it. Reminded me of the SNL character "Pat."

I would tend to look at the "jazz Mass" in a posiive light. Sure, he is borrowing a Catholic term with a distinct and important meaning, and he may or may not understand the implications of that. However, my gut tells me that he is, like so many other Christians outside of the Church, seeking something more meaningful, more liturgical and has gone about creating what may well be a very beautiful, organic package of music in praise of our Lord, for which he is to be commended. I am no jazz fan, but I think it would be interesting to hear what he has created.
Even Baptists have a yearning within for deep expression of love for Jesus, and coming from an old black Baptist tradition there is also the cultural memory of hard times and injustice, which within Christianity all over the world, has produced some of the most moving songs, prayers and liturgies.

[Cristina A. Montes]

Some members of my family have watched a concert of the Brubeck "Jazz Mass" and say it's very good. It's not jazz music to be played during the mass. It's more of jazz music inspired by the mass, to be played in a concert setting. Perhaps the Marsalis "jazz mass" is similar: more of "jazz music inspired by the mass", intended for a concert setting rather than for the mass itself. I've heard other forms of music for concert setting which similarly inspired by the mass -- and which are actually reverent -- but which may not be appropriate to be played during the mass itself.

[Carl Olson]

Cristina: It sounds as though the Marsalis piece will be played during a church service, with a sermon or speech somehow a part of it. I'll have to listen to Brubeck's composition sometime soon...

[Cristina A. Montes]

Carl: here's a related article:

http://www.americamagazine.org/content/article.cfm?article_id=3082

[Raving Papist]

Fr Michael Sherwin, OP is a Dave Brubeck expert.

[Dennis J. Francis]

Re: "One Bread, One Body"

Let's see here..."Gentile or Jew, servant or free, woman or man, no more." That's the lyric in question.

Here's where it comes from: "There is neither Jew or Greek, there is neither slave nor free, there is neither male nor female; for you are all one in Christ Jesus." (Galatians 3:28, RSV). Rest of the song is all taken from Scripture and the Didache.

Maybe it ain't Handel, but there's zip wrong with the lyrics. What is wrong is with people saying they're very devout Catholics but not believing a word of what they've laid claim to. Snickering at Catholic dogma is no virtue.