©2017DerickCordoba
LITURGICALJAZZ:THELINEAGEOFTHESUBGENREINTHEMUSICOFEDGARE.SUMMERLIN
BY
DERICKCORDOBA
DISSERTATION
SubmittedinpartialfulfillmentoftherequirementsforthedegreeofDoctorofMusicalArtsinMusic
withaconcentrationinJazzPerformanceintheGraduateCollegeofthe
UniversityofIllinoisatUrbana-Champaign,2017
Urbana,Illinois
DoctoralCommittee: AssociateProfessorLawrenceGray,Chair
ProfessorGabrielSolis,DirectorofResearch AssociateProfessorTitoCarrillo ProfessorErikLund
ii
ABSTRACT Thisdissertationdiscussesthelineageofliturgicaljazzwithaparticularfocuson
EdgarEugene“Ed”Summerlin(1928-2006).Thislineagestretchesbackintothelate
1950s,buthaslargelybeenunexploredbeyondaselectfewhigh-profileartists.Itrace
theevolutionofliturgicaljazzfromseveralcomposers’earliestattemptstothepresent
day.Althoughtheliturgicaljazzmovementbeganinthelate1950s,itwasprimarilya
productoftheturbulent1960sinAmerica.Thiswasaperiodofgreatchangeand
explorationnotonlyinjazzbutinorganizedreligionaswell.Adeepandfrankdiscussion
emergedastowhatliturgicalmusicshouldandwouldbeallowedtosoundlike.These
decisionsatthehighestlevelsofdenominationshadramificationsthatarestillbeingfelt
todayinthechurchesofAmerica;however,theprimaryfocusofthisdissertationison
theformativeperiodofliturgicaljazzduringthe1960sandearly1970s.Theseyearsgive
abasisforbetterunderstandingandappreciatingthedevelopmentanddefining
featuresofliturgicaljazz.
Summerlinisafigurethatisoftencitedasapioneerinliturgicaljazz,butnoone
hasofferedahistoryofhislife,hismusic,orwhyhisliturgicalmusicwasso
revolutionary.ThisdissertationgivesanextensivehistoryofSummerlinandhismusic.It
alsocreatesacleartimelineoftheearlyformationandevolutionofthissubgenreof
jazz.
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ACKNOWLEDGEMENTS
IwouldliketoofferspecialthankstoKarenSummerlin,whowassogenerousin
givingmeaccesstoherlatehusband,EdgarE.Summerlin’smusicandfileswhichmade
thisdissertationpossible.Karenwasalsogenerouswithhertimeingrantingme
interviewsandinconnectingmetosomanypeoplewhoworkedwithandlovedEd
Summerlin.IwouldliketothankJeffSummerlin,JamesLeeRoySummerlin,andWilliam
Summerlinfortalkingtomeabouttheirfatherandbrother.
Iwouldalsoliketothankalltheamazingmusicianswhotooktimeoutoftheir
busyperformingandteachingschedulestospeakwithmeabouttheirfriend,colleague,
andteacherandwhograciouslysharedcontactswithmeofotherswhoknewand
workedwithEdSummerlinorwhowereinvolvedinliturgicaljazz:SamuelAdler,Steve
Blons,DanCarillo,RonCarter,BruceCollier,RayGallon,GabrielGarrick,FrankGriffith,
DonHeckman,SheilaJordan,JonathanKlein,PaulKnopf,SteveKuhn,ChuckMahronic,
JohnMoulder,BobNorden,AdamNussbaum,MorganPowell,RobertRasmus,Marvin
Stamm,FrankTirro,ThomasWirtel,JeffreyWisotskyandDeannaWitkowski.
Iwouldliketothankallthemembersofmycommitteefortheirsupportofthis
project,insights,andencouragementthroughouttheresearchandwritingofthis
dissertation:mydirectorofresearchDr.GabrielSolis,mychairProfessorLawrence
Gray,Dr.ErikLund,andProfessorTitoCarrillo.Thisworksimplywouldnothavebeen
possiblewithouttheirsupport.
IalsowouldliketosendmysincereappreciationtoMichaelSilettiforhis
insightfulcommentariesandeditorialhelp.
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Iwouldliketoofferspecialthankstomyfamilywhosacrificedalottohelpme
seethisprojecttoitscompletion:mywifeTanya,mysonJoe,mysonJulian,myparents
JoeandEugenia,myin-lawsLisaandMitchel,allofwhomhelpedinsomanydifferent
waysovertheseyears.Finally,IwouldliketothankGodwhoinspiredtheseartiststo
createtheirworks.
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TABLEOFCONTENTS
CHAPTER1:INTRODUCTION…………………….………………………………………………….…….1
CHAPTER2:EARLYBACKGROUND……………………..…………………………………………….50
CHAPTER3:LITURGICALJAZZSERVICE…….……………………….……………………………...78
CHAPTER4:LITURGICALJAZZPERIOD……..……………………….………………………….…105
CHAPTER5:NON-LITURGICALWORK……………………………………………………………..143
CHAPTER6:CONCLUSION....…………………………………………………………………………...178
BIBLIOGRAPHY………………………………………………………………………………………………...181
APPENDIXA:EDSUMMERLINDISCOGRAPHY………………………………..…………………201
APPENDIXB:LITURGICALJAZZSERVICEANDJAZZMASSDISCOGRAPHY………...205
1
Chapter1
Introduction
Preface
Saxophonist,clarinetist,composer,arranger,andeducatorEdgarEugene“Ed”
Summerlin,bornSeptember1,1928,wasaseminalfigureinthedevelopmentofliturgicaljazz,
havingcomposedthefirstliturgicaljazzservicein1959.Inhisformativeyears,hewasfirmly
rootedinthebeboptradition,butonealwayslookingtopushboundaries,heembracedthe
workofOrnetteColemanandtheconventionsoftheavant-gardescene.Summerlinusedhis
skillsasaperformerandarranger,andthepersonalandcreativerelationshipsheforgedwith
extraordinaryjazzplayersinNewYork,tocreatecontemporaryliturgicaljazzworksfirmlyinthe
jazztraditionofthe1960s.Thesejazzserviceswerenotaserviceofjazzed-uphymns,butwere
completeservicesofworshipincludingoriginalmusicgroundedinsoundtheology.Bythemid-
1960s,whenothershadenteredtheliturgicalandsacredjazzarena,Summerlinincorporated
theinnovationsofavant-gardejazzandcontemporaryclassicalmusicintohisliturgicaljazz
services.Duringthelate1960s,whenotherswereturningtomorepop-orientedstylesfor
liturgicalmusic,heembracedjazz,congregationalparticipation,andmultimediaexplorationsin
worship.Asacomposer,hecontributedjazzcompositionstothecanonforcongregationswho
werelookingtoupdatetheirselectionofhymns.Asanauthor,Summerlinwasatireless
advocateforincludingcontemporaryjazzincongregationalworship.
WhenSummerlinstoppedcreatingliturgicaljazzintheearly1970shetookthesame
energyandzealforjazzandappliedittocreatingajazzprogramatCityCollegeofNewYork.He
wasnolongerpreachingjazztocongregations,buttocollegestudentswiththesameeyeon
2
innovation.Summerlinbuiltajazzprogramwithafacultywhichwouldbetheenvyofany
universityinthenation,comprisedofjazzmusicianssuchasJakiByard,JohnLewis,Sheila
Jordan,JimmyHeath,RonCarter,andJoeChambers.HealsobroughtinartistslikeGilEvans,
JimHall,andOrnetteColemanforresidenciesattheCityCollege.Manyofthestudentshe
mentored,includingRayGallon,AdamNussbaum,andDanCarillo,remainfixturesintheNew
YorkjazzscenealongwithcountlessotherswholearnedaboutjazzfromSummerlin.
DespiteSummerlin’sachievements,hehasreceivedverylittleattentionoutsidehis
immediatecircles.HiscontributionstoliturgicaljazzinparticularhavebeeneclipsedbyMary
LouWilliams’,JohnColtrane’s,andDukeEllington’ssacredjazzshadows.Theearlylineageof
liturgicaljazzhasalsobeenmisrepresentedandobscuredoverthedecades.Workslike
GeoffreyBeaumont’s20thCenturyFolkMasshaveoftenbeencitedasthefirstliturgicaljazz
workdespitethemanyandobviousflawsinthatcharacterization.Therehasalwaysbeena
reluctancetogiveSummerlinthecreditheisdue.Hisliturgicaljazzserviceandsubsequent
recordingLiturgicalJazzarepioneeringworksinthegenre.Hisinnovationsinthe1960sin
liturgicaljazzareunmatchedinpushingworshipboundariesandintheirallegiancetojazzasan
artformworthyofsanctifiedspaces.
ResearchObjectives
ThisdissertationdiscussesthelineageofliturgicaljazzwithaparticularfocusonEdgar
Eugene“Ed”Summerlin(1928-2006).Thislineagestretchesbacktothelate1950s,buthas
largelybeenunexploredbeyondaselectfewhigh-profileartists.Itracetheevolutionof
liturgicaljazzfromseveralcomposers’earliestattemptstothepresentday.Althoughthe
3
liturgicaljazzmovementbeganinthelate1950s,itwasprimarilyaproductoftheturbulent
1960sinAmerica.Thiswasaperiodofgreatchangeandexplorationnotonlyinjazzbutalsoin
organizedreligion.Adeepandfrankdiscussionemergedastowhatliturgicalmusicshouldand
wouldbeallowedtosoundlike.Thesedecisionsatthehighestlevelsofdenominationshad
ramificationsthatarestillbeingfelttodayinthechurchesofAmerica;however,theprimary
focusofthisdissertationisontheformativeperiodofliturgicaljazzduringthe1960sandearly
1970s.Theseyearsgiveabasisforbetterunderstandingandappreciatingthedevelopmentand
definingfeaturesofliturgicaljazz.
Summerlinisafigurethatisoftencitedasapioneerinliturgicaljazz,butnoonehas
offeredahistoryofhislife,hismusic,orwhyhisliturgicalmusicwassorevolutionary.This
dissertationgivesanextensivehistoryofSummerlinandhismusic.Italsocreatesaclear
timelineoftheearlyformationandlineageofthissubgenreofjazzandtherolethatSummerlin
playedinit.
LiteratureReview
Whereassacredjazzhasreceivedmuchscholarlyandcommercialattention,verylittle
hasbeenwrittenaboutliturgicaljazz.Whenthesubjectofliturgicaljazzhasbeenbroachedit
haslargelyoccurredasasidenotetoanartist’sbiographicaldata.AdissertationbyAngelo
Versace,"TheevolutionofSacredJazzasreflectedinthemusicofMaryLouWilliams,Duke
Ellington,JohnColtraneandrecognizedcontemporarySacredJazzArtists,"attemptstocreatea
broadviewofsacredjazzthroughtheseartistsaswellascontemporarysacredjazzcomposers
IkeSturmandDeannaWitkowski.Whilethetitlegivestheimpressionofaprojectsimilartomy
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own,therearesignificantdifferences.VersacedoesnotgointoanydepthonEdSummerlinnor
doesheofferasubstantiallineageoftheliturgicaljazzworks.Also,hedoesnotexplorethe
liturgicaljazzworksspecifically;rather,hecastsawidenetwhenreferringto“sacredjazz”
worksandcomparesthe“sacredjazz”genretogospelmusic.Iintendtofocusonlarge-scale
liturgicaljazzworks.
Amongthemajorpractitionersofsacredjazz,DukeEllingtonisundoubtedlythemost
commonlydiscussedfigure.Ellingtonisthesubjectofawealthofbiographies,aswellashis
autobiography,MusicisMyMistress.Whileseveraldissertationsexistthatdiscussthesacred
aspectsofEllington’sworks,theonemostfocusedonhisrelationshiptosacredjazzisWilbert
W.Hill’s“TheSacredConcertsofEdwardKennedy‘Duke’Ellington.”MaryLouWilliamshashad
herlifechronicledintwobiographies,MorningGloryandSoulonSoul.Therearealsoseveral
dissertationsthatexploreherconnectiontotheliturgicaljazzworld,ofwhichCharlesW.
Pickeral’s“TheMassesofMaryLouWilliams:TheEvolutionofaLiturgicalStyle,”isthemost
comprehensiveandfocused.MelodieG.Galloway’sdissertation,“Aconductor'sperspectiveof
DaveBrubeck's“ToHope!ACelebration:AMassintheRevisedRomanRitual,”focuseson
Brubeck’sMass.
EdSummerlinhasonlyappearedinsomeonline,newspaper,andshortmagazine
articles.Heisoftenreferredtoindissertations,butonlybrieflywithalmostnodetail.Thereare
booksonliturgicalmusic,butnonespecificallyonliturgicaljazz.Thelimitedrecordingsthat
havetakenplacedohavelinernotesandtherearereviewsofconcertsinvariouspapers.Inthe
1960s,thereweresometelevisionperformancesaswellasadocumentaryonReverandJohn
GarciaGensel.Thescholarlywritingsuptothispointhavesolelybeenfocusedonfamousjazz
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composerssuchasDukeEllington,JohnColtrane,MaryLouWilliams,DavidBaker,andDave
Brubeck.Whilethesecomposers’sacredandliturgicalworksarecertainlyworthclose
examination,thescholarlycommunityhaslargelyoverlookedSummerlin;however,asI
demonstrateinthisdissertation,hiscontributionstoliturgicaljazzareunparalleledintermsof
outputandinnovation.
Methodology
Thisprojectrestedonathree-prongedmethodology,consistingofarchivalresearch,
oralhistory,andmusicalanalysis.TobetterunderstandSummerlin’slife,music,andreception,I
haveconsultednumerousprimarysources,includingnewspaperarticles,magazinearticles
frombothmusicalandnon-musicalpublications,concertreviewsandposters,published
interviewswithcomposers,scholarlypapers,serviceprograms,conferenceprograms,and
articles.Ialsodelveddeeperintotheautobiographicalandbiographicalwritingsthatwere
availabletogainmoreinsightintothetopicandtheartistswhocreatedthemusic.The
recordingsandtheirlinernoteswerealsovaluablesourceofinformation.Manyoftheoriginal
recordingscontainadditionalwritinginsertswithvaluablebiographicalandmusical
information.Whilenoteasilyavailable,Ihavemanagedtotrackdownrecordingsoftheearly
worksofEdSummerlin,EddieBonnemère,andFrankP.Tirro.
Iinterviewedsidemenfromrecordingdatesaswellascurrentartistsinvolvedin
liturgicaljazz.SomesidemenlikeThomas“Shab”WirtelandMorganPowellwerelocallybased.
Others,suchasRonCarter,SteveKuhn,BobNorden,SheilaJordan,andAdamNussbaum,are
basedinNewYork.IalsointerviewedSummerlin’slongtimefriendsandmusicalcollaborators
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DonHeckmanandBobNorden.Forinsightintothereligiousaspectsofthisendeavor,I
interviewedbothJohnMoulder,ajazzguitaristandCatholicpriestinChicago,andPastor
RobertRasmusoftheLuthercongregationofSt.MatthewsinUrbana,Illinois.Through
interviews,Igainedaclearerpictureofthecomposersandtheirprocesseswhendealingwith
thesesacredworks.ThroughtheinvaluableinformationIacquiredfrominterviewsandother
sources,IwasabletocreateamorecompletehistoryofSummerlin’slifeandhismusic.
MyanalysisofSummerlin’smusicfocuseslargelyonhisliturgicalworkLiturgicalJazz.I
alsodiscussinsomedetailEvensong,AJazzLiturgy;TheComingofChrist;LiturgyoftheHoly
Spirit;AContemporaryServiceofWorship;SourdoughandSweetbread;ChristLagin
TodesbandenorWhereDoWeGoFromHere?;CelebrationofMan’sHope;andBlessThis
World.Whilemyfocusisontheseliturgicalworks,Ialsoexaminehisotheroriginalworks,
includingNewSoundsfromRochester,ImprovisationalJazzWorkshop,StillatIt,Sumofthe
Parts,andEyeontheFuture.TheanalysisofLiturgicalJazzistheoreticalinnatureandincludes
adiscussionofthepertinentmelodic,harmonic,andformalelementsofthework.Thereisless
emphasisontheuseofimprovisationwithintheseworksexceptwhereitoffersasignificant
insighttosomeaspectofthepiece.
LiturgicalJazzContributors
Thefollowingisaroughlychronologically-baseddiscussionofthemajorcontributorsof
liturgicaljazz,excludingSummerlin’s,whoseliturgicalworksarediscussedatlengthinChapters
3and4.Idefineliturgicaljazzasmusicthatisstylisticallyfirmlyinthejazzgenreandwas
composedforthepurposeofworship.Whiletheintentofthecomposerisusuallyeasierto
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discern,thelabeljazzisnot.Sinceitsearliestdays,thewordjazzhasbeenproblematic,and
nowthatwehavehitthecentennialofthefirstrecordedjazzithasonlygrownmore
convoluted.WhileImightagreewiththenotionthat“you’llknowitwhenyouhearit,”that
argumentisnotsufficientforthepurposesofthisdissertation.Theonecriteriathatusuallyisa
requirementtocallsomethingjazzistheinclusionofimprovisation.Whiletherearecertainly
otherstylesofmusicthathavehistoricallyorcurrentlyemployvaryingdegreesof
improvisation,thisistheonequalitywhichvirtuallyevery“jazz”recordingorperformance
contains.Swingfeel,oftenassociatedwithjazz,isalittlebitmoreproblematicdependingon
theerawearereferringtoandcurrentjazztrends.IdonotfeelthatIneedtogointodetailon
thedifferenterasassociatedwithjazz:early,swing,bebop,cool,harpbop,freeoravant-garde,
fusion,andsoon;instead,Iwillsaythattheswingpatternorswingfeelbecamemoreorless
pronounceddependingonwhateraandwhotheperformerswere.
Afairlystablecanonofjazzcompositionsandrespectedpractitionershasemergedover
thelastcentury,aidedinnosmallpartbyrecordings.Morerecently,theadventofillegaland
legalRealBooks,computerprograms,andapplicationshavehelpedcreatethatcanon.Iwould
includejamsessionstoadegree,butithasbeenmyexperiencethatthematerialoneis
expectedtoknowtendstoberegionalinnature.Thismayhavesomethingtodowiththe
explosivegrowthofjazzinacademiaoverthelastfiftyyears,theglutofpublishedmaterialson
theperformancepracticesandrequiredrepertoireofjazz,andeachinstitution’slong-term
allegiancetocertainbooks.Uponlistening,mostoftheinitiatedcanvirtuallyalwaysagreeon
somethingbeingjazzifthemusicfallscomfortablyintotheexpectedcanonicalpracticesofjazz.
WhilemanydidargueaboutwhetherOrnetteColeman’smusicconstitutedjazzin1959,I
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believethedebatehasbeensettledsomesixtyyearslater.Summerlin’sliturgicalworksfall
whollyor,inthelateryears,inlargepartinthecanonicalexpectationsofwhatjazzisandwas.
Therearemanyjazzworksthatareoftenmentionedwhenthetopicofliturgicaljazz
arises,buttheyareoftensacredjazzworks,notliturgicaljazzworks,sincetheywerenever
intendedtobeusedtoaccompanyaserviceofworship.DukeEllingtonandJohnColtraneare
thetwomostvisibleexamplesofthistendencytolabelsacredjazzliturgical.Sincetheworks
areincludedsooften,Ifeltitwasnecessarytowriteaboutwhytheyarenotincludedinmy
lineageofliturgicaljazzservices.
DukeEllington
Whenonediscussesthetopicofliturgicaljazz,DukeEllington’snameisalmostalways
thefirstmentioned.HisSacredConcertsin1965,1968,and1973alongwiththeirrecordings
arewidelyadmiredbothwithinandoutsideofjazzcircles.Ellingtonis,ofcourse,agiantinthe
lexiconofjazzandAmericanmusic.Theabove-mentionedworksare,however,notliturgical,
norweretheymeanttobe.ThefirstsacredconcertwascommissionedbytheVeryReveredC.
JulianBartlett,deanofSanFrancisco'sGraceCathedral,andtheReverendJohnS.Yaryan.1
Unsurehowheandhismusicwouldbereceivedbythechurchinitsunfilteredstate,Ellington
washesitanttoacceptthecommission;however,Ellingtonfinallyacceptedthecommissionin
1964,twoyearsafterhewasfirstapproached.2Themusicwassacred,butwasnotintendedto
bepartofaserviceofworship.Ellingtonwroteaboutsacredconcertsinhisautobiography
MusicisMyMistress,“theseconcertsarenotthetraditionalmassjazzedup.Ihavenotasyet
1TerryTeachout,Duke:ALifeofDukeEllington(NewYork:GothamBooks,2013),328-329.2Ibid.
9
writtenmusicforamass,althoughIhavebeencommissionedbyFatherNormanO’Connorto
doso.”3Thefirstsacredconcertwascommissionedforthe“FestivalsofGrace”atGrace
CathedralandtheonlystipulationwasthatitwastobeasacredconcertintheEllingtonstyle.4
Ellingtonwroteaboutthefirstconcert:"Theconcertwasperformedforthefirsttimeon
September16,1965,anditwassuccessfulbeyondmywildestdreams,bothinSanFrancisco
andatasubsequentperformanceintheFifthAvenuePresbyterianChurchofNewYorkon
December26."5Ellingtonwouldgoontocomposeandperformtwoothersacredconcertsin
1968and1973,butheneverdidcomposealiturgicaljazzMassorservice.
JohnColtrane
JohnColtrane’sALoveSupremeisperhapsthesecondmostcommonworkreferenced
whenthetopicofliturgicalorsacredjazzarises.Coltrane’scontributionstojazzarewell
documentedinawiderangeofbooksandarticles,soIwillfocusonlyonALoveSupreme.The
albumwasrecordedonDecember9,1964inRudyVanGelder’sstudiowithJohnColtrane’s
classicquartet:JohnColtraneontenorsaxophone,McCoyTyneronpiano,JimmyGarrisonon
bass,andElvinJonesondrumsandpercussion.6ALoveSupreme’sformandthemeswerefully
conceivedbyColtraneduringafive-daycomposingstintathomeafterthebirthofhisfirstson,
3DukeEllington,MusicIsMyMistress(GardenCity,N.Y.:Doubleday,1973),267.4WilbertWeldonHill,"TheSacredConcertsofEdwardKennedy"Duke"Ellington"(Dissertation,TheCatholicUniversityofAmerica,1995),49,https://search.proquest.com/docview/304178681?accountid=14553.5Ellington,MusicIsMyMistress,263.6AshleyKahn,ALoveSupreme:TheStoryOfJohnColtrane'sSignatureAlbum(NewYork:Viking,2002),83.
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JohnJr.7Itwasajazzsuiteinfourparts,whichwerelatertitled“Acknowledgement,”
“Resolution,”“Pursuance,”and“Psalm.”Thefourthmovement,“Psalm,”wasColtranereciting,
throughhissaxophone,apoemhewrotetoGod:
Likealibretto,thewordsto“Psalm”(eventuallytitled“ALoveSupreme”andprintedontheinsideofthealbumcover)definethelyricalflowofthemusic;onecanfollowsyllablebysyllable.Eachlinecrestsandresolves,implyingpunctuation.Somelines-like“Godis/Healwayswas/Healwayswillbe”–conveyanalmostoperaticsenseofdrama.Thewords“thankyouGod,”whichappearadozentimesinthetext,achievegreaterweighteachsuccessivetimethethree-noteincantationsoundsthroughthebellofColtrane’shorn.8
Therecancertainlybenodoubtthatthiswork,generallyregardedasJohnColtrane’s
masterpiece,issacredworkofart.Theliturgicalquestion,however,isabitmorecomplex.
In1965,FranzoandMarinaKingconceivedoftheSt.JohnWill-I-AmColtraneAfrican
OrthodoxChurch.9TheyattendedaconcertattheJazzWorkshopinSanFranciscofeaturingthe
JohnColtraneQuartetonSeptember18,1965.10Thecouple
foundthemselves“arrested”bythespiritualpresenceofJohnColtrane.TheysawavisionoftheHolyGhostasColtranetookthebandstand.Theirsharedvision,referredtobychurchmembersasthe“SoundBaptism,”initiatedanewreligiousandaestheticmovementcalled“ColtraneConsciousness”-definedasasetofsocial,culturalandpoliticalpracticesinspiredbythelifeandmusicofJohnColtrane.11
ThisexperiencebytheKingsledtotheformationofthechurch,whichusesa“Coltrane
Liturgy….ThemusicofJohnColtraneisintegratedwithintheorderofservicefortheAfrican
Orthodoxliturgy.Worshipservicesareorganizedinorderfromtheopeningto‘ALove
7Ibid.,xv.8Ibid.,124.9NicholasLouisBaham,TheColtraneChurch:ApostlesOfSound,AgentsOfSocialJustice(Jefferson,N.C.:McFarland&Company,2015),3.10Ibid.11Ibid.
11
Supreme:Acknowledgement’andthesingingofPsalm23,‘Lonnie’sLament’and‘Tunji’.”12This
liturgywasdevelopedbyMarinaKingandincludesavocalrenditionofPsalm23sungtothe
themeof“Acknowledgement,”blendingColtrane’smelodywiththeorthodoxChristian
Liturgy.13ThecongregationincorporatesthechantingfromColtranerecordingsoftenduring
theclosingof“Lonnie’sLament”and“Spiritual”withtheIntroit(thefirstchantoftheRoman
Mass)14totheAfricanOrthodoxliturgybeingsungsimultaneously.15WhileColtrane’smusicis
beingusedinaliturgicalsetting,theworkswerenotcomposedwiththatuseinmind;instead,
theywereappropriatedforthisuse.ThereisnoevidencethatALoveSupreme,whichwas
certainlycomposedasasacredjazzwork,wasevermeanttobeusedinaliturgy.Manysecular
songsarecommonlyincorporatedintocontemporaryworshipservices,butarenotthen
consideredliturgicalworks.TheotherfactisthatColtrane’smusicisbeingusedastheliturgyin
onlyonechurchintheworldandhasnotbecomeadoptedbythebroaderworship
communitiesintheUnitedStatesorelsewhere.Thisisaninterestinganomaly,butColtrane’s
musicwasnotcreatedasliturgicalmusicandisnotbeingusedthatwaywiththeoneabove
mentionedexception.
LiturgicalMusicwithJazzElements
WhenIbeganmyresearchonthetopicofliturgicaljazz,GeoffreyBeaumont’s20th
CenturyFolkMass,composedin1955andpublishedin1956,wascommonlyreferredtoasthe
12Ibid.,249.13Ibid.,31.14J.RobertCarroll,CompendiumofLiturgicalMusicTerms(Toledo,OH:GregorianInstituteofAmerica,1964),41.15Baham,TheColtraneChurch:ApostlesOfSound,AgentsOfSocialJustice,147.
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firstliturgicaljazzMassorthefirstuseofjazzinaliturgicalsetting.16Thealbumofthesame
namewasrecordedonMay25,1957byFrankWeirandHisConcertOrchestra,ThePeter
KnightSingers,andCharlesYoungascantor.17PeterKnightorchestratedtheMass,whichwas
scoredforforty-fiveinstrumentalistsandtwelvesingers.GeoffreyBeaumontwasastudent
composeratCambridgeUniversitywhowrotesongsforthe“Footlights”reviews.Hewaslater
ordainedasapriestandwasachaplainwiththeRoyalMarinesinWorldWarII.Beaumontwas
alsooneofthefoundersofthe20thCenturyChurchLightMusicGroup,agroupofcomposers
thatstrivedtohelptheEnglishchurchesusemusicthatwouldallowthemtoremainculturally
relevantwhilebeingfirmlyrootedinChristiantradition.18
The20thCenturyFolkMassisinthirteensections:“Introit,”“Kyrie,”“Gloria,”“Gradual,”
thehymn“Lord,ThyWordAbideth,”“Credo,”“Offertory,”thehymn“There’sAWildernessIn
God’sMercy,”“PrefaceandSanctus,”“PaterNoster,”“TheBreakingofBread,”“AngusDei;
CommunionSentence,”andthehymn“NowThankWeAllOurGod.”19Asthelinernotesattest,
the“FolkMasscontainslittlejazzinthestrictsenseofthatword.”20Eachsectiongoesthrough
severalstylisticchanges,veryfewofwhichfallintothejazzgenre.Huntwrote,
atfirst,theterm“jazzmass”wasusedtodescribehismusic-thoughnotbyBeaumonthimself.Thetermisofcoursemisleading:thevocalstylehasnothingtodowithjazz,
16ChristopherC.Hunt,“There'saWidenessinGod'sMercy:GeoffreyBeaumont(1904-1971),"TheAmericanOrganist38no.9(2004):88.17CharlesFox,linernotesto20thCenturyFolkMass,GeoffreyBeaumont,OrioleMG.20019,33⅓rpm,1957.18SimonParry,"GeoffreyBeaumontandthe20thCenturyChurchLightMusicGroup-ARecognitionoftheirContributiontoContemporaryHymnody,"TheHymnSocietyofGreatBritainandIrelandBulletin18no.11(2008):398-399.19Ibid.20Ibid.
13
andtheonly“jazz”elementsinBeaumont’smassaretheoddsyncopation,andgesturessuchastheuseofthesaxophone.21
The“Introit”hasasectioninanearly1930sbigbandswingstyleaswellastwoshort
instrumentalbreaks.ThewholealbumhasaBroadwayMusical1930sbigtune22qualitytoit
usingstockorchestrationtechniques“wornthreadbareinHollywoodyearsago.”23JohnBriggs,
therevieweroftherecord,wastheoperacriticfortheNewYorkTimes,whichmayserveto
explainwhypuzzlinglyhewouldwritethattheworkwasinajazzsetting.24Theorchestration
andvocalsaredensewithsimpleharmoniesandissunginabelcantostyle.Foxwroteinthe
linernotesthatBeaumontwastryingtoputtheMassmusicinacontemporaryformat,butthat
heclearlydidnotachievethatgoal.ChristopherHuntwrote,“themusiche[Beaumont]wrote
inthe1950sismorecharacteristicof,say,the1930s.”25Thereisashortshout-typechorusin
the“Credo.”Thebasslinesareparticularlyantiquatedsounding,oftenplayingrootnotestothe
chordsthatshifteverytwobeats.ItisunclearhowmuchinputBeaumonthadinthedatedand
stock-typeorchestrationthatPeterKnightdidforthealbum.PeterKnightwasawellrespected,
albeitabitcynical,arrangerwhoworkedintelevisionandmovies.26
21Hunt,“GeoffreyBeaumont,”88.22HarryEskewandHughMcElrath,SingwithUnderstanding(Nashville:BroadmanPress,1980),147.23JohnBriggs,“Records:Mass:ACommunionServiceInaJazzSetting,”NewYorkTimes,September14,1958,X18accessedFebruary17,2017https://search.proquest.com/docview/114555715?accountid=14553.24DennisHevesi,“JohnBriggsJr.,74;CriticWhoHandledMediaforToscanini,”NewYorkTimes,August12,1990accessedFebruary17,2017http://www.nytimes.com/1990/08/12/obituaries/john-briggs-jr-74-critic-who-handled-media-for-toscanini.html25Ibid.26Fox,linernotesto20thCenturyFolkMass,GeoffreyBeaumont,OrioleMG.20019,33⅓rpm,1957.
14
WhileBeaumont’s20thCenturyFolkMasscontainsafewelementsof1930sjazzstyles,
itisnotaliturgicaljazzMass.Beaumont’sachievementinEnglandwastoopenthediscussion
astowhethercontemporarymusicalformswereacceptableinchurch.Hisworkwaswell
distributedandreceivedconsiderableexposurefromtheBBC.27IntheUnitedStates,hisfolk
Masswasperformedandextensivelycoveredbynewspapersinthenortheast.What
Beaumont’sworkdidintheUnitedStateswastospursomeinterestinusingjazzinaliturgical
service,sinceothersrecognizedBeaumont’sworkwasnotjazz.FatherNormanJ.O’Connorwas
onesuchpersonandwrote,“asyoucanseethisisn’taJazzMass.Abettertitlewouldbea
‘BroadwayMass’ora‘TinPanAlleyMass’.”28He,alongwithotherclericssuchasReverand
JohnGarciaGenselandDr.RogerOrtmayer,wouldspuronjazzcomposerstocreateactualjazz
massesandjazzservices.
HeinzWernerZimmermann
HeinzZimmermannisaGermancomposerwhobecameinterestedinjazzinHeidelberg,
Germanyin1950asaresultofhisproximitytotheheadquartersofAmericanmilitaryforces
afterWorldWarII.29Regardingthesoldiersandjazzscene,Zimmermanwrote:
manyofthemgatheredregularlyforjamsessionsintheballroomoftheHeidelbergTownHall;smallwonderthatalmostalloftheAmericanjazzstarsandjazzbandscametoHeidelbergortonearbyMannheim,oneaftertheotherduringthecourseoftheyears.ManyGermanuniversitystudentsofallfacultiesjoinedthesejamsessionsandenthusiasticallyattendedjazzconcerts30
27Parry,"GeoffreyBeaumont,”398.28Fr.NormanJ.O’Connor,“’JazzMass’IsLessJazzThanPopTunes,SaysGlobeAuthority,”DailyBostonGlobe,June7,1959,64.29MichaelJ.Budds,(Eds.)Jazz&theGermans:essaysontheinfluenceof"hot"Americanidiomsonthe20th-centuryGermanmusic(Hillsdale,NY:PendragonPress,2002),180.30Ibid.
15
ZimmermanalsobegancollectingrecordsbytheModernJazzQuartet,LennieTristano,Charlie
Parker,ArtTatum,andLionelHamptonaswellmanagedtoattendaconcertbytheDuke
EllingtonBigBand.31Afterhegraduatedfromcollegehetookateachingpositionatthe
HeidelbergSchoolofSacredMusicandalsoattheHeidelbergAmericanInformationCenter,
wherehehadaccesstoalargelibraryofAmericanbooksandrecordings.Hepresentedaseries
oflecturesonAmerican‘Negro’Spiritualscalled“FromSpiritualstoJazz”in1955.32
ZimmermancameintocontactwithinfluentialjazzwriterandheadofSouthwest
GermanRadioBaden-Baden’sjazzdepartment,JoachimErnstBerendt,whocommissioneda
pieceforhisSudwestfunkAllStarsbigband.33Berendtwas“appalledwhenIofferedtowritea
GeistlichesKonzert34onBibletextsforajazzbaritonesingerandhisbigband,butfinallyagreed
whenIpromisedtoincludeimprovisedsectionsinmypiece.”35Zimmerman’sSacredConcert
waspremieredin1955inBaden-BadenwithjazzsingerWolfgangSauerandKurtEdelhagen’s
AllStarsandwaswellreceived.36Nexthecomposedwhatwouldbecomehisfirstpublished
work,“PraiseHim,OServantsofGod,”amotetforfive-partchoir,whichincludedajazz-like
walkingbassline.37Thiswasfollowedin1957byPsalmKonzert,afive-partcantataforsolo
baritone,five-partmixedchoir,boyschoir,threetrumpets,vibraphone,andbass.Theinclusion
31Ibid.,181.32Ibid.,183.33Ibid.34aSacredConcerto35Budds,Jazz&theGermans,183.36Ibid.,184.37Ibid.,186.
16
ofvibraphoneandbasslineswereadirectresultofhisaffinityforjazz.Zimmermancomposed
hisVespersin1962,whichhadseveralsectionsoftheworkoveratraditionalbluesform.38
MissaProfana,whichhebegancomposingin1962,wascompletedoveradecadelater
andwaspublishedin1980.Itiscomposedfororchestra;aDixielandjazzbandconsistingof
clarinet,cornet,trombone,guitar,bassanddrums;Vibraphone;andelectronictape.39Thework
premieredFebruary25,1981inMinneapolis,MinnesotawiththeMinnesotaOrchestra,Bethel
CollegeChoir,TwinCitiesDixielandJazzBand,andfoursingers.Therewerelaterperformances
inSt.Paul,Minnesota(1981),Manila(1982),Hamburg(1983),Halle(1990),Leipzig(1990),
Pforzheim(1992),Mannheim(1994),Frankfurt(2001),andGreifswald(2002).40Thesewere
sacredconcertsandnotservicesofworshipandarethereforenotliturgical.Oneaspectofhis
MissaProfanathatseemedoddwasthetitle,whichtranslatedintoEnglishfromLatinis
ProfaneMass.Zimmermanexplainedthereasonforthewordprofaneinthetitleisthatheis
usingthemeaningofprofaneasinsomethingthatissecularorinthevernacular.41Zimmerman
has,sincethe1950s,includedjazzcompositionaltechniquesanddevicesinhissacredworks.
HeusedthesetoaddanewtwisttohisEuropeanclassicalcompositions.Hestatedinan
38Ibid.,188.39HeinzWernerZimmermann,MissaProfana:(1980:FürVokalquartett,Gem.Chor,Dixieland-Jazzgruppe,TonbandUndGrossesOrchester=ForVocalQuartet,MixedChorus,DixielandJazzGroup,Tape,AndBigOrchestra.BadSchwalbach[Germany]:EditionGravis,2001.Print.40Ibid.41MichaelAnthony,“Orchestraperformsworldpremiereof‘MissaProfana’,”StarTribune(Minneapolis,MN),February26,1981,25.
17
interviewthathedidn’t“wanttoimitatejazzinhismusic.Hewantstoblenditwiththe
Europeanstyle‘togetnewvitaminsforourowntradition.’”42
LiturgicaljazzWorks
FrankP.Tirro
FrankTirroisawell-knownauthorandeducatorwhowroteJazz:AHistory(1977),Living
withJazz:AnAppreciation(1996),andTheBirthoftheCoolofMilesDavisandhisAssociates
(2009).TirrohasalsocontributedessaysonearlyjazzhistoryforthebooksJazz&theGermans:
EssaysontheInfluenceof“Hot”AmericanIdiomsonthe20th-CenturyGermanMusic(2002)and
NewPerspectivesonMusic:EssaysinHonorofEileenSouthern(1992)aswellasdozensof
journalarticlesontopicspertainingtojazz,classicalmusic,andmusiceducation.Asan
educator,heheldteachingpositionsattheUniversityofChicago,theUniversityofKansas,
DukeUniversity,andYaleUniversity,wherehebecameDeanoftheYaleSchoolofMusic.
Tirroisalsoasaxophoneplayer,clarinetplayer,andcomposerwhohascomposed
worksinbothjazzandclassicalstyles.Hewasintroducedtojazzbyplayinginalabbandat
OmahaCentralHighSchoolasafreshman.WhilehewasastudentattheUniversityof
Nebraska,heplayedwithajazzcomboinLincolneveryFridayandSaturdaynightcalledthe
JimmyPhillipsOrchestra.43AftermovingtoChicago,hejoinedaterritorybandfortwoyears,
42AnnGrauvogl,“BlendingJazzwithStyle,”Argus-Leader(SiouxFalls,SD),January28,1995,9.43FrankP.Tirro,interviewwithauthor,November2015.
18
theJohnnyPalmerOrchestra,alsoknownasthePeterPalmerOrchestra,untilhisstudies
becametoohecticforhimtocontinuetouring.44
TirrobecameinterestedincomposingajazzMasswhilehewasastudentatUniversity
ofNebraska.AsthechoirdirectoratanEpiscopalianchurchinOmahathatcelebratedHigh
ChurcheverySunday,TirrowasquitefamiliarwiththepartsofaformalMass.45Aspartofhis
jobaschoirdirector,hewouldattendanannualsummerAnglicanmusiccampinColorado,
wherein1958thedirectorplayedtheattendeesGeoffreyBeaumont’s20thCenturyFolkMass.
TirrothoughtajazzMasswasagreatidea,butfeltthatBeaumont’sMassdidnotconstitute
jazz.Uponreturningtotheuniversity,histheoryandcompositionteacherrecommendedhim
foracommissionbytheDisciplesStudentFellowshipandtheUniversityEpiscopalianChapelon
campustowriteajazzMass.
TirrocomposedTheAmericanJazzMassinDecember1959anditwaspremieredon
February28,1960attheUniversityofNebraskaStudentUnion.46Theservicewastitled“The
MusicoftheEucharistInaContemporaryIdiom,”thedescriptionofthemusicwas“Jass47
ConsecratedtoGod,”whichfeaturedJohnMillsontrumpet,NormanSmithonaltosaxophone,
WilliamBrannononbaritonesaxophone,JohnMarshallonbass,PaulLeacoxondrums,anda
mixedchoirdirectedbySueWorley.48Theworkwasforajazzquintetconsistingoftrumpet,
altosaxophone,baritonesaxophone,bass,drums,andmixedchoir.Itwasinsixsections:
44Ibid.45Ibid.46BuddGauger,“JazzGoestoChurchinServiceHereComposedbyNUStudent,”LincolnEveningJournal(Lincoln,Nebraska),February21,1960,17.47Itisunclearifthespellingof“jass”wasintentionalasanodtothesupposedoriginsofthewordjazzorsimplyatypo.48TheMusicoftheEucharistInaContemporaryIdiom,ServiceProgram,1960,UniversityofNebraskaStudentUnion.privatecollection.
19
“Kyrie,”“Gloria,”“Credo,”“SanctusandBenedictus,”“Lord’sPrayer,”and“AgnusDei.”The
unusualmovetonothaveachordalinstrumentwasinspiredbyTirro’saffinityforGerry
Mulligan’spianolessgroupwithLeeKonitz.49ThemotiveoftheAmericanJazzMasscamefrom
theMissadeAngelisbyJohannesPrioris.50Theworkhadnosectionsforimprovisation,which
Tirrostatedheregrettednothavingincludedsincehefeelsthatimprovisationisacornerstone
ofjazz.Hedidnotincludeimprovisationalsectionsbecausehe“wasexpectingtohaveplayers
whocouldnotimprovise,certainlynotimprovisewell.”51Ina1995performanceinSenigallia,
Italy,improvisationaltransitionswereaddedinbetweenthesixsections.52In2012,thework
wasperformedbyTheEdmontonMetropolitanChoruswithajazzsextetwhichhad
improvisationalsectionsinbetweenthesixsectionsoftheAmericanJazzMass.53Tirroalso
wroteinsectionsforimprovisationforamorerecentperformanceatYaleaswell.
TheAmericanJazzMasswasre-premieredwiththeOmahaSymphonyOrchestraand
SymphonicChorusonApril17,1961.54TheAssociatedPresswroteanarticleabouttheservice
whichwaspickedupbynewspapersintwenty-eightcitiesinallcornersofthecountry,giving
Tirro’sworkincredibleexposure.Thisexposureledtoitbeingperformedinmultiplecitiesina
dozenstatesbetween1962and1967.Theworkwasbroughtbackforrepeatperformancesin
subsequentyearsinseveralofthecities.Intotal,Tirrothinksithasbeenperformedovertwo
49FrankP.Tirro,interviewwithauthor,November2015.50Ibid.51Ibid.52FrankP.Tirro,AmericanJazzMass,recorded1995,unreleased,compactdiscprivatecollection.53RogerLevesque,“Massmelds,Renaissance,jazzvocabulary,”EdmontonJournal,November22,2012.54BillW.Dean,“HeWritesChurchMusicWithBeat,”TheLawtonConstitution(Lawton,Oklahoma),April7,1961,7.
20
hundredtimes.55WhileIhavenotfoundevidencetosupportthatfigure,Ihavefound
newspaperarticlesthatproveitwasperformedatleastfiftytimesacrosstheUnitedStatesin
the1960s.
Inmyopinion,thereareseveralreasonsforthelargenumbersofchurchesthat
performedtheserviceduringtheearly1960s.Theincrediblenationwideexposuregeneratedby
theAssociatedPressarticlealertedpeopleacrossthecountryofthework’sexistence.Secondly,
Ibelievethelackofimprovisationalsectionsalongwiththesimplicityofthemusicwouldmake
itappealingtoabroadrangeofchurchesandchoirswhowouldnotbeintimidatedbyalackof
experienceinthejazzgenre.Alloftheinstrumentalparts,withtheexceptionofthedrums,
werepreciselynotatedandsimpleenoughforanyprofessionalorexperiencedamateur
musiciantoplayconvincingly.56Third,thechoralpartswerealsosimple,beingbasedonearly
churchpolyphony,yetcontainedthenoveltyofhavingsomeinfrequentjazzharmonies.
Becauseofitssimplicityandlackofimprovisation,Tirrowouldnothavetobetheretorehearse
andleadthemusicsuccessfully.Finally,whileEdSummerlin’sLiturgicalJazzServicehadalready
beenperformed,recordedandreleasedacrosstheUnitedStates,hiswasnotaHighChurch
servicelikeTirro’s.TheAmericanJazzMasswouldbeperformedinchurchesofdifferent
denominationsthanSummerlin’sworkbecauseofliturgical,notmusicalreasons.Accordingto
Tirro,hespoketoEdSummerlintwotimesbyphoneintheearly1960sabouthisAmericanJazz
55FrankP.Tirro,interviewwithauthor,November2015.56FrankTirro,AmericanJazzMass:ForMixedVoicesWithInstrumentalEnsembletrumpet,AltoSaxophone,BaritoneSaxophone,StringBassAndDrums(Evanston,IL:Summy-Birchard,1960),Print.
21
MassandSummerlin’sLiturgicalJazzalbum;duringtheconversationstheyexpressed
admirationforeachother’swork.57
Tirropremieredhissecondliturgicaljazzwork,AmericanJazzTeDeum,onMarch30,
1965atthe“SinfoniaConcert,”anannualeventheldintheUniversityofNebraskaUnion.58The
workreceivedaworldpremiereinSeattle,WashingtonattheNationalConventionofthe
AmericanChoralDirectorsAssociationonMarch13,1968.59Tirrodeliveredapre-concert
lectureoncomposinginthejazzstyleforsacredmusictoconventionattendees.60Thework
wasscoredfortrumpet,altosaxophone,baritonesaxophone,bass,percussion(drumsetand
threetimpani),andamixedchoir.Exceptfortheadditionofthetimpani,theworkwasscored
forthesameforcesashisearlierAmericanJazzMass.61Thealtosaxophoneplayerwas
expectedtodoubleonfluteforcertainsections,whichisnotuncommon.Themusicwas
considerablymorechallenging,withfrequentuseofsixteenth-noteinstrumentalpassages,
morerhythmiccomplexity,andshiftingtimesignatures,whichincluded4/4,2/4,3/4,5/4,2/8,
3/8,4/8and5/8.UnlikehisAmericanJazzMass,theworkalsoincludedscoreddrumsand
sectionsforimprovisation.62Theworkreceivedconsiderablylesspressandperformancesthan
Tirro’sfirstwork.Onereasonmaybethataconsiderablyhigherlevelofmusicianshipis
requiredtoconvincinglyperformtheinstrumentalsectionsofthework,whichcouldhave
57FrankP.Tirro,interviewwithauthor,November2015.58“FrankTirro’sJazz‘TeDeum’GetsPremiereHereTuesday,”TheLincolnStar(Lincoln,Nebraska),March28,1965,84.59“AreaStudentstobeatChoralConvention,”ClovisNews-Journal(Clovis,NewMexico),March10,1968,6.60Ibid.61FrankTirro,AmericanTeDeum:InEnglish,WePraiseThee,OGod:SATBWithInstrumentalEnsemble....(Cincinnati,OH:WorldLibraryPublications,1970),Print.62Ibid.
22
dissuadedsomechurchesfromperformingit.Theuseoftimpani,aninstrumentnotusually
availableinchurches,couldhavebeenabarriertoitsperformance.Itmayalsobepartially
explainedbytheworknotbeingpublisheduntil1970,aperiodwherejazz,bothinandoutside
ofthechurch,wasconsiderablylessfashionableandnovel.Also,by1970themajorityofjazz
servicesandmasseshadbeenwrittenandcommerciallyrecorded.Tirro’stwoliturgicaljazz
workswerenevercommerciallyrecordedandreleased,whichwouldalsohavelimitedtheir
opportunitiesforlong-termexposure.TheAmericanJazzMasswasrecordedintheStrong
AuditoriumattheUniversityofRochesteronApril23,1966withWardWoodburydirecting.The
jazzgroupconsistedofJosephVivonaontrumpet,FredericLewisonaltosaxophone,Derrill
Bodleyonbaritonesaxophone,RalphChildsonbass,andBillStorandtondrums.63The
recordingwasneverwidelydistributedandpresumablyreceivedasmallpressing.
TheonlyotherliturgicaljazzpiecesTirrowroteweresomediscantscommissionedfor“A
DemonstrationJazzMass”duringTheFestivaloftheArtsatRockefellerMemorialChapelin
ChicagoonMay9,1965.64Tirrowasthemusicaldirectoroftheservice,whichfeaturedWarren
Kimeontrumpet,KennethSoderblomonaltosaxophoneandflute,BartonDemingonbaritone
saxophone,FrankDilibertoonbass,HaroldRussellonpercussion,WyattInskoonorgan,Daniel
Robinsoncarillon,andTheEcumenicalChoir.65TheReverendJohnW.Pylewasthecelebrant,
ReverendMichaelPorteuswasthenarrator,andProfessorCharlesH.Longwasthepreacher.
Theservice’smusicwasthecarillonpiece“Jubilus,”organsonata“SonatadeChiesa,”the
63FrankTirro,AmericanJazzMass,FrankTirro,CenturyRecords24026,33⅓rpm,1966.64ADemonstrationJazzMass,ServiceProgram,1965,RockefellerMemorialChapel.privatecollection.65Ibid.
23
AmericanJazzMass,andtheAmericanJazzTeDeum.66AccordingtoTirro’sprogramnotes,the
sourcematerialforthemotivesallcomefromearlychurchmusic.
FrankTirro’sAmericanJazzMasswasthefirstliturgicaljazzMass,butnotthefirst
liturgicaljazzservice.EdSummerlin’sLiturgicalJazzServicewaswidelyperformed,recorded,
andreleasedbeforetheTirro’sMasswaswrittenandpremiered.Tirro’sworkdidreceivealot
ofattentionandwaswidelyperformedfrom1962to1967inchurchesofdifferent
denominationsthanSummerlin’swas.HisAmericanJazzMasswouldhavealsohelpedto
spreadtheconceptandpracticeofliturgicaljazz,likeSummerlin’s.BecauseofTirro’schosen
careerpath,hedidnotcontinuecomposingliturgicaljazzafter1965.Nevertheless,his
AmericanJazzMasswasanimportantstepintheevolutionofliturgicaljazz.
MaryLouWilliams
MaryLouWilliams’scareerandlifehasbeenwelldocumented,soIwillonlyfocuson
theliturgicaljazzportionofhercareerandlife.Afterahighlysuccessfulsecularjazzcareer,she
abruptlystoppedperformingduringastayinEuropein1954.WhenshereturnedtotheUnited
States,shefoundamuchbleakersituationforjazzmusiciansthanwhensheleft.Itwasduring
thisperiodthatshedecidedto“turnfromthe‘sinful’worldofentertainmenttoaself-
cloisteredreligiosity,saidsomewhoknewher.”67In1956,LorraineGillespieintroduced
WilliamstoFatherJohnCrowley,ajazz-lovingmissionary.68Crowleywasabletoguideherfaith
66Ibid.67LindaDahl,MorningGlory:ABiographyOfMaryLouWilliams(NewYork:PantheonBooks,1999),246.68Ibid.,257.
24
andalsoconvincedhertobeginperformingagain.69ShealsometaJesuitpriest,Father
AnthonyWoods,who,accordingtoLindaDahl,wasa“brilliantandarticulatebridgebetween
jazzandliberalCatholictheologyandpractice.”70Thefollowingyear,WilliamsandLorraine
GillespiewerebothbaptizedonMay9,1957andonemonthlater,thewomenwereconfirmed
together.71
Williams’sfirstsacredjazzworkwasahymndedicatedtoSaintMartindePorres,the
firstblackpersontobecanonizedbytheCatholicChurch.WhenhewascanonizedonMay6,
1962,72severalcountriessentover4,500officialrepresentativesand40,000pilgrimsgathered
atSt.Peter’sBasilicaforthemomentousevent.73SaintMartindePorreswasalmosttotallya
cappellaandfeaturedcomplexjazzharmonies.Theonlyinstrumentationwasashortpianosolo
byWilliamsandabarelyaudiblebassaccompaniment,providedbyMiltHinton.74Thepiano
solo,“whichwithitsLatin-tingedrhythmsprovidedtheonlyculturallinkwithdePorres'Latin
Americanheritage.”75TheworkwaspremieredatSt.FrancisXavierChurchduringanoon
concertonNovember3,1962,whichwasdePorres'feastday.76OnNovember11,1962,the
workwasplayedatLincolnCenterwithabillthatincludedDizzyGillespie’sorchestraand
pianistLaloSchifrin.77SchifrinwouldwritehisownjazzMasstwoyearslater.Williamswould
69Ibid.,258.70Ibid.71Ibid.,259.72JoanMonahan,MartinDePorres:ASaintForOurTime(NewYork:PaulistPress,2002),109.73Ibid.74Dahl,MorningGlory,275.75TammyL.Kernodle,SoulOnSoul:TheLifeAndMusicOfMaryLouWilliams(Boston:NortheasternUniversityPress,2004),201.76Ibid.77Dahl,MorningGlory,276.
25
recordtheworkalongwiththechoralpiece“TheDevil,”gospelpieces“AnimaChristi”and
“PraisetheLord,”andavarietyofsecularsongsforthealbumMaryLouWilliamsPresentsBlack
ChristoftheAndesonOctober10,1962.78Thealbumsoldpoorly,butwaswellreceivedby
criticsandWilliamsreceivedthePrixMondialduDisqueFrancaisfortheEuropeanreleasein
1968.79
Williamswasintroduced,atherrequest,toBishopJohnJ.WrightofPittsburgh.She
convincedhimtohavethechurchbackajazzfestivalinPittsburghin1964,whichshewould
produce.Thefestivalwouldbe“thefirsttimethatanAfrican-Americanwomanproducedajazz
festival,andthefirsttimethatsacredmusicwascommissionedforajazzfestival,andthefirst
timethattheCatholicChurchwasinvolvedinrunningajazzfestival.”80Thefestivalwasheldon
June19-20,1964andincludedArtBlakeyandhisJazzMessengers,TheloniousMonk,Jimmy
Smith,BenWebster,MelbaListon,SarahVaughan,DaveBrubeck,andJoeWilliams,among
others.81Aroundthistime,WilliamswassoughtoutbyaseminarystudentnamedPeter
O’Brien,wholaterbecamehermanagerin1970andhelpedorganizeherperformanceatthe
“PraisetheLordinManyVoices”heldonFebruary5,1967atCarnegieHall.82Theconcert
featuredfourmasses,asacredShabbatservice,andaworktitled“PraisetheLord,”which
featuredMaryLouWilliamsonpiano,HoneyGordonandLeonThomasonvocals,achoir,anda
chamberensemble.83
78Ibid.,421.79Ibid.,278.80Ibid.,281.81Ibid.82Ibid.,284-289.83PraisetheLordinManyVoices,Program,1967,CarnegieHall,accessedonFebruary24,2017,
26
WilliamshadbeeneagertowriteajazzMassandonJuly24,1967shepremieredher
MassforpianoandvoiceatSt.Paul’sCathedralinPittsburgh.84TheMasscontained“O.W.,”
“PraisetheLord,”“Kyrie,”Gloria,”“Credo,”“Sanctus,”“PaterNoster,”“AgnusDei,”“Actof
Contrition,”and“ThankYouJesus.”Williamshadincludedsectionsforimprovisation,but
limitedheruseaswingfeel,optingformorefunk-inspiredgroovesandostinatopatterns.Her
secondMass,MassfortheLentenSeason,wascommissionedbyFatherRobertKellyandwas
premieredonMarch3,1968atSt.ThomastheApostleChurchinHarlem.85Theworkbeganthe
samewayasherfirstMasswith“O.W.”andcontinuedwith“CleanMyHeart,”“LordHave
Mercy,”“TheLordisMyLight,”“Offertory:Instrumental,”“Holy,Holy,Holy,”“Anemnesis,”
“AmenattheEndoftheCanon,”“LambofGod,”“CommunionSong,”and“TheProdigalSon.”
AftertheassassinationofDr.MartinLutherKingJr.,WilliamsaddedseveralpiecestotheMass:
“WeShallOvercome,”“TellHimNottoTalkTooLong,”and“IHaveaDream.”86
HerthirdMasswasperformedatamemorialforslainKenyastatesmanTomMboyaon
July15,1969attheHolyFamilyRomanCatholicChurch.87TheMass,whichCharlesPickeral
referstoastheMboyaMass,wouldundergoalatertransformation88andbetitledMusicfor
Peace,whichpremieredasaconcertonApril25-26,1970atSt.Paul’sChapelatColumbia
https://www.carnegiehall.org/PerformanceHistorySearch/#!search=Mary%20Lou%20Williams84Dahl,MorningGlory,293.85CharlesWilkinsPickeral,"TheMassesofMaryLouWilliams:TheEvolutionofaLiturgicalStyle”(Dissertation,TexasTechUniversity,1998),163-164.OrderNo.9912788,.https://search.proquest.com/docview/304454139?accountid=14553.86Ibid.,198-202.87Pickeral,“TheMassesofMaryLouWilliams,”232.88Ibid.,243.
27
University.89TheMboyaMassconsistedof“PeaceO’Lord,”“TheLordSays,”“Kyrie,”“InHis
Days,”“PeaceILeavewithYou,”“Alleluia,”“TurnAsidefromEvil,”“OurFather,”“Blessedare
thePeacemakers,”and“Spring.”90Pickeralwrote:
ItisironicthattheMboyaMasscanbeviewedassomethingofadeadendintheevolutionofMaryLouWilliams’liturgicalwriting,giventhatitservedasthetemplatefromwhichhermostwidelyperformedsettingwasdrawn.Thetextualresourcesandrudimentarymelodicresourcesdid,infact,spawnmuchofthelatermaterial.However,inordertodoso,theyweresubjectedtoamajorstylisticshirt.ThischangeofdirectionclearlyseparatesallsubsequentversionsofthethirdMassfromherprevioussettings,includingtheMboyaMass.91
AlthoughWilliamsreferredtotheMboyaMassasthefirstperformanceofherthirdMass,there
are,asPickeralpointsout,significantstylisticchanges.Theupdatedworkwasretitledthe
RomanCatholicMassforPeaceandincludedthreeadditionalmovementsanddoesnotcontain
“Spring.”92WilliamsbeganrecordingMusicforPeacein1970and,whilethemusichasobvious
linkstotheMboyaMass,thereexistsignificantdifferences.Pickeralwrote,“itisreasonableto
considerMusicforPeaceanaltogetherdifferentwork.Inactuality,onlyhalfofthemovements
ontherecordingarerevisionsofmaterialthatwaspresentedinJuly1969andseveralofthose
areradicallyalteredinbothstyleandform.”93Thealbumcontained“Prologue:‘O.W.’,”“The
LordSays,”“Kyrie,”“Gloria,”“InHisDay/PeaceILeavewithYou/Alleluia,”“Creed,”“TurnAside
FromEvil/Holy,Holy,Holy,”“OurFather/CommunionPsalm,”“PeopleinTrouble,”“Lazarus,”
“TheWorld,”and“PraisetheLord.”94Thealbum’srevampedmusicincludedjazz,funk,and
89Dahl,MorningGlory,309-310.90Pickeral,“TheMassesofMaryLouWilliams,”243-263.91Ibid.,264.92Ibid.,267.93Ibid.,286.94“MaryLouWilliams–MusicforPeace,”Discogs,accessedFebruary25,2017,https://www.discogs.com/Mary-Lou-Williams-Music-For-Peace/release/3263874
28
rockelementsinthearrangements.ThealbumreceivedpositivereviewsfromBillboard,Record
World,andSaturdayReview.95ThemusicwastransformedagainforAlvinAiley’sAmerican
DanceTheaterandwasretitledMaryLou’sMass.Theworkfeaturedanew“AgnusDei”with
thebulkofthemusiccomingfromMusicforPeaceandpremieredDecember7,1971atthe
NewYorkCityCenter.96
Williamscontinuedtoperformbothherliturgicaljazzworksaswellassecularconcerts
throughoutthe1970s.In1977,shewasapproachedbyFrankTirro,whohadtakena
musicologypositionatDukeUniversityandshortlythereafterservedaschairofthemusic
department.AccordingtoTirro,TerrySanders,formerlythegovernorofNorthCarolina,had
calledafacultymeetinginwhichheexpressedaninterestinhiringmoreAfrican-American
faculty.DukecreatedsixfacultypositionsthathadtobefilledbyAfricanAmericans.Thenext
day,TirrosecuredoneoftheslotsandhisassistantsuggestedMaryLouWilliams.Hemade
severaltripstoNewYork,butshewashesitanttoacceptajobinthesouth.Eventually,Peter
O’Brienhelpedconvincehertotakethejob.TirrostatedthataCatholicAfrican-American
womanwasan“extraordinaryhire”forthetimeandhavingsomeoneofthecaliberofMaryLou
WilliamswasahugecoupfortheDukemusicdepartment.97WilliamstaughtatDukeuntilher
deathonMay28,1981.
95Kernodle,SoulOnSoul,236.96Ibid.,243.97FrankP.Tirro,interviewwithauthor,November2015.
29
EddieBonnemère
EdwardValentineBonnemèrewasapianist,composer,educator,andworshipleader.
HebeganhisprofessionalcareerplayinginchurchesinHarlem.Bonnemèrewasactiveasan
educatorandperformerinNewYorkandbecamewellknowninthe1950sforleadingamambo
bandwhosefirsthitwasthesong“FiveO’ClockWhistle.”98Hewasthefirsttohirethenow-
legendarypercussionistRayBarrettoforhisLatinband.99Bonnemèrealsoledthehouseband
attheSavoyBallroominHarlemfrom1950-1955.100
OnMay8,1966,101BonnemèrepremieredhisMissaHodiernaatSt.CharlesBorromeo
CatholicChurchinNewYorkwithathirteenpiecejazzgroupandmixedchoir.102Theworkwas
intwoparts:TheLiturgyoftheWordandtheEucharistLiturgy.Itopenswith“LordHave
Mercy,”whichwastheKyrie,“Gloria”orhymnofpraise,“Credo”orproclamationoffaith,
“Offertory,”“Holy,Holy,Holy,”“Benedictus,”whichisasongofblessing,and“LambofGod”or
invocation.TheMassendswithconcludingprayers.TheMassalsoincluded“SometimesIFeel
LikeaMotherlessChild,”“Sanctus,”“AgnusDei,”“OLord,I’mNotWorthy,”and“TheMassis
Ended,Let’sGoinPeace.”103Theworkwasoriginallywrittenaspartofamaster’sthesisfor
98RuthCage,“RhythmandBluesNotes,”Downbeat,March9,1955,9.99“EddieBonnemere,”AllMusic,accessedFebruary25,2017,http://www.allmusic.com/artist/eddie-bonnemere-mn0001596774/biography100“EddieBonnemere,”JudithFinellMusicServices,PromotionalMaterial.InstituteofJazzStudies:RutgersUniversity.Newark,N.J.101“MissaHodierna,”Ticket.InstituteofJazzStudies:RutgersUniversity.Newark,N.J.102“EdwardV.Bonnemere,”Biography.InstituteofJazzStudies:RutgersUniversity.Newark,N.J.103“MissaHodierna,”PressRelease.InstituteofJazzStudies:RutgersUniversity.Newark,N.J.
30
HunterCollege.104Bonnemère’sMissaHodiernawasthefirstjazzMasstobepartofaRoman
CatholicService.105
InDecemberof1967,BonnemèrepremieredaMassfortheAdventSeasonattheSt.
ThomastheApostlechurchinHarlem.ThiswasfollowedbyMassforChristmas,Massfor
Easter,andMassforEverySeason.106MassforEverySeasonwasrecordedandreleased
independentlybytheCommunityofSt.ThomastheApostleinHarlem.107Thealbum’s
promotionalmaterialslistBonnemèreasthecomposer,arranger,andconductorwithlyricsby
FatherRobertLedogar.ThebandconsistedofIraStuartonpiano,Bonnemèreonorgan,Joe
Scottonbass,SticksEvansondrums,RoyPhelpsonguitar,AllenBrownontrumpet,Benny
Powellonbasstrombone,ArnieLawrenceonaltosaxophone,Lawrence“Rico”Hendersonon
tenorsaxophoneandflute,andamixedchoir.108Themusicfeaturesawiderangeofstylesand
achoirsinginginunisonsoastofacilitatecongregationalparticipation.Thedesignationofjazz
Massisastretchgiventhebreadthofgenresrepresentedbythematerial.
BonnemèrealsocomposedajazzliturgyfortheLutheranchurch,MissaLaetare,aswell
asMisaANuestroDios,aMassusingLatinAmericanrhythmswhichpremieredonOctober10,
1971atthesecondannualAll-NiteSoulJazzVespersatSt.Peter’s.109Alongwiththeseven
masseshewrote,BonnemèrefrequentlycollaboratedwithPastorJohnGarciaGenselforjazz
Vesperservicesfromthelate1960suntiltheearly1990s.GenselledthejazzministryatSt.
104Ibid.105“JazzandReligion-EndofALoveAffair?”Downbeat,February23,1967,11.106KevinP.Kelly,“CommunityofSt.ThomastheApostleinHarlem,”promotionalmaterial.privatecollection.107MassforEverySeason,EddieBonnemère,PrivateCSS698,33⅓rpm,1969.108“CommunityofSt.ThomastheApostleinHarlem,”promotionalmaterial.privatecollection.109“JazzVesperssetOct.10inNewYork,”ThePittsburghCourier,October9,1971,15.
31
Peter’sLutheranChurchinManhattanandisdiscussedlaterinthischapter.Bonnemèrealso
recordedtwomoreliturgicaljazzalbums:MissaLaetare(MassofJoy)andOHappythePeople,
whichwasajazzVesper’sservice.ThescoreofOHappythePeoplecontainsthreeextra
sections:“TheInvitory,”“Veniteexultemus,”and“TheHymn,”whichwhenincludedconformto
aMatinsMassinsteadofaVespersMass.110MissaLaetarewasthefruitofhisfrequent
collaborationswithGensel,whowasaLutheranclergyman.111Theworkwaspremieredon
March17,1969atSt.Peter’sLutherChurch.Fortherecording,thesamebandfeaturedon
MassforEverySeasonwasbroughtinwithafewadditions.Bonnemèreislistedascomposer
andconductorwithRobertBornemannleadingtheLutheranSeminaryChoiratPhiladelphia.
ThealbumfeaturesBonnemèreonorgan,ArnieLawrenceonaltosaxophoneandclarinet,
Lawrence“Rico”Hendersonontenorsaxophone,HowardJohnsononaltosaxophoneand
clarinet,WilliamBivensonbaritonesaxophone,EddiePrestonontrumpetandflugelhorn,Allen
Brownontrumpet,BennyPowellonbasstrombone,RoyPhelpsonguitar,IraStuartonpiano
andbells,SticksEvansondrumsetandtimpani,JoeScottandHaroldGayloronbass.112The
tracksonthealbumare“HelpMeJesus,”“Introit,”“Kyrie,”“GloriainExcelsis,”“Collect,”
“Epistle:Gal.4,Seasonalgradual,”“Gospel:John6,”“Offertory,”“PrefaceandSanctus,”“The
Lord’sPrayer,”“AgnusDei,”“NuncDimittis,”“PrayerandBenediction,”and“HelpMeJesus.”113
ThechoralarrangementsonMissaLaetarefeaturesmorecomplexchoralarrangementsand
harmoniccontentthanthepreviousrecording.Thereispreachingonthealbumand,again,a
110EddieBonnemère,OHappythePeople:AContemporarySettingOfMatinsAndVespers(Philadelphia:FortressPress,1973),textbyRobertBornemann,Print.111JohnKerr,linernotestoMissaLaetare(MassofJoy),EddieBonnemère,FortressRecordsCSS795,33⅓rpm,1969.112Ibid.113Ibid.
32
widerangeofmusicalstylesanderasarerepresented.Themusicandperformanceismore
polishedthanhisfirstalbumandfeaturesimprovisationaswellascommonjazzprogressionsin
themusic.OfBonnemère’sthreerecordedmasses,thisonefallsmostcomfortablyinthejazz
genre.
OHappythePeople,theVespersMassversion,wasBonnemère’sthirdandfinal
liturgicalalbum.Releasedin1973itfeaturedamuchsmallergroupthanBonnemère’sprevious
albums.ThegroupconsistedofBonnemèreonpiano,AlbertSocarrasonflute,JoeScotton
bass,CharlesSimonondrums,RobertHenryonvocals,andtheChoiroftheLutheran
TheologicalSeminaryatPhiladelphiaunderthedirectionofRobertBornemann.114Bonnemère
wroteandarrangedthemusicandRobertBornemannprovidedthetext.115Thealbum’stracks
were“JustasaDeer,”“TheVersicles,”“Psalm130:DeProfundis,”“Psalm29:AfferteDomino,”
“Lesson,ResponseandShortResponsory,”“ItTakesanAwfulLotofLovin’,”“Offertary:How
GreatAreYou,”“Canticle:Magnificat,”“ThePrayer:Kyrie,Lord’sPrayer,Collects,Benediction,”
and“BlessedBetheLordMyRock.”116Thefirsttwotracksaretotallyacappellaandthechoiris
onceagainusingharmoniesinsteadoftheunisonmelodies.Thebandplaysaminimal
supportingrolewiththeexceptionof“Psalm29:AfferteDomino.”Onceagain,thereisvery
littlewhichfallscomfortablyintothejazzgenre.“ItTakesanAwfulLotofLovin’”isthetrack
which,withitsimprovisation,accompaniment,vocaldelivery,andgroove,mostclosely
resemblesjazz.
114RobertBornemann,linernotestoOHappyThePeople,EddieBonnemère,FortressRecordsBP6172,33⅓rpm,1973.115Ibid.116Ibid.
33
Bonnemèrewasactiveintheliturgicaljazzsceneinthenortheastfromthelate1960s
intotheearly1990s.HewasafrequentcollaboratorofJohnGarciaGenselandwasaregular
performeratSt.Mark’sLutheranChurch’sJazzVespers.117Bonnemèrealsoperformedhis
liturgicalmusicathigh-profilevenuessuchasainspecialprogramatTownHallinNewYork
titled“JazzfortheMasses”onMarch21,1969118andAveryFisherHallinLincolnCenterin
1981.HewasapermanentfixtureintheNewYorkliturgicaljazzsceneforovertwodecades.
Bonnemère’smassesnevergatheredthenationwideattentionthatEdSummerlin’sliturgical
jazzservicesorFrankTirro’sMassdid,buthedidmanagetobeamajorforceinthenortheast
andhadalongliturgicalmusiccareer.
PaulKnopf
PaulKnopfisaNewYork-basedpianist,churchmusicdirector,andcomposerwho
earneddegreesfromTheJulliardSchoolandNewYorkUniversity.119AccordingtoKnopf,he
beganwritingliturgicaljazzworksin1964afterhearinganunidentifiedperformanceof
liturgicaljazzthathefeltwastoorestrainedincharacter.120Knopfbecameaffiliatedwiththe
JudsonMemorialChurchinNewYork’sGreenwichVillage,whichhadaveryprogressivearts
ministryandwasactiveinsocialjusticecauses.Hewascommissionedtowritethescorefora
playandlaterwroteASettingofthePsalmsforaThanksgivingDayservicein1964.121Sheila
117“StPeter’sChurchNewsRelease,”EddieBonnemère.InstituteofJazzStudies:RutgersUniversity.Newark,N.J.118“JazzfortheMasses,”ticketorderform,1969.privatecollection.119EugeneChadbourne,“PaulKnopf,”AllMusic,accessedMarch3,2017,http://www.allmusic.com/artist/paul-knopf-mn0001334646120PaulKnopf,interviewwithauthor,March2016.121Ibid.
34
JordansangtheworkwithKnopfonpiano,JackSixonbass,PaulMotianondrums,andchoral
accompaniment.122JohnGarciaGenselandNormanO’Connerattendedthesecond
performance,whichwasinaconcertsetting,andtookaninterestinKnopf.Heperformedit
againattheAmericanBaptistAssemblyinWisconsinandseveralcollegecampusesontheEast
CoastwithGensel’sandO’Connor’shelp.KnopfalsoworkedfrequentlywithBonnemère,with
whomhecollaboratedonwritingliturgicaljazzworksandperformedatservices.
In1965,KnopfcomposedFaithofaRadical,aliturgicaljazzworkforsocialjustice
dedicatedtoA.J.Muste.Heperformeditwiththesamegroupatseveralcollegecampusesand
churchesthatwerehavinganti-warprotests.123KnopfwrotethemusicandtextforTheLast
Trip,apiecebasedontheProdigalSontextfromtheBible.HecomposedaPalmSundayService
andreceivedaNationalEndowmentfortheArtsgranttowriteamusicaltheaterworktitled
TheCursingoftheFigTree.124FeaturingmusicandatextbyKnopfaswellasdancing,thework
waspremieredatoneoftheAll-NiteSouleventsatSt.Peter’sChurchinManhattan.Healso
wrotetwoCatholicmassesinLatin:AaronandEmmaMassforchoirandsextet,and
Magnificat.125KnopfalsowroteaMassforMyBrothersandSisters,butithasnotbeen
performed.HeisstillinvolvedatJudsonMemorialChurchandSt.John’sLutheranChurchin
GreenwichVillage.
122Ibid.123Ibid.124Ibid.125Ibid.
35
PaulHorn
PaulHornisaflutist,clarinetist,andsaxophoneplayerwhoplayedinChicoHamilton’s
quintetfrom1956to1958andwithTonyBennettin1966.126HeworkedforHollywoodstudios,
Canadiantelevision,theCanadianNationalFilmBoard,andrecordedsolofluteattheTajMahal
andtheGreatPyramidofCheops.127In1965,HornwasthefeaturedsoloistonJazzSuiteonthe
MassTextsbypianistandcomposerLaloSchifrin.Hornwrote,“intermsofconcept,recording
andliveperformance,theJazzMasswasdefinitelyapeakexperienceinmylife.”128Hornwrote
thathewaslookingforavehicleforimprovisationthatwouldincludeorchestra,hisjazz
quintet,andvoices,sohecontactedLaloSchifrinaboutcomposingthemusic.Schifrincameto
prominenceasDizzyGillespie’spianoplayerfrom1960-1962andhasbecomeaprolificfilm
scorer.129ThetextwasoriginallyinLatin,butwasswitchedtoEnglishoneweekbeforethe
recordingsessionaftertheEcumenicalCouncilinRomesanctionedMasstobedeliveredin
differentlanguages.130Hornrecalled,“ourmasswasthefirstwritteninanylanguageotherthan
Latin,anditwasthefirstjazzMasseverrecorded.”131WhileIthinkthefirstclaimmaybea
difficultonetoprove,thesecondoneholdstrue.Tirro’sAmericanJazzMasswaswrittenand
126LeroyOstranskyandBarryKernfeld,"Horn,Paul."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary27,2017,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J207900.127Ibid.128PaulHorn,InsidePaulHorn:TheSpiritualOdysseyofAUniversalTraveler(SanFrancisco:HarperSanFrancisco,1990),145.129MichaelJ.Budds,"Schifrin,Lalo."GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary28,2017,http://www.oxfordmusiconline.com/subscriber/article/grove/music/24853.130Ibid.131Ibid.,146.
36
performedyearsearlier,butitwasnotrecordeduntil1966,andeventhenwithlimited
distribution.
ThealbumfeaturesPaulHornonaltoflute,bassflute,altosaxophone,andclarinet.His
quintetconsistsofLynnBlessingonvibraphone,BillPlummeronbass,MikeLangonpiano,and
LarryBunkerondrums.Comprisedofseveralnotablejazzandstudiomusicians,theorchestra
consistsofVincentDeRosaonFrenchhorn;FrankRosolinoontrombone;DickLeithonbass
trombone;AlPorcinoandConteCondoliontrumpet;RedCallenderontuba;DorothyRemsen
andAnnStocktononharp;KenWatson,EmilRichards,FrankFlynnandMiltHollandon
percussion;andaneight-personmixedchoir.132TheMassconsistsof“Kyrie,”“Interludium,”
“Gloria,”“Credo,”“Sanctus,”“Prayer,”“Offertory,”and“AgnusDei.”Thealbumhasextensive
contemporaryimprovisationsandhasmanyavant-gardequalities.The“Credo”inparticularhas
freeimprovisationbybothHornandthechoirthatissupposedtosymbolizetheagonyofbeing
trappedinpurgatory.133ThealbumwonaGrammyawardfor“bestoriginalcomposition”in
1965.134
TheMasswasperformedliveafewtimesinthe1960saccordingtoHorn.Herecounted
aMassatHennepinAvenueMethodistChurchinMinneapoliswherefivethousandpeople
attended.135The“Offertory”beganandendedwithawrittenmelody,butcalledforfree
improvisationfromthejazzquintetduringthedistributionofcommunion.Becauseofthesize
132Fr.NormanJ.O’Connor,linernotestoJazzSuiteontheMassTexts,PaulHorn,RCAVictorLSP-3414,33⅓rpm,1965.133Horn,InsidePaulHorn,146.134“PastWinnersSearch,”TheRecordingAcademy,accessedFebruary28,2017,https://www.grammy.com/nominees/search?artist=%22Lalo+Schifrin%22&field_nominee_work_value=&year=All&genre=All135Horn,InsidePaulHorn,147.
37
ofthecrowdandtimenecessarytodistributecommunion,thegroupendedupimprovisingfor
forty-fiveminutes.Horndescribeditapivotalmomentforhimbothspirituallyandmusically
thatguidedhiscareerafterthat.136LaloSchifrinre-orchestratedtheworkfortheGermanWDR
BigBandandperformedtheMassinaconcertsettingonFebruary7,1998inCologne,
Germany.137TherecordinghadfeaturedsoloistsLaloSchifrinonpiano,TomScotton
woodwinds,andJoeLaBarberaondrums,allaccompaniedbytheWDRBigBand,St.Stephan’s
YouthChoirofCologne,andsomeadditionalorchestralinstrumentalguests.138
VinceGuaraldi
VinceGuaraldiwasapianistandcomposerwho,inthe1950s,playedwithCalTjader,
WoodyHerman,FrankRosolino,ConteCondoli,andHowardRumsey’sLighthouseAll-Stars,
amongothers.139HelaterbecamewellknownforhisscoringofthetelevisionshowPeanuts.He
wascommissionedbyReverendCharlesGompertztocomposeajazzMasstocelebratethe
completionofGraceCathedral.Barret“Barry”Mineahwasthechoralconductorforthejazz
MassandtheSt.Paul’sChurchofSanRafaelChoirwasenlisted.MineahsuggestedtoGuaraldi
thatthehymnsandchoralmusicshouldbefamiliartoallEpiscopaliansanditshouldbea
communionservice.140Gompertzsuggestedthe“’PlainSong’settingoftheMissaMarialis,the
136Ibid.,148.137LaloSchifrin,linernotestoJazzMassinConcert,LaloSchifrin,AlephRecords007,compactdisc,1998.138Ibid.139AndrewJaffe,"Guaraldi,Vince."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary28,2017,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J180000.140“ItProvedaHappySurprise:‘SwingingMass’HasEvenMadetheTop40Charts,”DailyIndependentJournal(SanRafael,CA),October23,1965,40.
38
FourthCommunionservicesetting-becauseIknewthatnobody,butnobody,couldarguewith
that.Youcouldn’tgetmoreconservativethanthat.”141
TheservicewasrecordedonMay21,1965atGraceCathedralinSanFranciscowhere
EllingtonwouldpremierehisfirstSacredConcertafewmonthslater.Themusiciansincluded
Guaraldionpiano,TomBeesononbass,andLeeCharltonondrums,alongwithasixty-eight-
personchoir.142TheMassconsistedof“TheBishop’sGreeting,”“KyrieEleison,”“ComewithUs,
OBlessedJesus,”“NiceneCreed(IBelieve),”“ComeHolyGhost,”“ThemetoGrace,”“Sursum
CordaandSanctus,”“TheLord’sPrayer,”“AgnusDei(OLambofGod),”“HolyCommunion
Blues,”“AdoreDevote(HumblyIAdoreThee),”“InRemembranceofMe,”“GloriainExcelsis,”
and“Blessing(BishopJamesAPike).”143Thesermonwaspreachedbythenationallyrecognized
andcontroversialpriestMalcolmBoyd,achoicethatwouldbeascontroversialasusingajazz
Massbecauseofhisoutspokencriticismofracialsegregation.144TheMassreceivedsome
lukewarmreviews,oneofwhichunfavorablycomparedtheworkto“cocktailmusic,”butitlies
verycomfortablyinthejazzpiano-triotraditioningrooveandGuaraldi’sbebop-inspired
melodicimprovisations.Thecriticismmaystemfromthefrequentuseof3/4and6/8time
signaturesintheworkaswellasCharlton’suseofbrushesonthedrums,orwithreviewers
unfamiliarwiththesubtletiesofjazzpianotrios.Therecordingwasedited,reorderedandsong
titleswereaddedtoGuaraldi’simprovisationsundertheguidanceofGompertzbecausethe
recordcompanyengineerswereunfamiliarwiththestructureoftheMassanditwasmuchtoo
141DerrickBang,VinceGuaraldiatthePiano(Jefferson,N.C.:McFarland&Company,2012),143.142PhilipElwood,linernotestoTheGraceCathedralConcert,VinceGuaraldi,FantasyFCD-9678-2,CompactDisc,1997.143Ibid.144Bang,VinceGuaraldi,150.
39
longtofitonasinglealbum.145GuaraldiperformedtheMassatleastonetimein1967atthe
FestivalofLiturgicalArtsinSanFrancisco.146
DaveBrubeck
DaveBrubeckwasapianistandcomposerwho,inthe1950sand60s,ledaverypopular
quartetwithPaulDesmondonaltosaxophone,EugeneWrightonbass,andJoeMorelloon
drums.Hehadalongandsuccessfulcareerasajazzmusicianandalsocomposedmany
liturgicalworks.Becausehiscareeriswelldocumented,Iwillonlyfocusonhisworksinspired
byliturgicaljazz.HewroteajazzoratoriotitledTheLightintheWildernessin1968.147
Improvisation,syncopation,andpianosolosaretheonlymusicaltiestojazzinwhatis
otherwiseaclassically-orientedwork.Thefollowingyear,BrubeckcomposedthecantataGates
ofJustice,aworkwhichcontainedHebrewmelodies,spirituals,blues,jazz,androck
elements.148ACatholicpublishingcompanycommissionedBrubecktowriteacontemporary
Masswiththestipulationthatithadtobeperformablebyafullorchestrainaconcertsetting
andbyamateursinanysetting.149TheresultwasBrubeck’sToHope!ACelebration,whichwas
releasedin1980.TheMasswaslargelyclassicalinnaturewiththeexceptionof“ThePeaceof
Jerusalem”and“Alleluia,”bothofwhichfeaturedthejazzquartet’simprovisations.Brubeck’s
nextmajorliturgicalworkwithjazzelementswasthecantataTheVoiceoftheHolySpirit
145Ibid.,154-155.146“FestivalofLiturgicalArtsOpensMondayatSeminary,”DailyIndependentJournal(SanRafael,CA),April1,1967,19.147FrankTirro,JazzAHistory(NewYork:Norton&Company,1977),338.148Ibid.,134.149FredM.Hall,It’sAboutTime:TheDaveBrubeckStory(Fayetteville,AR:TheUniversityofArkansasPress,1996),135-136.
40
(TonguesofFire),whichpremieredin1985.150Theworkcontainedajazzquartetaswellas
improvisation.WhileBrubeck’sjazzcredentialsareunquestionableandtheseworksallcontain
elementsofjazz,particularlyjazz-inflectedimprovisations,theyarenotwhollyorevenmostly
jazzpieces.Muchofthismusicfallscomfortablyintheclassicalgenre.
OtherLiturgicalJazzWorks
DavidBakerwasatrombonist,cellist,composer,author,andeducatorwhowrotethree
jazzmasses.In1967,hecomposedhisfirstMass,LutheranMass,whichwasscoredformixed
chorusandjazzsextet.151HissecondMass,CatholicMassforPeace,composedin1969,was
scoredforchorusandjazzensemble.152In2003,hecomposedEpiscopalMassfortheFeast
DaysofBishopAbsalomJones.153TheMassisscoredforboys’choir,mixedchorus,andajazz
septetwithsectionsforimprovisationbypiano,bass,anddrums.154AccordingtoAndreJerome
Thomas,BakeralsoconsideredBeatitudes,PsalmTwenty-two,PsalmTwenty-threeandInBlack
Americatobeliturgicaljazzworks,despiteincludinginstrumentationnotcommonlyassociated
withjazz.155FatherClarenceRivers,aCatholicpriest,composedBrotherofManin1967,which
150IlseStorbandKlaus-GotthardFischer,DaveBrubeck,ImprovisationsAndCompositions:TheIdeaOfCulturalExchange:WithDiscography(NewYork:PeterLang,1994),139.151MonikaHerzig,DavidBaker(Bloomington,IN:IndianaUniversityPress,2011),342.152AndreJeromeThomas,"AStudyoftheSelectedMassesofTwentieth-CenturyBlackComposers:MargaretBonds,RobertRay,GeorgeWalker,andDavidBaker"(dissertation,UniversityofIllinoisatUrbana-Champaign,1983),123,https://search.proquest.com/docview/303165713?accountid=14553.119.153Herzig,DavidBaker,208.154Ibid.155Thomas,AStudyoftheSelectedMasses,123.
41
wasperformedattheNewportJazzFestivalthatsameyear.156HealsocomposedResurrection,
whichwasscoredforgospelandjazzsoloists,chorus,andpiano,withtheoptionofreplacing
thepianowithachamberorchestra.157Baker’sandRivers’sliturgicaljazzworkshavenotbeen
recordedandreleased.
In1965,pianist,composer,saxophonistandFrenchhornplayerJonathanKleinwas
commissionedtocomposeaJewishjazzprayerceremonybyTempleEmanuelinWorchester,
MassachusettsforaJewishyouthconvention.158TheworkwaspremieredthereinNovemberof
1965andwasscoredforpiano,bass,drums,trumpet,sopranosaxophone,altosaxophone,
baritonesaxophone,Frenchhorn,flute,flugelhorn,andtwosingers.159Afteritsinitial
performance,theceremonywasperformedasaconcertinseveralcitiesinthenortheast.160An
albumwasrecordedwithHerbieHancockonpiano;JeromeRichardsononfluteandtenorand
altosaxophone;JonathanKleinonFrenchhornandbaritonesaxophone;ThadJoneson
trumpetandflugelhorn;RonCarteronbass;GradyTateondrums;singersAntoniaLavanneand
PhyllisBryn-Julson;andRabbiDavidDavisasthereader.161Therecordingfeatures
improvisationandincludes“BlessingOverTheCandles,”“Matovu-Bor’chu,”“Sh’ma,”“Micho
Mocho,”“Sanctification,”“MaytheWordsofMyMouth,”“Kiddush,”“TorahService-
156EileenSouthern,TheMusicofBlackAmericans(NewYork:Norton&Company,1997),505.157Ibid.158RabbiDavidDavis,linernotestoHear,OIsrael:APrayerCeremonyinJazz,JonathanKlein,P/CJonnyRecordsJBH0025CD,compactdisc,2008.159Ibid.160Ibid.161Ibid.
42
Adoration,”and“FinalAmen.”162Despitetheformidablelineup,therecordhadaverysmall
pressingandsubsequentlyvanishedintoobscurity.
In1990theMilkenArchivecommissionedarevisedversionoftheworkfora1992new
recordingfeaturingHerbPomeroyandfourvoicesthatwasblendedwithsectionsofthe
originalrecording.163HerbPomeroywasatrumpeter,composer,arranger,bandleader,and
educatorwhoworkedwithCharlieParker,CharlieMariano,LionelHampton,andStanKenton,
andwasalsoamemberofthefacultyattheBerkleeSchoolofMusicforfortyyears.164The
revisedworkwasperformedinMassachusettsafewyearslaterwiththelargelythesame1990s
groupincludingHerbPomeroy.KleinlatercomposedajazzcantataOfSacredTimesand
SeasonswithtextbyRabbiDavidPolish.165TheworkwascommissionedbyCongregationBeth
Elohimin1972andperformedatthesynagogueinBrooklyn,NewYork.Thegroupthat
performedwasJonathanKleinonkeyboardsandbaritonesaxophone,SalSpicolaontenorand
sopranosaxophones,JacksonStockontrombone,MickGoodrickonguitar,SteveSwallowon
bass,TedSeidesondrumsandvocalistsBethHarringtonandDougLeese.166Theworkwas
neverprofessionallyrecordedbutarehearsaltapedoesexist.AccordingtoKleinthecantata
162Ibid.163“JonathanKlein’sHearOIsrael:HerbieHancock’smaidenvoyagewithJewishmusic,”MilkenArchive,accessedMarch4,2017,http://www.milkenarchive.org/radio/category/podcast/jonathan-kleins-hear-o-israel-herbie-hancocks-maiden-voyage-with-jewish-music/164BarryKernfeld."Pomeroy,Herb."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedJanuary29,2017,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J358400.165“JonathanKlein,”MilkenArchive,accessedMarch4,2017,http://www.milkenarchive.org/artists/view/jonathan-klein/166JonathanKlein,interviewwithauthor,March2017.
43
wasinafusionstyle,notunlikeGaryBurton’s1970sgroups,withtextaboutJewishHoliday’s
throughouttheyear.167
MichaelGarrick,aBritishpianist,organist,andcomposer,composedJazzPraisesin
1965.Hebeganbycomposingaprocessionalforfour-partharmonyandtheworkevolvedfrom
theretobecomeasuiteofpieces.168GarrickwasurgedtocontactPeterMoundofSt.Michael
theArchangelChurchinAldershot,England,wherehefocusedondevelopingchoralwritingfor
choirandbecomingfamiliarwiththesonicpossibilitiesoftheorgan.169Theworkwas
premieredthereinNovemberof1967andwasperformedagaininAberdeen,Leicester,
Wandsworth,Cambridge,andCanterbury.TheworksfourthperformanceatSt.Paul’swas
recordedandfeaturedMichaelGarrickonorgan;ArtThemenontenorandsopranosaxophone,
flute,andclarinet;JimPhilipontenorsaxophone,clarinet,andflute;IanCarrontrumpetand
flugelhorn;ColeridgeGoodeonbass;JohnMarshallondrums;PeterMoundasconductor;The
ChoirofSt.MichaeltheArchangel;singersfromFarmboroughGrammarSchool;andthe
UniversityChoirofSt.NicholasunderthedirectionofIanImlay.170JazzPraisesconsistsof
“Anthem,”“Sanctus,”“Kyrie,”“Behold,APaleHorse,”“SalvationMarch,”“TheBeatitudes,”
“Rustat’sGravesong,”“TheLord’sPrayer,”“AgnusDei(LambofGod),”“Confiteor,”“Psalm73,”
167Ibid.168AlynShipton,HandfulofKeys:ConversationswithThirtyJazzPianists(NewYork:Routledge,2004),46.169MichaelGarrick,linernotestoJazzPraisesatSt.Paul’s,MichaelGarrickSextet,JazzAcademyRecordsJAZA11,compactdisc,2008.170Ibid.
44
and“Carolling.”171Despitecontainingmanysectionsofformalmasses,thework’spremiereand
subsequentperformanceswereperformedassacredconcerts,notasaserviceofworship.172
RecentLiturgicalJazzWorks
Overthelastdecadetherehasbeensomerenewedinterestincomposingliturgicaljazz.
Aswasmostlythecaseinthe1960sand1970s,NewYorkisatitsepicenter.Pianist,vocalist,
andcomposerDeannaWitkowskirecordedFromThisPlacein2009whichfeaturedheron
pianoandvocals,DonnyMcCaslinonsaxophone,JohnPatituccionbassandScottLatzkyon
drums.LailaBiali,PeterEldridgeandKateMcGarrywereonvocalsforfourofthetracks.The
workfeaturesseveralofherliturgicaljazzcompositionsincludingthe“Kyrie,”“Gloria,”
“Sanctus”and“AgnusDei”fromherEveningMass.173BassistandcomposerIkeSturmwas
commissionedbySt.Peter’sChurchinNewYorktocomposeajazzMassforretiringPastorDale
Lind.174TheresultwasthecontemporaryJazzMassin2009,whichcontains“Kyrie,”“Gloria,”
“Interlude,”“Hymn:JustAsIAm,”“Offertory:Stillness,”“Sanctus,”“Thanksgiving,”“Our
Father,”“AgnusDei”and“Hymn:Shine.”175Sturm’salbumfeaturesMistyAnnSturmonvocals,
LorenStillmanonaltosaxophone,DonnyMcCaslinontenorsaxophone,IngridJensenon
trumpetandflugelhorn,AdamBenjaminonpianoandRhodes,RyanFerreiraonguitar,Ike
SturmonbassandTedPoorondrums.Trumpeter,composerandbandleaderWyntonMarsalis
composedAbyssinianMass,releasedin2016whichfeaturedtheJazzatLincolnCenter
171Ibid.172Ibid.173DeanaWitkowski,linernotestoFromThisPlace,DeannaWitkowski,TilapiaRecords0002,compactdisc,2009.174IkeSturm,linernotestoJazzMass,IkeSturm,privatelabel,compactdisc,2009.175Ibid.
45
OrchestraandtheChoraleLeChateauchoirledbyDamienSneed.Theworkwascommissioned
bytheAbyssinianBaptistChurchinHarlemandincludes“Devotional,”“CalltoWorship,”“The
Lord’sPrayer,”“GloriaPatri,”“Anthem,”“Sermon,”“Offertory,”“Doxology,”“Benediction,”
and“Amen”amongitstwenty-threesections.176Therearemanyless-recognizablenameswho
haverecordedjazzmassesandjazzserviceswhichhavenothadthesamepopularrecognition
ordistributionastheartistsIhavefocusedon.IhaveincludedthecurrentlistasofFebruary
2017inAppendixB.ConsideringthelargenumberofchurchesandjazzmusiciansintheUnited
Statesandacrosstheworld,IhavenodoubtthatIhaveleftsomeoff,butitisthemost
completelistavailabletodate.
JazzClergy
Mostofthejazzservicesandjazzmassesdiscussedinthisdissertationsimplywouldnot
havebeencomposedwithouttheencouragement,commissions,guidance,andenthusiasmof
clergyofvariousdenominationsaroundtheUnitedStatesandbeyond.Therewouldbenoway
toacknowledgealltheabove-mentionedclergy,butIfeelitisimportanttodiscussbrieflythree
thatwereindispensabletoliturgicaljazz:JohnGarciaGensel,NormanJ.O’Connor,andDr.
RogerOrtmayer.
JohnGarciaGenselmovedtoNewYorkin1956,wherehetookajazzhistorycourse
withMarshallStearns.177Hebeganfrequentingjazzclubsandgraduallydevelopedareputation
176LeonWieseltier,linernotestoTheAbyssinianMass,JazzatLincolnCenterOrchestrawithWyntonMarsalis,BlueEngineRecordsBE0005,compactdisc,2016.177BenRatliff,“JohnG.Gensel,80,thePastortoNewYork’sJazzCommunity,”NewYorkTimes,February8,1998,42.
46
asa“hipminister.”178Jazzmusiciansbeganseekinghimouttodiscusspersonalandspiritual
problems.Eventually,itbecamesotimeconsumingthathe“soughtandreceivedspecial
designationasPastortotheJazzCommunityinNewYorkCity.”179Hewasacloseconfidantto
DukeEllingtonandBillyStrayhornandpresidedoverthefuneralsofjazzlegendsEllington,
TheloniousMonk,JohnColtrane,ColemanHawkins,MilesDavis,andDizzyGillespie,among
manyothers.180In1970,GenselstartedtheAll-NiteSoulseventatSt.Peter’sChurchin
Manhattan,acongregationforwhichheledJazzVespers,forthreedecades.Heworkedclosely
withalmosteveryjazzmusiciandiscussedinthisdissertationandwasachampionofliturgical
jazz.
ReverendNormanJ.O’ConnorbecameCatholicChaplainatBostonUniversityin1951.
HewasontheboardforthefirstNewportJazzFestivalandwasaclosefriendofGeorge
Wein.181O’ConnorwrotearticlesforDownbeat,Metronome,andTheBostonGlobe,among
otherpublications.182Inthe1960shemovedtoNewYork,wherehewasactiveonradio,
television,andinthejazzcommunity.O’Connoralsohadcontactwithalmosteveryliturgical
jazzmusicianinthisdissertation.
Dr.RogerOrtmayerwasaprofessorofChristianityandtheArtsatthePerkinsSchoolof
TheologyatSouthernMethodistUniversityfrom1958-1966.183AfterhewasintroducedtoEd
178Ibid.179Ibid.180Ibid.181GeorgeWeinandNateChinen,MyselfAmongOthers(Cambridge,MA:DaCapo,2003),102.182PeterKeepnews,“Rev.NormanJ.O’Connor,81,‘JazzPriest’,”NewYorkTimes,July6,2003,21.183“RogerE.OrtmayerIsDead;ALeaderofChurchCouncil,”NewYorkTimes,Sect.Obituaries,November1,1984,accessedDecember8,2015,
47
Summerlinduringhissecondyearthere,theyformedapartnershipthatlasteddecades.
OrtmayerwasthepersonwhocommissionedandadvisedonSummerlin’sfirstliturgicaljazz
servicein1959.TheyworkedtogetheronliturgicaljazzprojectsofalltypesuntilSummerlin’s
retirementfromthegenreintheearly1970s.Thefruitsoftheirlaborsarediscussedingreat
detailinChapters3and4.From1966to1974,OrtmayerheldapositionastheExecutive
DirectoroftheDepartmentofChurchandCultureattheNationalCouncilofChurches.184He
wrotethebookWorshipandtheArts,andcontributedchaptersforChristianFaithandthe
ContemporaryArts,TheRuralChurch,andPastorandChurch.185Ortmayeralsowrotefor
televisionandplaysandlecturedatchurchesandconferencesacrosstheUnitedStatesand
abroad.
Theclergywerealmostalwaystheinstigatorsofthecreationofmanyoftheseworship
servicesandmasses.ThemasseswereparticularlyimpactedbyVaticanII,ortheSecond
VaticanCouncil,whichwasconvenedin1962byPopeJohnXXIIIandconcludedunderPope
PaulVIin1965.186AccordingtoJosephA.Komonchak,“VaticanIIhasrightlybeendescribedas
themostimportanteventinthehistoryoftheRomanCatholicChurchsincetheProtestant
Reformation.”187Komonchakgoesontowritethatthisviewissharedbybothsupportersand
criticsofVaticanII’schanges.Itisbeyondthescopeofthisdissertationtothoroughlydiscuss
thechangeshandeddownbytheevent;however,theonethatmostdirectlyimpacted
http://www.nytimes.com/1984/11/01/obituaries/roger-e-ortmayer-is-dead-a-leader-of-church-council.html.184Ibid.185Pastor’sStudyConference,conferenceprogram,1968,TheFirstChurchofChrist.privatecollection.186JohnW.O’Malley,WhatHappenedatVaticanII(Cambridge,MA:BelknapPress,2008),2.187Jean-PierreJossuaandJosephA.Komonchak,TheReceptionofVaticanII(Washington,D.C.:TheCatholicUniversityofAmericaPress,1987),vii.
48
composerswritingliturgicaljazzwasthegrantingofmoreautonomyto“bishopsinmaking
adaptationsappropriatetotheircultures,”suchasusingvernacularlanguagesinmasses,
permittingmorefreedomintheselectionofmusic,andincludingthecongregationasamore
activeparticipantintheMass.188Somechurchleadershipviewedthisasopeningthedoorto
theuseofmusicalstylesoftheday,likejazz,inworship.Italsoencouragedjazzcomposersto
trytheirhandatwritingmasses.Thedoorwasnotopenforlong,however,becauseinJanuary
of1967anedictwasissued:
fromtheVaticanoutlawing“jazzmasses.”Aformalcondemnationofthisandother“extremedistortionsofliturgy,”madejointlybytheSacredCongregationofRites,whichgovernsliturgicalmatters,andtheCouncilfortheApplicationoftheConstitutionontheLiturgywassupportedbyasimilarwarningfromPopePaulVI.189
Thisedicthadachillingeffectonthecreationofnewmassestoacertaindegree.Many
denominationswere,ofcourse,notboundbytheVatican’sdecisions,buttheoldbeliefthat
jazzandchurchwerenotcompatibleseemedtotakeonnewlife.
1959wasanextraordinaryyearforjazz,withthereleaseof,amongothernotable
recordings,MilesDavis’sKindofBlue,OrnetteColeman’sTheShapeofJazztoCome,Charles
Mingus’sMingusAhUm,JohnColtrane’sGiantSteps,andDaveBrubeck’sTimeOut.InDenton,
Texas,EdSummerlincomposed,performed,recorded,andreleasedLiturgicalJazz,thefirst
completeserviceofworshipusingoriginaljazzcomposition.Thesameyear,FrankTirro
composedAmericanJazzMass,whichwasthenpremieredin1960.Theywerefollowedby
manyjazzcomposersandperformersinthe1960s,includingMaryLouWilliams,LaloSchifrin,
188O’Malley,WhatHappenedatVaticanII,132.189JohnS.Wilson,“JazzandChurch:Oil-WaterMix?”NewYorkTimes,January15,1967,D26.
49
PaulHorn,DavidBaker,VinceGuaraldi,andlesser-knownnameslikeEddieBonnemèreand
PaulKnopfwhoworkedintheliturgicaljazztrenchesinNewYork.Themomentumcreatedby
Summerlinwouldcontinueintothe1970s,whenpopularandjazzmusictrendswouldalmost
completelyendtheexperiment.Thelastdecadehasseenthereemergenceofliturgicaljazz
composition,butonlytimewilltellifthetrendcontinues.
50
Chapter2
EarlyBackground
EarlyLife
EdgarEugene“Ed”SummerlinwasbornonSeptember1,1928inMarianna,Florida.The
childofWilliamEdgarSummerlinandEuniceVelmaThompson,hehadanoldersister,Johnnie
Vivian,twoyoungerbrothers,JamesLeeRoyandWilliam,andababysisterwhodiedof
pneumoniaattheageofsixmonths.190WhenSummerlinwastwo,hisfatherworkedforthe
ArmyCorpsofEngineersasacivilianondredgeboatsinFlorida.Whilehewasinthirdgrade,his
fathermovedthefamilytoLexington,Missouritoworkondredges.Eventually,hisfather
becamecaptainoftheWilliamM.Black,thelargestdredgeontheMissouririverwithacrewof
onehundredmembers.191Lexington,Missourihadonlyfivethousandresidents,butthearea
hadbeenahotspotforentertainmentsincethedaysofprohibition.Therewasan
entertainmentdistrictknownasBlockForty-Twobecausetherewereforty-twobarsinavery
smallarea.LexingtonwasonlyfortymilesfromKansasCity,andpeopletraveledfromKansas
Citytothesebars.
Summerlinwasmusicallyorientedatanearlyageandtaughthimselfavarietyof
instruments.Duringthethirdgrade,Summerlinstartedteachinghimselftoplaytheviolin.He
keptplayingitforfiveyearsuntilhisorchestradirectorlefttofightinWorldWarII.Healso
playeddrumsandtubafortheschoolduringthesixthgrade.Summerlintaughthimselftubaby
learningonhisolderbrother’saltohorn,whichhadthesamefingeringasanE-flattuba.192They
190EdgarE.Summerlin,“OralHistory,”2006,minidisc,privatecollection.191Ibid.192Ibid.
51
playedforeveryfootballgame,bothhomeandaway,accordingtoSummerlin.Hissisterplayed
clarinetinschool,butshesoonlostinterest.Hetaughthimselfclarinetinjuniorhigh,andit
becamehisprimaryfocusbecauseofthelackofopportunitytoplayviolinaftertheorchestra
disbanded.
Bytheeighthgrade,Summerlinhadbecomemoreaccomplishedasamusicianand
beganlookingtoexpandhismusicalknowledge.Hewasconcertmasterofhishighschool
orchestra,eventhoughhewasonlyineighthgrade.AtthispointhebecamefriendswithTom
Wiley,whosemotherplayedpianoandfatherplayedthedrums.AccordingtoSummerlin,Wiley
wasanexcellentmusician.TheygottogetheronWiley’sfrontporchandlearnedsongsby
popularmusiciansofthedaysuchasWoodyHermanandArtieShaw.Muchtohissurprise,
Summerlin’sfathersoldhisclarinettoaneighborandhewasdevastated.Aftermuchpleading,
hisparentsfinallyagreedtobuyhimanewone.
Atfourteenyearsofage,SummerlinandWileyformedtheirfirstband,theZoot
Tooters.193ThebandconsistedofpianistBettyBaker,drummerJoeAnton,trumpeterTom
Wiley,andSummerlinonclarinet.Hepracticed“allthetimetryingtogetmyclarinet
together,”butneverhadaformalclarinetlesson.194Itwasduringthisformativeperiodthathe
decidedmusicwasgoingtobehislife.Duringhighschool,theZootTooterskeptrehearsingand
gotagigplayingforahighschooldance.Suddenly,Summerlinfoundhimselftobepopularand
admiredforhisclarinetplaying.TheZootTootersbeganworkingregularly,andtheywere
undoubtedlyhelpedbythefactthatthedrafthadtakenmanyoftheyoungmalemusiciansoff
towar.Thegroupprimarilyplayeddancesatmunicipalauditoriumsandpartiesandmadeupto
193Ibid.194Ibid.
52
tendollarsperpersonforgigs,theequivalentofonehundredandfifty-fivedollarsin2017.
Theylaterstartedabigband,butbecausetherewerenotenoughvenuesforabandthatsize,
gigsweresporadic.
Duringthisperiod,AmericajoinedinWWII,whichledtoarelaxingofcertainlaws.
ClubsbeganopeningforafewhoursonSundaynight,despitethebluelawsthatdidn’tallow
thesaleofalcohol.195Therewasdancing,everybodywasworking,andtherewasalotofwork
inKansasCitywhere“peoplewhohadbeenmakingtwenty-fivedollarsperweeksuddenly
startedmakingonehundredoronehundredandfiftyperweek.”196Atthistime,Summerlin
wouldalsobeginworkingasasidemanwithamusiciannamedBuddyKrenakyfromConcordia,
Missouri.Hisfirstformalmusicteacher,VictorLamars,leftduringSummerlin’sfreshmanor
sophomoreyeartopursueanadvanceddegree.Hewasanimportantmentor,andSummerlin
excelledinhismusicclass.197
Summerlin’smothertookhimtotheTowerTheaterinKansasCitywherehesawCount
BasieperformwithLesterYoung.KansasCitywasaparticularlyfertilecityformusicduringthis
erawithbandsplayingtheMunicipalAuditorium,ElTorreon,andthePla-MorBallroom,which,
“wasthecity’sbest-knownballroom.Itfeaturedthebestblackandwhitebands.”198
SummerlinmadetripstoKansasCitywithWileyviabus.Summerlinalsowentwithhisbrother
LeetotheOrchidRoom,anAfrican-Americanvenue.TheysawGeneKrupaatthePla-Mor,and
195DavidN.Laband,DeborahHendryHeinbuch,BlueLaws:TheHistory,Economics,AndPoliticsofSunday-closingLaws(Lexington:LexingtonBooks,1987),103.196EdgarE.Summerlin,“OralHistory,”2006,minidisc,privatecollection.197Ibid.198FrankDriggsandChuckHaddix,KansasCityJazz:FromRagtimetoBebop:AHistory(Oxford:OxfordUniversityPress,2005),photosectionI.
53
LeerecalledthatonoccasionSummerlinwouldsitinwithtouringbands.199Atendofhisjunior
yearinhighschool,Summerlinmovedoutofthehouse.
Afterleavinghome,Summerlinworkedregularjobswhilehoninghiscraftbyplaying
whatevergigshecouldget.Hemovedintotheonlyhoteldowntownthatchargedfivedollarsa
night,andheworkedatMontgomeryWardandplayedgigs.SummerlinthenmovedtoKansas
CityandbeganworkingatPullmanCompany.Heleftshortlythereafterwhenhebeganplaying
withabigbandinSedalia.SummerlinalsoplayedinDickBennett’shillbillyband,DickBennett
andtheMissouriPlayboys.BothDickBennettandBuddyLeetplayedguitar,andRoseyplayed
bassandperformedcomedicroutines.Theyplayedinchurchesfordances,butthebandbroke
upwhenLeetwasarrested.
Summerlinbecameveryillandmovedhometobecaredforbyhismotherandtofinish
hishighschooleducation.Hestayedanddidonesemesterofhissenioryear.Heexcelledin
English,music,anddramaclasses.HeearnedhishighschooldiplomaatCentralMissouriState
CollegeintheEducationDepartmentduringthesummerofhissenioryearin1946.According
tohisbrotherLee,hisfatherboughtSummerlinaFordmodelA.Aftergraduation,hetradedit
foratenorsaxophonebecausehewantedtoplaybebop.WhileSummerlinwasproudofhis
decision,hisfatherandbrotherwereveryangrywithhim.
ArmyCareer
Aftergraduation,SummerlinjoinedthearmyonAugust7,1946sohecouldreceivethe
benefitsoftheG.I.Billandhavehismusiceducationpaidfor.Hisfatherwantedhimtobean
199JamesLeeRoySummerlin,interviewwithauthor,July2015.
54
engineerandrefusedtopayformusicschool,whichstrainedhisfamilialties.Byvolunteering,
heonlyneededaneighteen-monthcommitmentinsteadofthethreeyearsthatwererequired
fordraftees.Summerlinwantedtheshorteststintpossible.200
HewassenttoFortKnox,Kentuckywiththetankcorps.Hewasnottooseriousabout
hismilitaryduties,however,andwoulddorollcallbeforesneakingoffandtakeanap
somewhere.Unfortunately,hemissedauditionsforthearmybandschoolbynotbeingthere,
havingheardaboutauditionsmuchlater.SummerlinwaslaterstationedatCampStonemanin
Pittsburg,California.TheythoughtSummerlinhadgonetocollegebecauseofhisCentral
MissouriStateHighSchoolDiploma,and,basedonthisassumption,theyassignedhimtothe
armypost.Whilestationedthere,hesuccessfullyauditionedfortheband.Hewaslaterkicked
outofthebandfordisciplinaryreasonsandwasreassignedasatypistinanoffice.
Summerlinplayedsaxophoneinasmallarmyband,whichplayedinserviceclubsin
townwheresoldierswouldgotodanceanddrink.Thebandwasintegratedwithbothblackand
whitemembers.Astimepassed,thewhitemembersweredischargedandthebandbecameall
black,withtheexceptionofSummerlin.Hebecameclosefriendswiththeremainingmusicians,
andheeventriedtoconvincetheArmyhewasblacksohecouldlivewithhisblackfriendsin
theirbarracks,whichwerestillsegregated.RacewasneveranissuewithSummerlin,butthe
samecouldnotbesaidofhisfellowsoldiers.Hisparticipationinanalmostall-blackband
resultedinafight.Asoldierfromthesouthhithimwhilehewasinhisbunk,andSummerlin
beathimup,breakingaboneinhishandintheprocess.
200EdgarE.Summerlin,“OralHistory,”2006,minidisc,privatecollection.
55
Summerlin’stimeinthearmybandwasaperiodofgreatmusicalgrowth.Hisbandwas
comprisedoftwosaxophonesandarhythmsection.TheyplayedforthewhiteUSOin
Pittsburg,California,andblackUSOinbothPittsburgandOakland,California.Hefeltthathe
learnedalotaboutplayingsaxophoneduringthisperiod.Oneincarnationwasledby
trumpeterFredPenningtonandfeaturedSummerlin201andEdMilburnontenorsaxophone,
SpooksZavakyonpiano,JohnnyMoledaonbass,andLewisWaitesondrumswiththegroup
beingdescribedas“playingmanydancesandpartiesonandoffpost,thesemenhavedelighted
theiraudiencesandestablishedthemselvesasonethefinestGIcombosintheentireSixth
Armyarea.”202WhileinCalifornia,Summerlingottohearandlearnaboutbebop.Healsoheard
someofthelegendarybigbandsledbyWoodyHerman,BuddyRich,andGeneKrupa.
SummerlinreceivedanhonorabledischargeonJanuary26,1948.HisMilitaryOccupational
SpecialtywaslistedasBandsmanSaxophone.Hefounditquiteamusingthatheenteredasa
privateaswasdischargedasaprivateduetohisfrequentmisbehavior.
CollegeEducation
SummerlinattendedCentralMissouriStateCollege,wherehemajoredinclarinetwitha
minorinspeech.Duringthistime,heplayedclarinetintheorchestra,marchingband,
symphonicband,aswellastheKappaSigmaKappapepanddancebands.Hewasfirstchair
clarinetwithboththesymphonicbandandtheorchestra.203SummerlingraduatedfromCentral
201Here,creditedas“Bud”Summerlin.BudwasshortforBuddy,EdSummerlin’schildhoodnickname.Hewouldusethisnamewellintohisearlyadulthoodanditevenshowedupinmusicprogramsandyearbooks.202BobBrowne,SharpsandFlats,Newspaperclippingpaperunknown,8.203EdgarE.Summerlin,CurriculumVitae.privatecollection.
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MissouriStateCollegein1951withabachelor’sdegreeinmusiceducation.Hegraduatedwith
honorsandwasrankedninthoutofonehundredandsixtystudents.Hewasafeaturedsoloist
athisowncommencementandplayedthefirstmovementofAntoniSzałowski’sSonatina.204
SummerlinreturnedonNovember2,1987tobehonoredduringa“DistinguishedComposer
Graduates”recital.HewroteRobertFrancis’Songsfortenor,violin,viola,twocellos,and
trombone.Itincluded“WeatherVane,”“Icicles,”“IamNotFlattered,”“OldMen,”“Indoor
Lady,”and“DelicatetheToad.”205
Outsideofhisacademicplaying,SummerlinformedabandwithpianistLesterBoldridge.
ItconsistedofBoldridgeonpiano,Summerlinonsaxophone,andSammyondrums.Itwasan
all-blackbandwiththeexceptionofSummerlin.Healwaysfeltthathewaswelcomedintothe
blackcommunitydespitethesegregationofthetown.Theonlyproblemheeverencountered
waswhenablackpatroninablackclubsaidtothedrummer,“Ididn’tknowyouhadwhiteboys
inyourbandnow,Sammy.”206Thedrummerpunchedthepatronoffthestool.Summerlin
recalledthat,“nobodysaidanythingaboutmeafterthat.”207Hewouldoftenbepickedupathis
housetogotothesegigs,andatfirst,aswasthecustominthetownatthetime,theblack
bandmemberswaitedontheporchuntilSummerlincameout.Afterabit,heinsistedthatthey
werewelcometowaitinside,whichwasunusualinthissmallsegregatedtown.Theybecame
closefriendsandwouldgotoKansasCitytogethertotheMunicipalAuditorium,whichwasnot
segregated,toheartheDukeEllingtonBandandCountBasieOrchestra.
204CentralMissouriState,CommencementProgram,1951.privatecollection.205DistinguishedComposerGraduates,Program,1987.privatecollection.206EdgarE.Summerlin,“OralHistory,”2006,minidisc,privatecollection.207Ibid.
57
TheEastmanSchoolofMusicYears
Aftergraduating,SummerlinstudiedattheprestigiousEastmanSchoolofMusicwhere
hemadelife-longmusicalcontacts.AccordingtoLeeSummerlin,Edreceivedafellowshipto
studyattheEastmanSchoolofMusic.208HereceivedaMastersofMusicLiteratureinClarinet
PerformanceonJune9,1952.HestudiedclarinetwithprofessorRufusArey.AtEastman,
SummerlinmetBobNorden,andtheyformedagroupandcontinuedtoplaytogetherforthe
nextfiftyyears.Aftergraduation,SummerlinstartedteachingmusicatnearbyHoneoyeFalls
CentralSchoolsohecouldstayclosetothegroupandstudywithEastmanfaculty.209
SummerlinandNordenplayedtogetherinclubsaroundtheRochesterareaand
eventuallyformedagrouptogether.ThegrouphadaregularMondaynightgigatSqueezer’sin
Rochester.210ItbeganinDecember1952withpianistJimStraneyanddrummerBillPorter.Ata
laterdate,thebandexpandedtoincludeNordenontrombone,BobSilbersteinonalto
saxophone,andNeilCourtneyonuprightbass.211TheclubwasafixtureintheRochesterjazz
scenefromthemid-1940suntilthemid-1950swithartistssuchasPepperAdams,Dizzy
Gillespie,Nat“King”Cole,andTommyDorseyheadlining.212Fourmonthsafteritsinception,the
grouprecordedanalbum,TheContemporaryJazzEnsemble:NewSoundsFromRochesteron
thePrestigelabel,whichwasSummerlin’sfirstrecordedjazzalbum.
208JamesLeeRoySummerlin,interviewwithauthor,July2015.209EdSummerlinandJimStraney,linernotestoNewSoundsfromRochester,ContemporaryJazzEnsemble,PrestigeRecordsPRLP163,33⅓rpm,1953.210BobNorden,interviewwithauthor,July2015.211EdSummerlinandJimStraney,linernotestoNewSoundsfromRochester,ContemporaryJazzEnsemble,PrestigeRecordsPRLP163,33⅓rpm,1953.212AlanMorrell,“WhateverHappenedTo...Squeezer's?,”Democrat&Chronicle,June21,2014,accessedNovember24,2015,http://www.democratandchronicle.com/story/news/local/rocroots/2014/06/20/whatever-happened-squeezers/11159705/.
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Prestige213wasfoundedbyBobWeistockin1949andbecamefamouswithrecordsby
artistslikeLennieTristano,LeeKonitz,StanGetz,GeneAmmons,MilesDavis,ArtFarmer,Red
Garland,ModernJazzQuartet,TheloniousMonk,JackieMcLean,SonnyRollins,andJohn
Coltrane.214Itwas,“oneofthemostfamousindependentlabelsdevotedtonewtrendsin
jazz.”215Thegroupwasexperimentingwithwhathadbecomeknownasthirdstreamjazz,a
termcoinedbyGuntherSchullerduringalecturein1957atBrandeisUniversity.216Itwasa
blendofvariouselementsfromthefirsttwostreams,Westernclassicalandjazz.Terry
Teachoutlaysouttheextensivepre-historyofwhatwouldbecomethethirdstreaminhis
article“JazzandClassicalMusic:TotheThirdStreamandBeyond.”217Thearticleshowsthatthis
musicalmeldingoftwostyleshadbeendecadesinthemakingandtheContemporaryJazz
Ensemblewerenotbreakingnewgroundinattemptingtouseclassicalformsinajazzcontext.
TheContemporaryJazzEnsemble’sfocuswasintentionallynarrowandwaslimitedto
usingWesternclassicalformsinajazzsetting.Thelinernotesstatethat,“forfourmonthssix
peopleworkedtogethertomakebasicmusicalformssuchaspreludes,fantasias,fugues,and
213AccordingtothelinernotesofStillAtItthegroupwasbroughttotheattentionofBobWeistockbybeboppianistGeorgeWallingtonwhohadplayedingroupsledbyDizzyGillespie,OscarPettiford,StanGetz,CharlieParker,GerryMulligan,RedRodneyandZootSimsamongmanyothers.214CompiledbyMichelRuppli,ThePrestigeLabelADiscography(Westport:GreenwoodPress,1980),xi.215Ibid.216GuntherSchuller,GuntherSchuller:ALifeinPursuitofMusicandBeauty(Rochester:UniversityofRochesterPress,2011),437.217TerryTeachout,“JazzandClassicalMusic:TotheThirdStreamandBeyond,”inTheOxfordCompaniontoJazz,ed.BillKirchner(NewYork:OxfordUniversityPress,2000),349-352.
59
variationsapartofourcontemporaryjazz.”218TherecordcontainsSummerlin’sfirstrecorded
arrangement,“AllTheThingsYouAre.”Thesongbeginswiththealto,trombone,and
Summerlin’stenortradingfour-barphrases.Therhythmsectionthenplaysashortfive-note
motivethreetimesbeforethehornsreturninunisonfortheAsectionofthemelody.The
trombonetakesthemelodyintheBsectionwhiletenorandaltoplaytheintroductorymotive
firstheardintherhythmsection,firstinunisonandtheninstretto.Next,thesaxophonespick
upthemelodywhilethetromboneplaysaneighth-notecountermelody.Thealtosaxophone
takesthefirstsolochorus,followedbythetrombonetakingachorus.Summerlintakesthenext
chorusquotingtheearlierintroductorymotiveseveraltimesaswellas“TheSurreywiththe
FringeonTop."Thepianotakesthefinalsolo,andthereisatwo-barbreakbeforethe
trombonereturnsaloneforeightmeasuresoftheAsectionmelody.Thenexteightmeasures
involvethetrombonecontinuing,nowcomplementedbythewholerhythmsectionwith
Summerlinplayinganeighth-notecountermelody.IntheBsections,hereturnstotheearlier
motiveinstretto.ForthefinalAsection,thesaxophonestakeupthemelodyinunisonwiththe
tromboneplayingeighth-notecountermelodies.Thehornsreturntothetwelve-bar
introductorymotive,butbecausethelinesaredifferent,itsuggeststhatbothsetswere
improvised.Thesongendswiththehornstakinguptherhythmsectionmotivestaggeredfrom
theintroductiontoendthesong.
NatHentoffreviewedtherecordin1954forDownbeat,andgavetherecordtwostars
outofapossiblefive,whichwas“fair”accordingtotheDownbeatratingsystem.Hentoff’s
reviewisbelow:218EdSummerlinandJimStraney,linernotestoNewSoundsfromRochester,ContemporaryJazzEnsemble,PrestigeRecordsPRLP163,33⅓rpm,1953.
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Agroupofthinkingmusiciansintheirearly20swhohavebeenorareassociatedwiththeEastmanSchoolofMusic.It’sanotherapproachtomoreforminjazz,andnottoosuccessfulsofar.Thewritingistightlyderivativeofthehalfcentury’sclassicistsandratheraridbesides.Theimprovisedsectionsarejustaboutadequate.Noneofthesemenisyetanoutstandingjazzmanperse.PianistJimStraneyandtenorEdSummerlinsoundthemostprofessional.Thepointisthatnomatterhowcomplexandwellconceivedtheformbecomes,unlessyouhavemenwhoarefirst-classimprovisersaswellastechnicallyskilled,you’regroundedbeforeyoustart.Ifthesemenareseriousaboutthis,they’dbettergetsomemorejazzexperience.AllTheThingswiththecontrapuntalelementsintheopenandcloseisthemostalive.Recordingismuddy.It’sanhoneststart,though,andIhopetheykeepon.219
Despitethelacklusterreview,HentoffdoessingleoutSummerlinnotonlyasanimproviserbut
asanarranger.Summerlinhaddonethearrangementon“AlltheThingsYouAre”andhad
savedseveralcopiesofthisreview.IimaginehefoundHentoff’swordsinspirational,andhe
clearlyredoubledhiseffortsonhistenorplayingandjazzarrangingafterleavingRochester.
Therecorddidallowthebandtohavetheremarkableachievementofbeingthefirst
jazzrecitalintheEastmanSchoolofMusic’sKilbournHall,accordingtoNorden.220They
performedthereduringtheSeventhAnnualSymposiumofInternationalFederationofMusic
SchoolsonWednesdayMarch18,1953at7:30p.m.221Theyplayedallofthematerialfromthe
record:“Variation,”“Prelude:GoForth,”“FantasiaandFugueonPoinciana,”“AlltheThingsYou
Are,”and“PreludeandJazz,”aswellas“ThemeforTenor,”“Prelude:SurreywiththeFringeon
Top,”“RhapsodieforAlto,”“JusttheWayYouLookTonight,”andtwo“FreeImprovisations.”
ThegroupconsistedofpianistJamesStraney,tenorsaxophonistEdSummerlin,drummer
WilliamPorter,altosaxophonistRobertSilberstein,trombonistRobertNorden,andbassistNeil
219NatHentoff,“JazzReviews,”Downbeat,January27,1954,11.220BobNorden,interviewwithauthor,July2015.221SeventhAnnualSymposiumofInternationalFederationofMusicSchools,ContemporaryJazzConcertProgram,1953.privatecollection.
61
Courtney.RichardLiebandJamesStraneyprovidedalloftheoriginalcompositionsand
arrangementswithexceptionof“AlltheThingsYouAre.”222
Boston
In1954,SummerlinmovedtoBostontoteachasan“instrumentalmusicteacher.”223
SteveKuhnconfirmedthattheymetandbecamefriendsduringthisperiodandthatSummerlin
“waslikeabigbrother”tohim.224Kuhnwasintheearlypartofhiscareerandhadbeena
regularperformeratajazzclubinBostoncalledTheStable.HerecalledthatSummerlinwould
frequenttheclubandlistentothelocalbands,whichincludedHerbPomeroy’sgroup.
SummerlinandPomeroybecamecolleaguesattheLenoxSchoolofJazzin1960wheretheyled
acombotogether.225KuhnperformedattheStable,sittinginforafewtunesorevensubbing
occasionallyforHerbPomeroy’sregularpianist,RaySantisi.226Pomeroyhadalreadycemented
hislocallegendstatushavingledasixteen-piecebigbandatTheStableandhavingplayedwith
CharlieParker,CharlieMariano,LionelHampton,andStanKenton.227
Duringthistime,Summerlinmethissecondwife,Mary,whileonanextendedsummer
gigatMurphy’sInnwithSteveKuhn,ChuckIsraels228andArnoldWise.229Hehadpreviously
222Ibid.223EdgarE.Summerlin,CurriculumVitae.privatecollection.224SteveKuhn,interviewwithauthor,March2015.225LenoxSchoolofJazz,ConcertProgram,1960.privatecollection.226SteveKuhn,interviewwithauthor,March2015.227BarryKernfeld."Pomeroy,Herb."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary28,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J358400.228ChuckIsraelsreplacedScottLaFarointheBillEvanstrio,andlater,drummerArnoldWisejoinedtheBillEvansfortwoyears.229SteveKuhn,interviewwithauthor,March2015.
62
marriedonAugust29,1948tohishighschoolsweetheart,VirginiaLeeAllen,butthemarriage
lastedonlyashorttime.TheymarriedagainonOctober15,1949andhadason,SeanWright,
buttheyquicklydivorcedagain.230SummerlinmetMaryElizabethBouknightinthesummerof
1955,whenshewasnineteen,ataresortinLakeGeorge,NewYork,whereshehadasummer
job.AftershemetSummerlinsheranawayfromthefamilyfarminSouthCarolinaandtheygot
married.Theyweremarriedforthirteenyearsandhadtwochildren.Oneofthosechildren,
MaryJo,woulddiebeforeherfirstbirthdayandherdeathwouldalterSummerlin’smusical
directionforoveradecade.Afterelevenyears,theSummerlinsseparatedforacoupleofyears
andthendivorced.231
NewYork
Sometimeinmid-1955,EdSummerlinleftMassachusettsandheadedtoNewYorkto
workonfindinghisvoiceasawriter.There,hestudiedwithHallOvertonandTeddyCharles.
OvertonwasapianistandcomposerwhostudiedbothatJulliardandwithDariusMilhaud.
Duringthewar,hedevelopedasanimproviser,andheusedthoseskillswhileplayingwithStan
Getz,OscarPettiford,TeddyCharles,andJimmyRainey.HedidarrangementsforThelonious
Monkinthelate1950sandwrotearticlesforDownbeatandJazzToday.232Summerlinstated
230LafayetteCounty,MissouriRecorderofDeeds,interviewwithauthor,July2015.231JeffSummerlin,interviewwithauthor,July2015.232OliverDaniel.“Overton,Hall.”TheNewGroveDictionaryofJazz,SecondEdition,ed.BarryKernfeld,Vol.3Nightclubs-Zwingenberger(London:MacmillanPublishersLimited,2002),210.
63
that,“MystudywithHallwashardwork.Iwasignorantincomposition,sowedidexercises
overandoverandlaidthefoundationforfuturestudy.”233
SummerlinthengotajobtouringwiththeJohnnyLongOrchestraforayear.Johnny
Longwasabandleaderandleft-handedviolinist.Theband’smainfocuswasplaying“pleasant,
danceable,butneverespeciallyexcitingdancemusic.”234Hisfirsthitcamein1940witha“glee
club’sswingingversionof‘AShantyinOldShantyTown,’butactuallytheJohnnyLongband
stoodoutasoneofthemostmusicalofallsweetoutfits[easylisteningbands].Itplayedmany
oftheleadinghotelballrooms,mostofthemintheEastandMidwest.”235Hefollowedthishit
with,
…biggerhits,suchas‘NoLove,NoNothin’whichreachednumber3onthe1943HitParadeandstayedtherefor10weeks.Long’srenditionof‘MyDreamsAreGettingBetteralltheTime’wasoneofthemorepopularversionsofthattune.HisbandalsoappearedinacoupleofmoviesandbackedEllaFitzgeraldonarecordingof‘I'mConfessin'.’236
LongstillhadaworkingbandbythetimeSummerlinjoined,buttheywereclearlypasttheir
prime.ItislikelythatSummerlinplayedonLong’s1957record,JohnnyLong-PlaysFor
233RogerOrtmayer,linernotestoLiturgicalJazz,EdSummerlin,EcclesiaRecordsER-101,33⅓rpm,1960.234GeorgeT.Simon,TheBigBands(NewYork:SchirmerBooks,1981),327.235Ibid.236DaveNathan,“JohnnyLong:InaShantyinOldShantyTown,”Allmusic.com,accessedMay7,2016,http://www.allmusic.com/album/in-a-shanty-in-old-shanty-town-mw0001006419.
64
SaturdayNightDanceDate,butthealbumcontainsnolistingofpersonnel.237Longwentonto
recordtwomorerecordsbeforequittingmusicaltogetherinthe1960s.238
SummerlinreturnedtoNewYorktostudywithTeddyCharles,whomhedescribedas
“oneofthemosttalentedteachersIhaveknown.”239TeddyCharleswasaself-taught,bebop-
orientedvibraphonistwhohadstudiedcompositionwithOvertonafterattendingtheJulliard
Schoolinthe1940s.HewentontoworkwithBennyGoodman,BuddyDeFranco,ArtieShaw,
JackieParis,OscarPettiford,RoyEldridge,EdShaughnessy,ArtFarmer,ElvinJones,andCharles
Mingus.240In1954and1955,hewas“anactiveparticipantinCharlesMingus’sJazzComposer’s
Workshop,”andevenplayedattheNewportJazzFestivalwithhim.241Summerlinstudiedwith
himjustaftertheperiodoftimethatCharleswasworkingwiththeMingus’sJazzComposer’s
Workshop.
NorthTexasStateCollege
AftergettingmarriedandstudyingwithTeddyCharles,SummerlinwenttoNorthTexas
StateCollege(nowknownastheUniversityofNorthTexas)inSeptember1957topursueaPhD
237ThisislikelybecausetherewasacopyofthisrecordamongSummerlin’srecordedmaterials.HehadnootherLongLPsinhiscollection,andtheyearitwasrecordedmatchesupwiththetimehewaswithLong’sband.238ChristopherPopa,“JohnnyLong:‘JustLikeThat,’”BigBandLibrary.com,accessedMay7,2016,http://www.allmusic.com/album/in-a-shanty-in-old-shanty-town-mw0001006419.239RogerOrtmayer,linernotestoLiturgicalJazz,EdSummerlin,EcclesiaRecordsER-101,33⅓rpm,1960.240MaxHarrisonandBarryKernfeld.“Charles,Teddy.”TheNewGroveDictionaryofJazz,SecondEdition,BarryKernfelded.,Volume1A-Fuzz.(London:MacmillanPublishersLimited,2002),421.241Ibid.
65
incomposition.242WhileontourwithJohnnyLong’sOrchestra,Summerlinplayedaconcertfor
theNorthTexasStateCollegejazzprogram.AnarticleabouttheprogramintheDentonRecord-
Chroniclestatesthat“oneofthemembersoftheJohnnyLongband,EdSummerlin,wasso
impressedwiththeschool’sprogramthatheisnowatNorthTexasdoinggraduateworkand
assistingDr.Hall.”243Hewastheonlyjazzteachingassistant,244andhetaughtjazzarranging
startingwithcontemporaryarrangerslikeGilEvansandthenworkingbackwardthroughthe
canonofgreatjazzarrangers.245Hewasaverygiftedteacherofferinginsightsintothecharts
hisstudentsbroughtin.246HisstudentsmettwoorthreetimesaweekatSummerlin’shouseto
listentorecordsanddiscussmusic.Summerlinstoppedtherecordingsatinterestingpointsto
illustratesignificantdetailsatthepiano.Hewasquiteadeptatimitatingthearrangingstyleof
GilEvansandevenwroteachartcalled“GilnotBill.”Thechartwasareferencetomovingfrom
BillHolman’swritingstyletowardthemorecontemporarytechniquesemployedbyEvans.247
AccordingtoThomasWirtel,itwasGilEvans,MilesDavis,andDaveBrubeckthatimpressed
Summerlin.HealsolikedMonkandknewhimpersonally.AccordingtoMorganPowell,
Summerlinwasveryforwardandaggressiveinhiseffortstomeetmajorjazzfigureswhilehe
livedinNewYork.HewasalsokeenlyinterestedinthemusicofOrnetteColeman,asPowell
recollectsthat,“IwasabigOrnettefanandIknowEdwastoo.”248
242EdgarE.Summerlin,CurriculumVitae.privatecollection.243BobPorter,"JazzEnthusiastsFromAllOvertheCountyFlocktoNT,"DentonRecord-Chronicle,Sect.1,p.1,Jan19,1958.244MorganPowell,interviewwithauthor,August2015.245Thomas“Shab”Wirtel,interviewwithauthor,March2015.246MorganPowell,interviewwithauthor,August2015.247Thomas“Shab”Wirtel,interviewwithauthor,March2015.248MorganPowell,interviewwithauthor,August2015.
66
GilEvanswasanarranger,bandleader,composerandpianist.Hecontributedseveral
arrangementsin1946and1947totheClaudeThornhillband,includingthenotable
“Anthropology,”“DonnaLee,”“YardbirdSuite,”and“Robbins’Nest,”thefirstthreebeing
CharlieParker’scompositions.ThesearrangementsusedtwoFrenchhornsandtubainaddition
tothestandardbigbandinstrumentationoftheswingera.Thisorchestralsensibilitywasused
quiteeffectivelyinhislatercollaborationwithMilesDavisonBirthoftheCool,MilesAhead,
PorgyandBess,andSketchesofSpain.Hecontinuedrefininghisearlyexperimentation,“to
largerinstrumentalforces(upto20),oftenachievingadistinctivesynthesisofvariedtimbral
mixturesinwhichopaque,almostcluster-likevoicingsalternatewithrichpolyphonictextures,
thewholebeingcouchedinanadvancedharmoniclanguage.”249IncontrastHolmanwasa
saxophonist,arranger,andcomposerwhoworkedwithStanKenton,ContiCandoli,Shelly
Manne,MelLewis,MaynardFerguson,WoodyHerman,andGerryMulligan.250GerryMulligan’s
chartswrittenfortheStanKentonbandinfluencedHolman,butMulligan’sstylewasmore
traditionalandsimplewithafocusonwritingforthetraditionalinstrumentationofaswing-era
bigband.Asevidencedbyhischarttitle“GilnotBill,”Summerlinwasmoreappreciativeof
Evans’smoreadventurousharmonicstyle.
249GuntherSchuller.“Evans,Gil.”TheNewGroveDictionaryofJazz,2ndedition,BarryKernfeld.ed,Volume1A–Fuzz(London:MacmillanPublishersLimited,2002),727.250WilliamF.Lee,“Holman,Bill.”TheNewGroveDictionaryofJazz,2ndedition,BarryKernfeld.ed,Volume2Gabler-Niewood.(London:MacmillanPublishersLimited,2002),269.
67
Texasinthe1950swasstillaverysegregatedplace,andNorthTexasStateCollegewas
noexception.Inthespringof1956,theschooladmitteditsfirstblackstudents,251onlyoneyear
beforeSummerlinarrived.Atthetime,NorthTexasStateCollegedidn’thaveanyblackstudents
inthetopbandbecausethegroupperformedoffcampusfrequentlyanditwouldhave
potentiallycreatedproblems;however,thiswasanunofficialpolicyandwasneverexpressly
writtenanywhere.252Thisdidnotstopthewhitejazzstudentsfromattendingconcertsatthe
AmericanWoodmanHallonthesouthsideofDallas,whichhadanalmostexclusivelyAfrican-
Americanclientele.TherewerejamsessionsonSundayafternoonsthere,andtheNorthTexas
StateCollegestudentsevensatinonoccasion.253Thehallbecameaverypopularspot,andthe
jamsessiononSunday“afternoonsoonassumedacentralroleinthelifeofthecommunity.”254
AsaplayeratNorthTexasStateCollege,Summerlinwas“predictable”andhada
reputationasa“hotlicks”player,accordingtoWirtel.Itwasonlylaterthathefoundhis
voice.255AccordingtoMorganPowell,hewasastraight-aheadplayerandheldthefirsttenor
chairwhilehewasastudentthere.Summerlinalso,“wroteseveralchartsforthebandandthey
wereallquiteexceptional.”256WhilehewasclearlyinfluencedbyEvans,hewasnotamere
clone.SummerlinwasveryfocusedonhistenorsaxophoneplayingwhilehewasatNorthTexas
StateCollege,somuchsothatPowellhadnorecollectionofhimeverplayingclarinet;however,
251“LookingBack:JoeAtkinsandtheDesegregationofNorthTexas,”CollegeofEducationUniversityofNorthTexas,accessedNovember30,2015,https://www.coe.unt.edu/news/looking-back-joe-atkins-and-desegregation-north-texas.252MorganPowell,interviewwithauthor,August2015.253Ibid.254MattWeitz,“Camelotin4/4time,”DallasObserver,August28,1997,accessedNovember30,2015,http://www.dallasobserver.com/music/camelot-in-4-4-time-6402469.255Thomas“Shab”Wirtel,interviewwithauthor,March2015.256MorganPowell,interviewwithauthor,August2015.
68
thereisvideofootagefromthesummerof1959thatfeaturesSummerlinonbothtenor
saxophoneandclarinetattheEmpireRoomSupperClubintheStatlerHilton,Dallas.This
footagewasshotaspartofChetHuntley’sWorldWide‘60specialonSummerlin,whichwillbe
discussedinChapter3.
SummerlinwasalsoveryinterestedinGeorgeRussell’sLydianChromaticConcept.
AccordingtoWirtel,RussellusedtheNorthTexasStateCollegestudentsasguineapigsforhis
upcomingbook,TheLydianChromaticConceptofTonalOrganization,whichwaseventually
publishedbyConceptPublishingCompanyin1959.Hesentexercisesbymail,andthestudents
inSummerlin’sclasssentthembacktotheauthor.Theauthorthenmailedbacktheseexercises
withcorrectionsandnotesforthestudents.257Summerlinappearstohavepurchasedthe
exercisesfromRussellaspartofacourseofstudyforhisstudentsaccordingtoaletterfrom
Russell.258Itisuncleariftheexercisesmentionedintheletterdidappearinthe1959published
versionofthebook.GeorgeRussellworkedasajazzdrummerandbigbandarrangerinthe
mid-1940s,buthewasprimarilyacomposerbythelate-1940s.Duringthisperiod,hewrotethe
suiteCubanaBe/CubanaBopfortheDizzyGillespieOrchestra.Healsowrote“ABirdinIgor’s
Yard,”apiecethatreferencesbothCharlieParkerandIgorStravinsky.By1953,Russellhada
mimeographednotebookofwhatwouldbecomethebookTheLydianChromaticConceptof
TonalOrganization.259AccordingtoPeterKenagy,theconceptoutlinedinthebook,
proposesawayofunderstandinghowtonality—theorientationofapieceofmusicaroundaparticulartone—isconveyedthroughverticalandhorizontalelementsofpitchinthetwelve-tonesystemofequaltemperament.Russell
257Thomas“Shab”Wirtel,interviewwithauthor,March2015.258GeorgeRusselltoEdSummerlin,19October1959.privatecollection.259PeterEllisKenagy,“GeorgeRussell’sJazzWorkshop:TheComposer’sStyleandOriginalMethodsof1956”(Diss.:UniversityofIllinoisatUrbana-Champaign,2009),32.
69
extendsthecommonviewthatachordconveystonalityvertically,whileascaleconveysthatchord’stonality.IntheConcept’ssystemofverticalpolymodality,aspectrumofalternatescalesforeachchordisexploredwhichgraduallymovestowardtotalchromaticism-theinclusionofalltwelvepitches.Inthesystemofhorizontalpolymodality,thesamespectrumisavailable,butinthecontextofatonicdefinedbyalocalorregionalkeyarea(tonicstation),ratherthanbythepassingofindividualchords.Throughtests,illustrations,andtranscriptions,Russell’smajortreatise,theTheLydianChromaticConceptofTonalOrganization,exploresmanypotentialusesofthetwoapproachestotonalityforthejazzimproviserorcomposer.260
ThebookandconcepthadaprofoundimpactonmanyjazzmusiciansincludingMilesDavis,
JohnColtrane,andBillEvans.IngridMonsondescribesRussell’ssystemanditsimpactashim
taking“acentralprincipleofWesternmusictheory—thecircleoffifths—anddevelopinga
theoryoftonalorganizationadaptedtotheparticularneedsofjazzimprovisersstrivingto
attaina‘modern’soundinthewakeoftheharmonicinventivenessofbebop.Insodoinghe
developedatheoreticalunderpinningforwhatlaterwastermed‘modaljazz.’”261
SummerlinbeganhisexperimentationbymixingjazzandotherartformswhileatNorth
TexasStateCollege.AnotherfriendofhiswaspainterPaulJohnZelanski,theartteacherat
NorthTexasStateCollegeatthetime.“Paul’spaintingstudentswouldcomeintotheold
rehearsalhallofthelabbandandwouldhangpaintingsalloverthething.Thenthejazzband
wouldplaynewjazzworks.”262Thesenewjazzworkswerecomposedwiththepaintingsin
mind,andthenSummerlinandZelanskiwouldtalkabouttheworksandtherelationship
betweenthemusicandtheimages.Thiswasdoneonmanyoccasionsduringhistwoyearsat
260Ibid.261IngridT.Monson,"Ohfreedom:GeorgeRussell,JohnColtrane,andmodaljazz,"inCollectedWork:Inthecourseofperformance:Studiesintheworldofmusicalimprovisation(Chicago:UniversityofChicagoPress,1998),163.262MorganPowell,interviewwiththeauthor,August2015.
70
theschool.ThisisagreatexampleofSummerlin’seffortstocreateinterdisciplinarywork,which
hewoulddelveintomoredeeplyinthe1960s.
SummerlincompletedhislastcoursesatNorthTexasStateCollegeintheSpringof
1959.263Hesuccessfullycompletedforty-twocreditstowardsaPhDincompositionwith
excellentgrades,andhewasworkingonaprojectcalled“ProblemsinWritingChamber
Music.”264Hisfinalsemesterwasmarkedbyatragedy,however.MaryJo,hisfirstchildwithhis
wifeMary,wasborntwomonthsprematurelyonApril2,1958withacongenitalheartdefect.
Shediedninemonthslater,onJanuary27,1959.265AccordingtoWirtel,“Edwasdevastatedby
thedeath.”266Hisdaughter’sdeathnotonlyaffectedhimonapersonallevel,butitalteredhis
careerpathforthenextfourteenyears.
ARequiemforMaryJo
Throughthesetragiccircumstances,Summerlinwasintroducedtomanypeoplewholed
himtowriteliturgicaljazz.GeneHall,oneofSummerlin’sprofessors,contactedTheFirst
MethodistChurchinDenton,TexasandspoketotheAssistantMinister,BillSlackJr.about
Summerlin’scurrentsituationwithhisdaughterMaryJo.Hallwasthefounderofthejazz
programandthedirectoroftheLabBand,laterreferredtoastheOneO’ClockLabBand,the
UniversityofNorthTexas’premierjazzband.Summerlinhadnothadanysignificantcontact
withchurchesintheareaandwasinneedofachurchandministertohandlethelooming
263EdSummerlin,transcripts,NorthTexasStateCollege,1959.privatecollection.264Ibid.265“DentonCountyObituaryIndex1950-1959,”CityofDenton,Texas,183,accessedJuly8,2016,http://www.cityofdenton.com/home/showdocument?id=3198.266Thomas“Shab”Wirtel,interviewwiththeauthor,March2015.
71
funeralofhisdaughter.Hehadlittleexperiencewithorganizedreligion,saveforhischildhood.
Summerlin’sfatherwasnotgrantedpermissiontomarryhismother,thensixteen,untilhehad
joinedtheFundamentalistHolinessChurchandproclaimedhisfaith.267Later,Summerlin
experiencedthechurchfirst-handononeofthefamily’smanytripstoFloridaduringthe
Christmasseason.TheonlythingSummerlindidnotlikeaboutvisitingFloridawasgoingto
WednesdayNightPrayerMeetings.Thecongregation,includinghismother,wouldrollonfloor
andspeakintongueswhich“scaredthehelloutofme,”accordingtoSummerlin.268
HallwasawareofSummerlin’slackofchurchaffiliationandheaskedBillSlackJr.tovisit
Summerlin,Mary,andMaryJointhehospitalthatnight.MaryJowasveryclosetodeathat
thatpoint,andwastingnotime,Hallbroughtthepastortothehospitalthatevening.Slack
recalledthatSummerlinwasunderstandablydistraughtbythesituationand“didn’teventalk
toocoherently.”269ThedoctorshadalreadywarnedSummerlinandMarythatMaryJowould
probablynotlivethroughthenight.TheymadethefuneralarrangementswithSlackinthe
hospitalthatevening.Afewweeksafterthefuneral,SlacksuggestedthatSummerlinshould
consider“workingwithhismusicinthecontextofaserviceofworship.”270Hisresponsewas,
“I’llthinkaboutthat.”271Interpretinghisresponseasalackofinterest,thepastordecidednot
topressthematter.
267EdgarE.Summerlin,“OralHistory,”2006,minidisc,privatecollection.268Ibid.269ChetHuntley,EdSummerlin,MarySummerlinandRogerOrtmayer.“ARequiemforMaryJo,”WorldWide’60,season1,episode5,airedFebruary20,1960(NewYork,NY:NBCNews,1960),Videocassette(VHS),60min.privatecollection.270Ibid.271Ibid.
72
TheideaofwritingaliturgicaljazzpiececlearlyintriguedSummerlin.Despitehis
noncommittalresponsetothepastor,Marystated,“Eddiewasveryexcitedandveryhappy
aboutthechancetodosomethinglikethat,andsohegotbusythinkingaboutit,whatkindof
musichewouldwrite,andhowitwouldhavetobedone….Hegotrighttoworkonit
immediately,thinkingaboutitanyway,whetheryouknow,notactuallycomposing.”272When
Summerlinactuallybeganwritingtheservice,“itwentvery,veryslowly,because,”inhiswords,
“Iwasn’texactlysurewhatIwantedtodo.Iknewthatthemusichadtobesomethingthat
wouldhelptheservice.Itcouldn’tjustbesomemusicthatIwouldwriteandsayIwantthis
playedinthechurch.”273Fromtheproject’sinception,itisclearthathedidnotwanttosimply
writesomejazztunes,playtheminchurch,andcallthemliturgical.Healsohadstylistic
concernsbecausepreviouscomposersofso-calledliturgicaljazzadmittedthatwhattheywrote
wasnotactuallyjazzinanytraditionalsenseoftheword,despitetheclaimsofrecordlabels
andreviewers.
SummerlinwasfamiliarwithBeaumont’sTwentiethCenturyFolkMass,whichIwrite
aboutinChapter1,andwaskeenlyawarethathewantedthisworktobesubstantivelyjazzina
contemporarystyleasopposedtobeingjazzinnameonly.Hesummarizedhisfeelingsonboth
mattersbystatingthat,inhismind,“therewasthisproblemofwritingmusicthatwouldbejazz
butwouldbethekindofmusicthatwouldmakepeoplefeelthattheywerepreparedto
worship.[…]Itcouldn’tbefastDixielandtypejazz.So,IhadtojustthinkandthinkuntilIfound
whatIthoughtweresomegoodthemesandasuitablemoodforthismusictostartthisservice
272Ibid.273Ibid.
73
off.”274AccordingtoSlack,Summerlinworkedonthe“Prelude”foraboutamonth,but“ashe
wentalongthemusicseemedtocomeeasierforhim,buthereallylaboredwiththis
‘Prelude.’”275Thefinalsectionhewrotewasthe“Anthem,”andSummerlintoldthepastorthat,
“healmosthadtowritethis.Itburstout.”276AccordingtoSlack,Summerlinstatedthathehad
writtenthatpieceofmusicfasterthanhehadevercomposedanythingbefore.277
Thepastorwentontotheorizethatthe“Anthem”wasthe“biographyofthebaby.It
seemstomeasisthiswasmoreorlesspoetic,artistic,musical,theEdSummerlinexpressionof
thelifethathehadfatheredandknownandhadcomeintobeingandhadbeenthrustinto
existenceyoumightsayandlivedaveryturbulenttimeninemonths.”Hegoesontosuggest
thatthepianoattheendofthepieceis,“approximatingthebreathingthatshegoesthrough
thatIsawwhenshewasintheincubatoratthehospitalthatnight.Andthenalmostas
suddenlyasitbeganthepieceends.…ThisisMaryJo.”278
ItislikelythatSummerlinwaskeenlyawareofhowjazzmusicianswereviewedby
societyasawholeandthatthoseattitudeswereamplifiedwhentheywereina1950schurch
environment.Embarkingonaquesttoseejazzasanacceptedpartofaliturgicalservicemust
haveseemeddauntingindeed.Hetooktheopportunitytomakeacaseforjazzmusiciansand
theircharacterinatelevisionspecialfocusingonhiswork.ItwasproducedbyChetHuntleyon
theNBCNewsprogramWorldWide‘60,andwastitled“ARequiemforMaryJo.”Summerlin
states,
274Ibid.275Ibid.276Ibid.277Ibid.278Ibid.
74
It’skindofhardtogothroughlifeandbeajazzmusicianandfeelthatmosteveryonethinksthatyou’renotdoingsomethingthat’sreallyveryworthwhile.BythatImean,theyfeelthatifyou’reajazzmusicianyouplayinclubs,youplayinnoisyplaceswherethemusicdoesn’treallymatterandthatyoureallyaren’tmuchofaconscientiousartistofanysort.Tobeajazzmusiciandoesn’tmeanthatyouareanunfeelingcoldpersonofsomesortwhocaresnothingaboutthechurchoraboutbeingmarriedandaboutraisingafamily.Ithinkthatmostofthepeopleinvolvedinthisareexcellentmusiciansbutjustplainhonestpeople.Ithinkthatwhatitreallyboilsdownto.Youtakeawaythefactthatthey’recalledjazzmusiciansandthey’renodifferentthananyoneelse.279
Summerliniscertainlymakingacasethatjazzmusiciansarehonestandhard-workingpeople,
justlikeeveryoneelse,butIthinkthereisadeepersubtexthere.Whileheistryingtogain
acceptanceforjazzanditsmusiciansinachurchsetting,wecannotseparatethemusicfromits
racialcomponent.Thefactisthatjazzmusicwasstronglyassociatedwithitsgreatinnovators,
mostofwhomwereAfricanAmerican.ThiswasthesocialrealityofAmericainthelate1950s
whensegregationwasstillthelawinmanystates.African-Americanmusicianswereno
exceptiontothesometimesbrutalandsometimessubconsciousracismthatwaswoveninto
thefabricofAmericanlife.Summerlinwasnostrangertothisracismhavingplayedinmixed
bandsduringhisformativeyears.Hewitnessedtheovertracismandsegregationbothin
Lexington,Missouriandinthearmy.Ithinkherealizedthatinthepublic’sview—whether
consciousorsubconscious—invitingjazzintothechurchwouldbeakintoinvitingAfrican
Americansintowhitechurches.Inthe1950s,“theprocessofdesegregationintheSouthhad
scarcelybegunandresistancetoitwasgreat.Streetcarsandbuses,restaurantsandpublic
schools,allaspectsoflife,includingsomesaidespeciallythechurches,werestrictlysegregated
279Ibid.
75
withthewhitesclearlyontopofthepile.”280ThevideofootageshotfortheWorldWide’60
specialonSummerlinfeaturednoAfricanAmericansonthebandstand,onthedancefloor,or
inthecongregation.Summerlinwasbattlingmorethanjustastereotypeofmusiciansofa
certainstyle;hewasbattlingthestereotypeofanentireracialgroup.
Anotherpersonintimatelyinvolvedinthewritingprocessofthejazzservicewas
composerandconductorSamuelHansAdler.AdlerarrivedtoteachatNorthTexasState
CollegethesameyearasSummerlin,1957.Hewasastudentofrenownedcomposerssuchas
AaronCopelandandPaulHindemith.AdlerconductedconcertsandoperasinEuropeandthe
UnitedStatesforthearmyandotherorganizationsfrom1950to1957whenhejoinedthe
facultyatNorthTexasStateCollegeasaprofessorofcomposition.281Hisfatherwasacantor
andcomposerspecializinginJewishliturgicalmusic.HeisdescribedintheTheNewGrove
DictionaryofMusicandMusiciansas“aprolificcomposerwhosemusicembracesawidevariety
ofcontemporarystyles.Hisworksexhibitgreatrhythmicvitality,withapredilectionfor
asymmetricalrhythmsandmetres,andakeensensitivitytocounterpoint.”282
ItishardtoimagineabetterpersonthanAdlertohelpguideSummerlinthroughhis
initialjazzliturgy.AccordingtoAdler,“EdtalkedtomeaboutwritingaMassinjazz.What
wouldbetheimprovisationalqualitiesandwhere.Musicianswouldagreetocertain
limitations”283whenimprovisingoverspecificsectionsinthework.Adlerelaborates,“Hedid
280LewisHowardGrimes,AHistoryofthePerkinsSchoolofTheology(Dallas:SouthernMethodistUniversityPress,1993),111.281MarieRolf.“Adler,Samuel.”TheNewGroveDictionaryofMusicandMusicians,StanleySadieed.,SecondEdition.Volume1AtoAristotle(NewYork:MacmillanPublishers,2001),160-161.282Ibid.283SamuelAdler,interviewwithauthor,July2015.
76
bringit[theMass]inandwediscussedeachmovementseparatelyandquiteindetail.[…]His
choralwriting,Imeanhedidn’thavemuchexperiencetowriteforchorusandwediscussed
thatespecially.”284HewentontoaddthatSummerlin“wasnottoointerestedinstringquartets
andthings.Hewasmuchmoreinterestedinjazzprojects.Hewasverymusicalandverywilling
tolearn.Hewasameticulousfellow,hewasahardworkerandalwayswas…diligentinhis
work.”285AdleralsostatesthatSummerlinwasawareofHeinzWernerZimmerman’swriting
bluesy286anthemsforAmericanchurchsettings,suggestingthatthisalsomighthavebeena
motivatingfactorinSummerlinwritingtheliturgicaljazzservice.Hefurtherdiscusses
Summerlin’smotivations:“IthinkthathiswritingoftheMasswasnotakindofcommercial
consideration,butratherhewasveryreligiouslyconvincedthatthiswouldgiveanewspirittoa
service.”287Adlerthoughtthejazzliturgywasasuccessandthat“Ed’sMasswasthefirstvery
importantand,howshouldwesay,popularworkthatwasperformedalloverthecountry.”288
ThetragicdeathofSummerlin’sinfantdaughterMaryJosenthimpersonallyand
professionallyintotheworldofliturgicaljazz.DespitehavinggrownupintheBaptistChurchin
MissouriSummerlinhadbecomedisconnectedfromorganizedreligioninadulthood.Thiswas
atleastpartiallycausedbyhisprofessionaltouringandperformingscheduleswhichoften
conflictedwithSundaymorningservices.289MaryJo’sdeathreconnectedSummerlintothe
church,albeitinaMethodisttradition.Hewouldstrikeupaworkingrelationshipandlifelong
friendshipwithDr.RogerOrtmayeraprofessorofChristianityandtheArtsatSouthern
284Ibid.285Ibid.286Ibid.287Ibid.288Ibid.289EdSummerlin,interviewbySteveBlons,JazzandtheSpirit,KBEM-FM,2005.
77
MethodistUniversity.ThisrelationshipwouldleadSummerlintojointheMethodistChurch,a
churchhewouldbeaffiliatedwithformanyyears.290
290Ibid.
78
Chapter3
LiturgicalJazzService
JazzLiturgy
EdSummerlin’sjazzliturgy,composedafterthetragicdeathofhisyoungdaughterMary
Jo,wasfirstusedinaserviceofworshipinthechapeloftheSouthernMethodistUniversityin
DallasonWednesdayMay20,1959.ThecompositionhadbeenpreviewedataPerkinsSchool
ofTheologystudent’sbanquet,whichwasheldatSouthernMethodistUniversityonMay12,
1959291andthe“Prelude”wasperformedatastudentrecitalseriesatNorthTexasState
CollegeonMay13,1959.292Duringtheserviceofworshipitwaslistedas“ajazzsettingof‘The
WesleyOrdersofCommonPrayer’ledbySchubertM.OgdenandJ.PaulSampleyinthePerkins
Chapel.”293Onthedayoftheperformance,Mr.OgdenpennedalettertoSummerlininwhich
hewrote,“Iamdelightedtothinkthatthetragicseparationbetweenthechurchandthelifeof
ourtime—whichisthebaneofbothourexistences—mayhavebeendealtaheavyblowbythis
jointeffort.”294Thisfeelingthatthechurchwasseparatedfromthecultureofthe1960swasa
widely-heldsentimentinmanydenominationsofChristianity.295TheCatholicChurchconvened
theSecondVaticanCouncilin1962todiscussthisveryproblem.Itwasalsotheimpetusbehind
manyoftheliturgicaljazzworksthatfollowedinSummerlin’sfootsteps,spurredoninnosmall
partbyprogressive—atleastmusically—membersofthechurch.Mr.Ogdenwentontowrite,
291BobPorter,“AreJazzandtheSacredConfinesofaChurchCompatible:DentonMusicianSays‘Yes,’”DentonRecord-Chronicle,p.5,May3,1959.292AnnualAll-AmericanConcertProgram,May13,1959,privatecollection.293Whitsunday,ServiceProgram,1959,CollectiononSchubertM.Ogden,BridwellLibrary,PerkinsSchoolofTheology,SouthernMethodistUniversity.294SchubertM.OgdentoEdSummerlin,20May1959.privatecollection.295ThomasE.Bergler,TheJuvenilizationofAmericanChristianity(GrandRapids:WilliamB.EerdmansPublishing,2012),180.
79
“perhapsthedaymaycomewhenthiswillnotonlynotseemunusual,butwillhavebecome
theacceptedthingwhichIbelievebothofusarepersuadeditoughttobe.”296SchubertM.
OgdenwasafacultymemberatSouthernMethodistUniversityforthirty-fouryears.According
totheSouthernMethodistUniversityArchives,Ogden’saccomplishmentsincludehaving
written“sixbooksandininnumerableessays,articles,andtranslations”inwhich“hehas
addressedthecentralquestionsofcontemporarytheologicalreflectionwithuncompromising
intellectualrigorandsupplecreativityofspirit—inshort,withwisdom.”297
Summerlin’sliturgicaljazzwasnotuniversallywellreceived.InaletterdatedMay21,
1959,MerrimonCuninggim,thedeanofthePerkinsSchoolofTheology,thankedSummerlin
andSummerlin’sstudentsfortheirparticipationintheworshipservicethatWednesday.298He
wentontoelaboratethat“thegrape-vinebroughtwordthatDr.Matthews299wassomewhat
upsetbythewholebusiness.”300Inretrospect,thisfirstserviceforeshadowstheattitudes
Summerlinandotherseventuallyadoptedintheirfighttoseejazzasanacceptedformof
liturgicalmusic.InanotherletterofthanksfromSterlingF.WheelerdatedMay22,1959to
Summerlin,Mr.Wheelerwrotethathehad“takenthelibertytowritetoDr.Matthewstovoice
appreciationforaprogramoutofwhichsuchasignificantdevelopmentcouldcome.”301He
296SchubertM.OgdentoEdSummerlin,20May1959.privatecollection.297BiographicalNote,CollectiononSchubertM.Ogden,BridwellLibrary,PerkinsSchoolofTheology,SouthernMethodistUniversity,accessedDecember8,2015,https://www.lib.utexas.edu/taro/smu/00163/smu-00163.html.298MerrimonCuninggimtoEdSummerlin,21May1959.privatecollection.299DespiteextensivesearchingIhavenotbeenabletoidentifyDr.MatthewsandhisconnectiontoSouthernMethodistUniversity.Hedoesnotappeartohavebeenfacultyoranadministratorattheuniversity.300MerrimonCuninggimtoEdSummerlin,21May1959.privatecollection.301Ibid.
80
goesontowritethathe“wasnoteventhenpreparedfortheoverpoweringimpactwhichthe
servicemadeuponme.Itwasaverymovingexperienceforanumberofus.”302
SummerlinmusthavefoundCuninggim’sandSterling’swordsencouraginggiventhe
powerfulpositionstheyheldatSouthernMethodistUniversity.MerrimonCuninggimbecame
deanofthePerkinsSchoolofTheologyatSouthernMethodistUniversity,Dallas,Texasin1951
andservedthereuntil1960.UnderhisdirectionPerkinsdesegregated,twoyearsbeforethe
SupremeCourtdecisionBrownvs.TopekaBoardofEducation,in1954.Thefactthathis
graduateschoolwasthefirstintheSouthtodosowassaidtobetheprofessional
accomplishmentofwhichCuninggimwasmostproud.303SterlingF.Wheelerwasthevice
presidentofSouthernMethodistUniversityinDallasfrom1955to1963.
ThejazzservicewasheldonWednesdayMay20,1959,whichisduringtheweekof
Pentecost,whichcommemoratesthedescentoftheHolyGhostontheApostlesofJesusChrist.
TheprogramhasWhitsundayonitandbeginswith“Prelude”composedbySummerlin.The
“Prelude”wasfollowedbyaCalltoWorship:CollectforPurityofHeartandthenCharles
Wesley’shymn“LoveDivine”withinstructionsthatread“thecongregationwillsingverses1
and2;theorchestrawillplayoneverse,thenthecongregationwilljoininsingingverse4.”304
ThishymnwasfollowedbyTheOrderForMorningPrayer,whichincludedmusic,fromThe
WesleyOrdersofCommonPrayer.Thisincluded“ScriptureSentences,CalltoConfession,
GeneralConfession,PrayerofAbsolution—withchoralAmen,TheLord’sPrayer,Venite—with
302SterlingF.WheelertoEdSummerlin,22May1959.privatecollection.303HistoricalNote,MerrimonCuninggimPapers,1939-1997,RuthLillySpecialCollectionsandArchives,UniversityLibrary,IndianaUniversity—PurdueUniversityIndianapolis,accessedDecember8,2015,https://ulib.iupui.edu/collections/philanthropy/mss029.304Whitsunday,ServiceProgram,1959,CollectiononSchubertM.Ogden,BridwellLibrary,PerkinsSchoolofTheology,SouthernMethodistUniversity.
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choralAmen,Psalm:6,OleTestamentLesson:Ecclesiasticus39:1-8,TeDeum,NewTestament
Lesson:ICorinthians2,Benedictus—withchoralAmen,Apostles’Creed,Sermon,Anthem,
CollectoftheDay,CollectsforPeaceandGrace,TheGrace—withchoralAmen.”305Allthiswas
followedbytheHymnofServicebyHarryEmersonFosdick“GodofGrace,”whichincludedthe
instructions“thecongregationwillsingverses1and2;theorchestrawillplayoneverse,then
thecongregationwilljoininsingingverse3.”TheserviceendedwiththeBenedictionand
“Postlude,”whichwasalsocomposedbySummerlin.TheSermonwaspreachedbyJ.Paul
SampleyandtheorchestramusicianswherelistedasEdgarSummerlin,conductorandtenor
saxophone,EarleDhusontenorsaxophone,RobertFoutzontrumpet,EugeneGandyonon
piano,RichardO’Donnellonpercussion,MorganPowellontrombone,DonaldRatterreeon
stringbass,RobertThomasonaltosaxophoneandThomasWirtelonflugelhorn.306The
ministersfortheservicewereShubertM.OgdenandJ.PaulSampleyandthechoirconsistedof
MimiArmstrong,AngelicaGarris,BarbaraMathis,EricePeel,FredFrench,SamHemphill,Harold
Leinfinger,andJohnMann.307
Theservicewentaccordingtoplanwiththeoneexceptionofthebandbeingcutoutof
thechoralamenafterthe“Venite,”whichShubertM.Ogdenapologizedforinhisletterto
Summerlininthepostscriptum.308AnarticleintheDentonRecord-ChronicleonMay21,1959
statedthat,“acapacitycrowdfilledthechapeltohearwhatSummerlinhastermed‘an
305Ibid.306Ibid.307Ibid.308SchubertM.OgdentoEdSummerlin,20May1959.privatecollection.
82
experimentintheuseoftheartformofjazzinthechurch.’”309Wheninterviewedforthepaper
regardinghowhefeltitwasreceived,Summerlinstated,“Icouldn’tbehappieraboutthe
receptionweweregivenWednesday.Weseemedtocreatealotofinterestandenthusiasm.
Everyonewhocommentedontheservicetousseemedtohavebeenmovedbysomepartof
theservice.”310ThearticlealsodescribedaspeechSummerlingavetothecongregation
regardingthepiecewherehesaid,“Tome,jazzisaseriousartform.Theuseofthejazzidiom
increatingchurchmusicseemstoscaresome.Ilookonitasapossiblewaytoreachandspeak
tosomepeoplethatthechurchmightnotreachinotherways.”311Thearticlealsostatesthat
Summerlintoldthecongregationthatjazzwasnotmeanttoreplacethemusicofthechurch
butshouldbeusedonoccasionasaspecialservice.Itisunclearifhewassimplytryingto
reassurethechurchleadershipandmoretraditionalcongregantsorifhefeltthiswayatthe
time.ThisviewcertainlychangedforSummerlin,sinceitwashisfrustrationthatthechurchdid
notembracejazzasanacceptedweeklymusicthatledhimtostopproducingliturgicaljazzover
adecadelater.312
WorldWide‘60
AfterthepremiereatSouthernMethodistUniversity,severalchurchofficialsasked
Summerlintoperformhisliturgicaljazzserviceattheirchurch.Denton’sFirstMethodistChurch
scheduledaserviceforAugustandthenitwasperformedatPurdueUniversityfortheNational
309"Dentonite’sComposition:ExperimentalJazzServiceWellReceivedatPremier,"DentonRecord-Chronicle,p.3,May21,1959.310Ibid.311Ibid.312EdSummerlin,interviewbySteveBlons,JazzandtheSpirit,KBEM-FM,2005.
83
MethodistYouthConference.313InthecongregationattheSouthernMethodistUniversity
servicewasaproducerwhoworkedforNBCNews’MorganBeatty.Theyusedsomeof
Summerlin’smusicfromtheserviceontheair,whichcaughttheattentionofReuvenFrank,a
writerandlaterproducerforChetHuntleyandDavidBrinkley.TheycontactedSummerlin
aboutdoingaspecialonhim.Thetelevisionspecial“ARequiemforMaryJo”wasfilmedfor
WorldWide’60withChetHuntleyattheNationalMethodistYouthConferenceatPurdue
University.314
NBCairedtheWorldWide’60specialonFebruary20,1960.315Thespecialfeaturedthe
hostChetHuntley,EdSummerlin,MarySummerlin,Dr.RogerOrtmayerandBillSlackJr.Itgave
EdSummerlinandhisliturgicaljazznationwideattention.ThespecialbeginswithSummerlin
discussinghismotivationinwritingthework.Hestatesthathewrotethechurchserviceasa
memorialtohisdaughterMaryJo.Summerlingoesontoelaboratethathebecame
increasinglyexcitedwiththeprojectasitprogressedbecauseitwassomething“thatIcoulddo
forthechurch,somethingthatIcouldgivetopeopleandtothechurch.”316Thespecialthen
featuresthe“Prelude”fromthechurchserviceatPurdueUniversitythatwasfilmedinAugust
of1959.ChetHuntleynarratesduringthe“Prelude”andemphasizesthat“thiswasnota
performanceintheconcertsense,butachurchserviceatwhichacongregationworshiped.”317
313"Dentonite’sComposition:ExperimentalJazzServiceWellReceivedatPremier,"DentonRecord-Chronicle,p.3,May21,1959.314EdSummerlin,interviewbySteveBlons,JazzandtheSpirit,KBEM-FM,2005.315“ARequiemforMaryJo,”IMDb,AccessedSeptember6,2016,http://www.imdb.com/title/tt2826256/releaseinfo?ref_=ttfc_sa_1.316ChetHuntley,EdSummerlin,MarySummerlinandRogerOrtmayer.“ARequiemforMaryJo,”WorldWide’60,season1,episode5,airedFebruary20,1960(NewYork,NY:NBCNews,1960),Videocassette(VHS),60min.317Ibid.
84
Dr.RogerOrtmayerleadstheopeningprayer“CollectforPurityofHeart,”aprayer,that
accordingtoReverendF.RichardGarland,“hasbeenattheheartofMethodistspirituallifefor
generations.IthasbeenapartofourServiceofHolyCommunionfromthebeginning.”318
Summerlin’sNonetprovidesbackgroundmusicduringtheprayerandfollowsitwiththe
traditional“HymnofPraise:LoveDivine.”TheHymnbeginsinacustomaryfashionfora
ChristianserviceofworshipwithjustpianoandSummerlinleadingthecongregationalsinging
throughthefirststanza.Thenonetthenplaysthesecondstanzainacontemporaryjazzstylein
whichthebandcomesinwithaswingfeel,syncopationofthemelody,are-harmonizationof
thestandardchordprogressionandnolyrics.Thishymn’sarrangementdiffersfromthe
SouthernMethodistUniversityserviceinthatitismissinganopeningstanzaoftraditional
piano,thesecondstanzasungbythecongregation,andthefourthstanzasungbythe
congregationaccompaniedbytrumpets,piano,bassanddrums,onceagaininamore
traditionalfashionwithoutre-harmonization,swingfeelorsyncopation.
ThespecialintroducesBillSlackJr.,theAssistantMinisterwhoencouragedSummerlin
towritethemusicandgivesbackgroundonDenton,Texasanditschurchlife.Itthenhas
Summerlindiscussingtheearlywritingphaseandhisconcernsaboutcomposingjazzforusein
achurchservice,whichIdiscussedinChapter2.TheepisodethenhasfootageofSummerlin
playinginSandySandifer’sOrchestraintheEmpireRoomoftheStatlerHiltoninDallas.This
sectionofthespecialismeanttoconveytheothermusicalandpersonalsideofthemusician’s
livesthattookpartinthechurchservice.TheepisodegivesbackgroundinformationonEd
318ReverendF.RichardGarland,“TheCollectforPurityasaPatternforPrayer,”UnitedMethodistWorship,August12,2013,accessedSeptember8,2016,http://umcworship.blogspot.com/2013/08/the-collect-for-purity-as-pattern-for.html.
85
Summerlin,Mary,andMaryJo,includingtheirfaithlife.Theepisodealsohadaninterviewwith
Dr.RogerOrtmayerinwhich,accordingtotheHeraldStatesman,hediscussedthe“chasm
existingbetweenartistsandchurchmen,andtheresponsibilityofthechurchinthe20thcentury
tothecontemporaryartsandtoartists.”319Ortmayersummarizedbystatingthatitwasthe
twentiethcenturyandthatthechurchmuststoplivingoffthetreasuresofthesixteenthand
eighteenthcenturies.Thatinordertoberelevantthechurchneededtoenlistartistswho
createworksthatdealwiththeissuesofthetwentiethcentury.320Summerlinclosedthespecial
bystating“Ithinkandfeelthatwehavedoneagoodchurchservice.It’sjazz—it’sgoodmusic.
Idon’tthinkweneedtoapologize.Idothinkweneedtoexplain,sometimes.Allweaskisthat
peoplelistentoitobjectively.”321
ThespecialpromptedviewerstowritetotheproducerReuvenFrankwithaneven
mixtureofpraiseandoutrage.Someoftheviewersliberallywrotewordslike“communists,”
“desecrators,”“badtaste,”and“sacrilegious”totheproducerintheirletters.322Summerlin
describedfellowjazzmusiciansasbelongingtotwodifferentschools.Thelarger,accordingto
Summerlin,belongedtotherevivalistslookingtomakejazzdanceableagain;thatgroupfelt
thatjazzhadbecometootechnicalandintellectual.Thesecond,smallergroup,weremore
forwardthinkingandwere“staunchadvocatesofworklikethisjazzliturgy.”323Thefinalwordin
319“Tonight’sPickOfTheTVBest,”HeraldStatesman(Yonkers,NY),p.16,February20,1960.320ChetHuntley,EdSummerlin,MarySummerlinandRogerOrtmayer.“ARequiemforMaryJo,”WorldWide’60,season1,episode5,airedFebruary20,1960(NewYork,NY:NBCNews,1960),Videocassette(VHS),60min.321Ibid.322“LiturgyinJazz,”Downbeat,March31,1960,11.323Ibid.,12.
86
theDownbeatarticlewenttoproducerReuvenFrank,whowaspleasedwiththespecialand
feltthat,whetherfororagainstjazzinchurch,peopleweretalkingaboutit.324
TheWorldWide’60specialintroducedthewholecountrytoliturgicaljazzandEd
Summerlin.Hewasthefirstexposuremanyhadtoeventheconceptofjazzinachurchservice.
Asthe1960sdawned,thechurchwasstrugglingtoconnectwithyoungpeopleandaculture
thatwasgoingthroughadramaticshiftintheUnitedStates.Summerlin’sjazzliturgywasthe
firstofmanythatfollowedinthemid-andlate1960s,buthealonewasnationallyrecognizedin
theearlypartofthedecadeasthepurveyorofjazzmusicinthechurch.
LiturgicalJazzAlbum
Inthe1958-1959academicyear,RogerOrtmayeracceptedapositiontoteach
ChristianityandtheArtsatSouthernMethodistUniversity.325Hehadbeenavisitingprofessor
onseveraloccasionsinthe1950sandwasnowhiredasafull-timefacultymember.Thisisa
significanthirebecausehewasinstrumentalinthepremiereofSummerlin’sworkatSouthern
MethodistUniversityandpreachedthesermononhisrecordLiturgicalJazz.RogerOrtmayer
wasintroducedtoSummerlinbyReverendBillSlackJr.anditwasDr.Ortmayerwhosuggested
that“SummerlinsethismusictoamorningserviceoftheWesleyOrderofCommonPrayer
serviceoftheMethodistChurch.”326HecommissionedSummerlin’sLiturgicalJazzserviceand
324Ibid.325Grimes,AHistoryofthePerkinsSchoolofTheology,101.326BobPorter,"JazzChurchService:NBCTellsStoryofEdSummerlin,"DentonRecord-Chronicle,p.2,February21,1960.
87
workedcloselywithhimforyears.327Dr.OrtmayerleftSouthernMethodistUniversityin1966
toheadtheDepartmentofChurchandCultureoftheNationalCouncilofChurchesecumenical
artsministryinNewYorkCityuntil1974.328
TheLiturgicalJazzalbumcameaboutasaproductofthesuccessandattentiongarnered
bytheSouthernMethodistUniversitypremiere.SummerlinhadbeenintalkswithlabelsinNew
YorkpriortothefilmingoftheWorldWide’60episodeandwasplanningtorecordthemusic
foranalbum.329ThemusicianswhoplayedattheSouthernMethodistUniversitypremierewere
alsousedintherecordingsessiontitledLiturgicalJazz.TheonlychangeswereMarvinStamm
replacedRobertFoutzandDeeBartonreplacedMorganPowellonthehymnsbecauseofa
schedulingconflictwiththesecondrecordingsessionaccordingtoMorganPowell.330The
sessionwasrecordedbyTommyLoyandtookplaceatarecordingstudioinDallas,which,
accordingtoWirtel,hadoncebeenachapel.331Thebulkofthecompositionswererecorded
overtwodayswiththeexceptionofthehymns,whichincludedcongregationalsinging,which
wererecordedatalaterdate.
TheLiturgicalJazzalbumwasreleasedin1959andreceivedfourandahalfoutofa
possiblefivestarsinDownbeatmagazine.Thereviewopenswiththestatementthat
“Summerlinhasproducedaremarkablescoreforthisattempttointegratejazzwithaliturgical
327"Dentonite’sComposition:ExperimentalJazzServiceWellReceivedatPremier,"DentonRecord-Chronicle,p.3,May21,1959.328“RogerE.OrtmayerIsDead;ALeaderofChurchCouncil”NewYorkTimes,Sect.Obituaries,November1,1984,accessedDecember8,2015,http://www.nytimes.com/1984/11/01/obituaries/roger-e-ortmayer-is-dead-a-leader-of-church-council.html.329“ChetHuntley’sCrewDueinDenton:NationalTVShowFilmingNewJazzChurchService,”DentonRecord-Chronicle,p.13,August2,1959.330MorganPowell,interviewwiththeauthor,August2015.331Thomas“Shab”Wirtel,interviewwithauthor,March2015.
88
service.”332ReviewerDonDeMichealgoesontowrite,“hisisaswingingmoderncomposition,
completewithimprovisationanddrivingsectionwork.”333Thereviewercitesthe“Prelude”and
“Postlude”asexamplesofthebesttracksonthealbumandhisonlycriticismisthathefelt
Summerlinfailedtointegratethemusiceffectivelywiththespokenwordonthe“Venite”anda
fewotherplaces.Thereviewerdidwritethatinotherspokensections,the“combinationof
musicandspeechbuildstotinglingclimaxes.Thewalkingbassbackingthegeneralconfession
andthedrumsolobehindthebenedictionarenotonlyimaginativebutalsoserveafunctionof
greatlyenhancingthesepartsoftheservice.”334HealsosinglesoutSummerlinandMorgan
Powell’ssolosasparticularlyoutstanding.ThisreviewaddedtoSummerlin’sincreasingvisibility
asthepremierjazzliturgistoftheearly1960s.Thejazzcommunitywasnottheonlysourceof
praise.AveryskepticalreviewerinTheAtlanticwrotethehe“thoughtthiswasgoingtobesick,
andmaybefunny.Itisnot.Itisabright,earnest,clever,anddignifiedpieceofdevotional
work.”335Thisskepticismfromamoreclassicallypredisposedaudiencewassomething
Summerlindealtwithonaregularbasis.
TheLiturgicalJazzserviceformatwasalsoalmostidenticaltotheSouthernMethodist
Universityservice.TheonlydifferencesweretheadditionofaVersicle,whichis,“aphraseor
sentence,oftenfromScripture,saidorsungbytheofficiantandtowhichthechoiror
congregationanswers”336witharesponse,twotimesintheserviceoncebeforetheVeniteand
332DonDeMicheal,“JazzReviews.”Downbeat,January7,1960,32.333Ibid.,33.334Ibid.335“LiturgicalJazz,”RecordReviews,TheAtlantic,March1960,107.336"Versicle-LSB-Abbr..-RSB-".2003.InTheHarvardDictionaryofMusic,editedbyDonMichaelRandel.Cambridge:HarvardUniversityPress.
89
againbeforetheCollectoftheDay.FortheOldTestamentlessonHosea14:1-8replaced
Ecclesiasticus39:1-8andtheNewTestamentlessonwasnowIIPeter1:3-11insteadofI
Corinthians2.“SongWithoutWords”replaced“Anthem”andCharlesWesley’s“Soldiersof
Christ,Arise”replacedHarryEmersonFosdick’s“GodofGrace.”Presumablythescripture
choicesbeingreplacedweredecisionsmadebyRogerOrtmayer,whowaspreachingthe
sermon.
LiturgicalJazzTour
TheattentionthattheSouthernMethodistUniversityandPurdueperformances
garneredalongwiththereleaseandpositivereviewofLiturgicalJazzin1959presented
Summerlinwiththeopportunitytoembarkonamusicaltourofthenortheastthatbeganin
Februaryof1960.ThetourwasscheduledtocoincidewiththeairingoftheWorldWide’60
special“ARequiemforMaryJo,”whichgeneratednationwideinterestinSummerlinandhis
liturgicaljazzmusic.Hetraveledupanddowntheeastcoastwithhisnine-piecegroupplaying
churchesbydayandjazzclubsbynight.337TheCorsicanaDailySunlistedthetourdatesas
Dartmouth,BostonUniversity,Harvard,Brown,AmericanUniversity,Duke,andVanderbilt
alongwithfivechurchesintheNewYorkareaandoneinAtlanta,whichwasreportedtobethe
largestMethodistchurchinthecountry.338TheDentonRecord-Chronicleelaboratedthatthe
collegedatesincludedperformancesoftheserviceaswellassomejazzconcertsfeaturing
original,secularcompositionsbySummerlinandhisbandmembers.Porteralsolistedthe
http://proxy2.library.illinois.edu/login?url=http://search.credoreference.com/content/entry/harvdictmusic/versicle_abbr/0337Thomas“Shab”Wirtel,interviewwithauthor,March2015.338“EdSummerlintoTourwithJazzService,”CorsicanaDailySun,p.5,February9,1960.
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personnelforthetourasbeingSummerlin,ThomasWirtelandRogerHoppsontrumpet,Bob
ThomasandEarlDhusonsaxophone,FranklinKolbontrombone,GeneGandyonpiano,Toby
Gwinonbass,andanunnameddrummerfromNewYork.339ThedrummerendedupbeingPaul
Cohn,whowasalast-minutereplacement,afterRichO’DonnellwashiredbytheSt.Louis
Symphonyashorttimebeforethetourwastobegin.340TheReverendCharlesBoylesalso
traveledwiththemusicians.HewastheexecutivedirectorofChurchArtsAssociatesinDallas,
andreadfortheservice.341
ThetourbeganwithanextendedstayinNewYork.Thegrouphadseveralchurch
performancesintheregionbookedalongwithuniversityperformances.Theywenttoseethe
CharlesMingusbandeverynightinNewYorkthattheywerenotplaying.Theydeveloped
friendshipswithpianistHoraceParlanandtrumpeterTedCursonoverthecourseofthose
eveningsandfoundtheperformancestobequiteinspiring.342Severalnewspaperarticleslisted
thelengthofthetouratnineweeksatthetimeoftheirpublicationwiththecaveatthatthe
tourwasstillintheprocessofbeingbooked.AnApril14,1960articleinDownbeatstated,
“Summerlin’smusicalsettingofmorningprayeristobepresentedonsome40campuses.”343
Thetourwasself-financedandthebandwasoftenpaidfromthecollectionplateduringthe
churchperformancesandstayedwithcongregationmembers.Thebandhadtwoseparate
booksofmusic,onewastheliturgicaljazzserviceandtheotherhadcompositionsand
arrangementsbythemembersofthegroupthattheyplayedinjazzclubsandforstandalone
339BobPorter,“NationalTVShowtoTellStoryofDentonComposer,”DentonRecord-Chronicle,p.20,February7,1960.340Thomas“Shab”Wirtel,interviewwithauthor,March2015.341Porter,“NationalTVShowtoTellStoryofDentonComposer.”342Thomas“Shab”Wirtel,interviewwithauthor,March2015.343“LiturgicalJazzonTour,”Downbeat,April14,1960,14.
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concertsattheuniversities.344Thegroupalsoperformedatamulti-artsfestivalwithadance
companyatPurdueUniversity.Eachmusicianwasassignedadancertheywatchedand
improvisedtotheirmovement.345Summerlinandtheothermembersofhisgrouphada
growinginterestinfreeimprovisation.Summerlinincorporatedmultidisciplinaryperformances
inhislaterliturgicalworkswithsomefrequency.
ThetourendedinearlysummeraccordingtoWirtel.Thetourtraveledasfarnorthas
NewEnglandandasfarsouthasGeorgia.Thiswasthefirsttourforallthemusiciansinthe
bandwiththeexceptionofSummerlinandwasquitealearningexperiencefortheyoung
musiciansandforthechurchcongregations.Thetourwasvitalinintroducingcongregationsto
theconceptandpracticalaspectsofliturgicaljazz.Summerlinexposedcongregationsand
universitystudentsontheeastcoasttothisnewconceptand,tosomeextent,destigmatized
theuseofjazzinaworshipservice.Therewascertainlypushbackfrommoretraditional
congregantsandleadershipinchurches,buttheservicesweremostlywellreceived.346As
summerapproached,themoneyandgigswererunninglowandSummerlinbecamevery
agitatedandcriticalofthebandmembers’performances.Thefinalstrawcameaftera
performancewhereSummerlincriticizedthebandtosuchadegreethattheysimultaneously
quitthatnight.ThatendedhisassociationwiththegroupmembersaswellasNorthTexasState
College.HedidnotreturntofinishhisPhD.
344Thomas“Shab”Wirtel,interviewwithauthor,March2015.345Ibid.346Ibid.
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TheoreticalAnalysis
Summerlin’swritingatthetimewasstronglyinfluencedbyGilEvansandGerry
Mulligan’scompositionalandarrangingstyles.Thevoicings,counterpointanddissonancewere
verymuchinlinewiththe“CoolSchool”pioneeredbyEvansandMulligan.Theliturgicaljazz
serviceopenswiththe“Prelude,”amid-temposwingcompositionindminorwhosethemeis
basedonathree-notecellstartingonFandcontinuinguptheminorscale.Itisthenrepeated
withthelastnoteflatted.Thereisacallandresponsebetweenthemelodyandcountermelody
inwhichtheanswertothefirstcellisathree-notedescendingchromaticlinestartingonE.The
secondansweristhesamepatternexceptstartingonEflat.
Example3.1“Prelude,”m.4-6.
TheBsectionofthe“Prelude”featuresthetromboneplayinganewmelodywiththeother
hornsandrhythmsectionprovidingdensechordalsupport.Theharmonicprogressionfeatures
theuseofextensionsandchromaticismcommoninjazz.
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Example3.2“Prelude,”m.20-27.
TheAsectionreturnswiththemainthemeandisfollowedbyanaltosaxophonesolooverthe
Asectionsharmony.
Example3.3.“Prelude,”TenorSaxophoneSoloHarmony.
ThetrumpetsolosoverthebridgechordprogressionandthefinalAsection.Thereisan
eight-measuremusicalinterludefeaturingbassandpianoinunisonbeforeatrombone
andaltosaxophonesolooverthesameprogressionsasprevioussoloists.Afterthesolos
thetwotrumpets,tenorsaxophoneandtromboneplayaneight-measuresectionofthe
themeinstretto.ThepianosolosovertheAsectionandthentheBsectionreturnsina
strettostyle.ThereisareturntoavariationonthefinalAsectionwhichisendedbythe
playingofatrianglesignalingtheendofthe“Prelude.”
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The“CalltoWorship”isaslowrubatofive-measureaccompanimentbytrumpet,alto
andtenorsaxophonesandtrombonetotheminister’swords.Thefirsttwomeasureshavea
perfectfifthpedaltonefromFwhilethetrumpetplaysablues-likemelodywhichcontainsthe
flatfifth,sharpnineandflatsevenpitches.Thetenorsaxophoneplaysavariationonthe
melodyandthechordunderneathchangestoaFminor(major7).Thesaxophonelingerson
theBflatwhilethechordisbeingheldcreatingaFminor11(major7,addflat3).Measures
fourandfivehaveaEminortriad(addflat5),C7(9)susandaDmajortriadinsecondinversion.
Example3.4“CalltoWorship,”m.1-5.
The“CalltoWorship”isfollowedbytheallegretohymn“LoveDivine”withthe
congregationsingingforthefirstandsecondstanzasaccompaniedbyonlythepianoina
straighteighth-notefeel.Thewholejazzgroupthenplaysare-harmonizedversionofthehymn
withthetrumpettakingmostofthemelodyplayingitinasyncopatedswing-feelstyleatthe
sametempo.Thecongregationreturnsforthefinalstanzawithaccompanimentbyonlythe
trumpetsandpianoonceagaininastraighteighth-notefeel.
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“TheServiceofConfession”openswithanaggressivetwo-measuredrumsolowhichis
followedbythetrumpetplayingsomewideintervallicleapsaccompaniedbycomplex
harmoniesplayedbytheotherhornsandpianothatbuildtoaclimax.
Example3.5“TheServiceofConfession,”m.1-5.
Theministerthenreadsasentenceaboutawickedmanchanginghiswaysandsavinghissoul.
Thispassageisimmediatelyfollowedbyarollonthefloortomdrumwhilethepianoplaysa
toneclusterfromDtoDanoctaveabove.ThehornsenterwithanupwardglissandofromaG
major7(b5,#5)chorduptoastaccatoG7alteredchord.Theministerbeginsspeakingagain
andafteronesentencethebandbeginsplayingwhilethepreachingcontinues.Thebandplays
aslowtwelve-measurerubatosectionledbyatrumpetmelodywiththeotherhornsplaying
complexandrelativelydissonantharmonies.Thecongregationthenjoinsinrecitingaprayerof
confessionwhilethebandstartsplayinginamedium-slowswingfeelwithbassandthe
drummerplayingbrushesforeightmeasures.Thealtosaxophoneplaysamelodywhilethe
rhythmsectionaccompaniesandthenthetrumpettakesovermelodywiththerestofthehorns
harmonizingthemelody.
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Example3.6“GeneralConfession,”m.8-24.
Theministerthenreadsaprayerofabsolutionwhilethetrumpetplaysaslowrubatofive-
measuremelody.Itisaccompaniedonlybytrumpetandtrombonewhoplayminimal
backgroundsthataredissonantinsonorityuntilwegetthefinalresolutiontoaDflatmajor
triadinsecondinversioninmeasurefive.
Example3.7"PrayerofAbsolution,"m.1-5.
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The“PrayerofAbsolution”isfollowedbyTheLord’sPrayerthatisspoken
unaccompanied.Thispauseisthemusicisbrokenbythedramaticaccompanimentofthe
“ServiceoftheWord.”Thedrummerplaysacymbalrollwithmalletsthatcrescendosslowly
andpeaksasthetrumpetplayerhitsthehighestnoteinthemelody,Fsharp.Theministerleads
aresponsivereadingasthebandholdsincreasinglycomplexchordsastheministerand
congregationtradelinesuntilthedramaticresolutiononthefinalAmajor9andG#minor11
chords.
Example3.8“TheServiceoftheWord,”m.1-6.
Therhythmsectionthenentersintoamediumswinggrooveaccompanyingtheprayerand
responseswhilethepianoimprovisesoverthesameprogressionasinthe“General
Confession.”Whenthecongregationstates“GlorybetheFather”thebandentersanew
sectionthe“GloriaPatri.”Thetrumpetplaysthemelodywhiletheministerandcongregation
readtogetherandthebandprovidesrhythmichitsandbackgrounds.
Example3.9“GloriaPatri,”m.1-6.
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Thenextsectionis“Psalm6”whosereadingisaccompaniedbythefullbandinaslow
swingstylewiththetrumpettakingthemelodyrubatoforthefirsttwomeasuresandthenin
timewiththeband.Themelodybeginswiththesamethree-notemotivefrom“Prayerof
Absolution”andthenisdeveloped.Theimprovisationthatfollowsoccursoverasimilar
harmonicpatternthatoccursinmeasuresfivethrougheightintheexamplebelow.
Example3.10“Psalm6,”m.1-8.
Thetrumpetimprovisationcontinuesuntilthecongregationandministerread“Glorybetothe
Father”wherethebandreturnstothemusicfromthe“GloriaPatri.”The“OldTestament
Lesson”hasnomusicalaccompaniment.
The“TeDeum”beginswithamid-temposwingsectionwherealtosaxophone
improvisesoveraseven-measureharmonicprogressionthatisrepeatedonce.
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Example3.11“TeDeum,”m.1-7.
Thebandcomesbackin,harmonizingthemelodyplayedbythealtosaxophoneoverseven
measureswhichisthenrepeatedonce.Themotivecomesfromtheoriginalthree-notecell
fromthe“Prelude”playedthetrumpetbutitisthentransposedandincludessomenew
harmonicprogressions.
Example3.12“TeDeum,”m.14-21.
Thetrombonethensolosoverthesameprogressionfromexample1.11andthesongends.
The“NewTestamentLesson,”whichcomesfromSecondLetterofPeter,hasnomusical
accompaniment.Thedrummerimprovisesfreelyandaggressivelywithmalletsovertheentire
drumsetduringthe“Benedictus”whilearesponsivereadinggoeson.Thisdrumsolois
followedbythefullbandenteringwiththemusicfromthe“GloriaPatri”inamid-temposwing
style.Thereisnomusicalaccompanimenttothereadingof“TheApostles’Creed.”Beforethe
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ministerbeginspreachingthesermonthepianoandhornsplayalmostthesameshortfigure
whichendsthe“Prelude.”Thepianojustleavesoffthefirstnotesoftheoriginalfigurebutthe
restisthesameincludingtheringingofthetriangle.Duringtwosectionsofthesermonthe
pianoimprovisesquietlywithlightrhythmsectionaccompanimentinamid-temposwingstyle.
AtthispointintheservicethemusicfromRequiemforMaryJoisused.The“Serviceof
Offering:SongWithoutWords”alsoknownastheAnthemisplayed.Themusicbeginswithan
almostfranticandverydissonantpianoentrance.Thefiguresinmeasuresfourandfiveare
thentakenoverbythehorns.ThemusicalfigureistheonereferencedbyBillSlackintheWorld
Wide’60special“ARequiemforMaryJo”.HeequatesittoMaryJo’sheartbeatandIhaveto
agree.347Shewasborntwomonthsearlywhichwouldcertainlyhavebeenashocktoherand
herparentsandthefranticanddissonantnatureofthemusicalfigureconveysthatshock
rathervividly.Theup-temposwingfeelandhornfiguresaddtothedramaandtensionofthe
piece.
Example3.13“ServiceofOffering:SongWithoutWords,”m.1-5.
347ChetHuntley,EdSummerlin,MarySummerlinandRogerOrtmayer.“ARequiemforMaryJo,”WorldWide’60,season1,episode5,airedFebruary20,1960(NewYork,NY:NBCNews,1960),Videocassette(VHS),60min.privatecollection.
101
Thealtosaxophoneintroducesanewtheme,whichispunctuatedbytheearlierhornfiguresat
atempoofapproximately260beatsperminutethefeelingoftensionandurgencypersist.
Example3.14"ServiceofOffering-SongWithoutWords,"m.8-9.
Thisthemeisharmonizedbyallthehornsandthenisfollowedbyapianosoloandatenor
saxophonesolowithbackgrounds.Thenpianoreturnswiththeintroductoryfigureintroducing
anewsectionofmelodicandharmonicdevelopmentbasedonthemaintheme.
Example3.15"ServiceofOffering-SongWithoutWords,"m.1-7.
Thisisfollowedbyatrombonesolowithbackgrounds.Theintroductorypianofigurereturns
includingthehornsection.Thepieceendswiththepianoplayingthefigurealonewithsome
alterationsandafinaldramaticchord,whichsymbolizesthelastmomentofMaryJo’sshortlife.
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Example3.16"ServiceofOffering-SongWithoutWords,"m.final3measures.
The“Versicle”usesexactlythesamedramaticmusicasinexample1.8“TheServiceof
theWord.”The“CollectoftheDay”takesthethemefrom"PrayerofAbsolution”andmodifies
itslightly.Itisplayedbythealtosaxophoneinaveryslowrubatostyle.Thetenorsaxophone
featuresacountermelodynotunliketheanswertothefirstmotiveinthe“Prelude.”
Example3.17“CollectoftheDay,”m.1-5.
The“CollectforPeace”isaslowtwotrumpetshorterversionofthe“CollectforGracetoLive
Well.”Thefirstfivemeasuresareidenticalexceptfortrumpetonehavingaquarternotetriplet
rhythmonbeatsthreeandfourofmeasuretwo,havingameasurein3/4timeinthethird
measureandendingonawholenoteonmeasurefivethatistiedtoawholenoteinmeasure
sixinsteadofcontinuing.Thecounterlinebytrumpettwoisidenticalexceptitendson
measurefivewithaquarternoteCtiedtoawholenoteinmeasuresix.The“CollectforGrace
toLiveWell”alsohasthealtosaxophoneandtenorsaxophoneplayingaslightlyalteredversion
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ofthe“CollectoftheDay”simultaneouslywiththemusicfromthe“CollectforPeace”which
hasbeenextendedtolastsevenmeasures.Therhythmsectionjoinsthehornsfrombeatfour
ofmeasurefivetothefinalmeasureaddingtothedramaticeffect.
Example3.18“CollectforGracetoLiveWell,”m.1-7.
Thebanddoesnotaccompanytheminister’s“Grace.”Thebandaccompaniesthehymn
“SoldiersofChristArise”inamoretraditionalallegrostraighteighthfeelforthefirsttwo
stanzas.Thefullbandreenterswithaswingfeelonthethirdstanzawiththetrumpetplaying
themelodywiththeotherhornsharmonizing.Thealtosaxophoneplaysthemelodyduringthe
refrain.Thecongregationreentersandthebandreturnstotheoriginalmoretraditional
accompanimentwiththetrumpetsplayingpronouncedstraighteighthfeelcounterlines
heighteningthetriumphantsentiment.Duringthe“Benediction”thetrumpetimprovisesina
slowrubatofashionwhilethehornsholdadramaticEb7suspendedchord.Thepieceendswith
allthehornsplayingaDminor7chordfollowedbyaGmajor7(#11)chord.
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The“Postlude”beginswithanewuptempothemeplayedbythealtoandtenor
saxophonesinaswingfeel.Thehornsenterwithmanycallandresponsebackgroundfigures
heighteningdramaandbreakingupthesectionsbetweenimprovisations.
Example3.19“Postlude,”m.1-7.
Thereisanaltosaxophonesolo,trumpetsoloandpianosolowithbackgrounds.Thebassand
thendrumssoloandthenthehornsreturntothemainthemetocloseoutthepieceandthe
service.
EndofRequiemforMaryJoPeriod
AfterleavingNorthTexasStateCollege,SummerlintookapositionattheLenoxSchool
ofJazzinthesummerof1960.HewasrecommendedbyGeorgeRussellandtaughttherewith
someofthepremiernamesinjazz.Manyofthestudentsheandtheotherstaughtbecamevery
wellknownplayersandcomposers.IdiscussthisbriefbutpivotalperiodinSummerlin’slifein
Chapter5.HepermanentlyrelocatedtoNewYorkwherehewasheavilyinvolvedinthe
burgeoningliturgicaljazzsceneforthenextthirteenyears.Afterthenationwideattentionhe
receivedfromtheWorldWide’60specialandthereleaseof,andtouringfor,thealbum
LiturgicalJazz,Summerlinwasincreasinglybusywritingandperformingliturgicaljazz.He
returnedtoNewYorkwithhisLenoxSchoolofJazzconnectionsandareputationasapioneer
ofliturgicaljazz.Thisledtoawiderangeofbothsacredandsecularjazzcommissionsand
opportunities.ThesecularexploitsarediscussedatlengthinChapter5.
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Chapter4
LiturgicalJazzPeriod
NewYorkCity
Afterspendingthesummerof1960asafacultymemberatTheLenoxSchoolofJazzand
leavingNorthTexasStateCollege,SummerlinrelocatedbacktoNewYorkCity.Theconnections
hegainedatTheLenoxSchoolofJazzwereavitalpartofhiscareerfortherestofhislifeand
arediscussedindetailinChapter5.Summerlinfocusedonhisliturgicaljazzforthenext
thirteenyears.ThenotorietygainedfromhispieceRequiemforMaryJo,theLiturgicalJazz
album,andhisliturgicaljazzservicefacilitatedgettingfuturecommissionsandopportunities.
Summerlindidperformhisliturgicaljazzserviceagainaspartofashortartistresidency
attheUniversityofthePacificinCalifornia.HewaspartofaspringluncheonseriesonApril11,
1961titled“ReligionandJazz”andalaterpresentationthatevening“AmericanCultureand
Jazz,”whichincludedajazzcombo.348Summerlinthenperformedthe“Wesley’sOrderfor
MorningPrayerinaJazzSetting”onApril13,1961withastudentgroupaccompanyinghim.349
TheprogramofferssomeinsightsonSummerlin’sdefinitionsofjazzandofliturgicaljazz.He
definesjazzasa“musicwhichimprovisesonathemeinaspontaneous,freeandcreative
manner–generallythroughsyncopation”andprogressivejazzas“theprevalentmodeof
expressionthoughimprovisationinourtime.Itismadeupofunusualchordsarrangedin
348ThisSpringat…Anderson“Y”Center,SpringEventBulletin,1961,UniversityofthePacificStudentYMCA-YWCA.privatecollection.349Wesley’sOrderforMorningPrayerinaJazzSetting,ServiceProgram,1961,UniversityofthePacific.privatecollection.
106
unusualsequencesor‘progressions’.”350Summerlindefinesliturgicaljazzas“progressivejazz
usedasamusicalsettingforworship.”351
Itisnotablethatheincludesthewordprogressiveinthedefinitionofliturgicaljazz.
Summerlinwasquiteoutspokeninhisviewthatthechurchneededtoembracemodernityin
orderforittoberelevanttopeopleatthetime.HewasalwaysquicktopointoutthatBach
wrotechurchmusicofthetimeandoftenborrowedfromthefolkmusicoftheday.Summerlin
wasverydeliberateinincorporatingthecompositionaltechniquesofthedayintohisliturgical
andsecularworks.Healsoreferstohisliturgicaljazzserviceas“anexperiment”intheprogram.
Itisunclearifhethoughtliturgicaljazzwouldbeshortlived,aonetimeinvestigationofthe
possibilityoffusingcontemporaryAmericanjazzwiththetraditionalliturgyorifonceagainhe
wastryingtocalmthefearofchangeintheclergyandcongregations.Summerlinperformed
theserviceafinaltimeonApril16,1961attheUniversalistUnitarianChurchinUrbana,
Illinois.352
Summerlinhadacertainamountofcredibilityatthispointasaliturgicaljazzcomposer,
performer,andexpert.Hewasincreasinglybeingsoughtoutasanexpert—perhapstheonly
expert—inthisnewliturgicaljazzendeavor.InMarchof1961Summerlinpublishedanarticlein
theChristianActionperiodicaltitled“JazzintheChurch,”inwhichheexplainedthelogicof
usingjazzinchurchservicesandreaffirmedhiscommitmenttocontemporaryjazzasthat
vehicle.353Hewrotethatjazzworksservedtoaugment,notreplace,themusicthatwasalready
350Ibid.351Ibid.352LiturgicalJazzService,ServiceProgram,1961,UniversalistUnitarianChurch.privatecollection.353EdSummerlin,“JazzintheChurch,”ChristianAction16,no.3(1961),6-10.
107
beingusedandthatmuchofthemusicintheProtestanthymnalswas“poorlywrittenandeven
morepoorlyharmonized.”354Thispushtowardmodernitywasaphilosophyheincreasingly
practicedaswellaspreached.Hismusicincreasinglyembracedcurrentcompositional,
improvisational,andstructuralmusicalpracticesthroughoutthe1960s.
ThefirstnewprojectshetookonafterLiturgicalJazzwerewithDr.RogerOrtmayer,the
manresponsibleforcommissioningtheliturgicaljazzserviceandthepreacheronthealbum
LiturgicalJazz.Summerlinprovidedthemusicfortwocontemporaryreligiousplays,The
SheepherderandTheWordIs…,bothofwhichtackledreligiousissuesthroughacontemporary
lens.Hewasalsothemusicalarrangerandconductorforaseriesoftelevisionspecialsonthe
CBSprogramLookUpandLivethathadfiveepisodestitled“GloryoftheHeart”whichairedin
OctoberandNovemberof1960.NarratedbyEdwardMulhare,thespecialprovidedalookat
thehistoryandevolutionofchurchmusic.355Theprogramhadanestimatednationwide
viewershipof176,000atthetimeofSummerlin’s356firstappearanceontheshow.357He
appearedonLookUpandLiveagaininJanuary1962onanepisodeentitled“TheUpbeat
Downbeat.”Thistimeheenlistedanall-starseptet,whichfeaturedRonCarteronbass,Hank
Jonesonpiano,FreddieHubbardontrumpet,SonnyIgoonDrums,HalMcKusickonalto
saxophoneandflute,WillDennisontrombone,andArtieDrellingerontenorsaxophone.358
354Ibid.355“DiskArtistsinHotDemandforTVShows,”TheBillboard,October24,1960,54.356Summerlinwaslistedbyimdb.comasleadingajazzoctetforthespecial,whichismostlikelyhisLiturgicalJazzalbum.Theshowcontainedbothliveandpre-recordedmusicandIcouldfindnopersonnellistingsoflivejazzmusiciansduringtheseepisodes.357“LookUpandLive,”Argus-Leader,(SiouxFalls,SD),p.29.October14,1960.358“JazzonTelevision,”ThePittsburghCourier,p.35.January27,1962.
108
Theyplayedtheoriginalcomposition“Dialogue”bySummerlinwhilethepoem“LetUsPlay,”
writtenbyReverendJohnHarrell,359wasbeingreadbyactorWhitfieldConnor.360
SummerlinappearedonthetelevisionseriesLookUpandLiveinJanuary1967.He
broughtinagroupandoriginalcompositionsforathree-partseriescalled“TheCelebrations,”
withpartone’ssubjectbeingwork,parttwo’swaslove,andpartthree’swasleisure.Thegroup
consistedofSummerlinontenorsaxophone,DonHeckmanonaltosaxophone,SteveKuhnon
piano,RonCarteronbassandanunidentifieddrummer.Thegroupperformedoncamerawhile
theAnnaSokolowDanceCompanyperformedchoreographedmaterialwithnarrationbyactor
LawrencePressman.361HisfinalappearanceontheprogramwasonAugust13,1972whenhe
providedthemusicforDr.RogerOrtmayer’soriginaldramaticworkComeAlong.362
Evensong,AJazzLiturgy
In1962SummerlinwascommissionedtowritealiturgicaljazzservicebyBroadcast
MusicIncorporatedforaspecialserviceheldonJune3,1962inWashington,D.C.asthefinal
performancefortheFirstInternationalJazzFestival.TheservicewassponsoredbyPresident
JohnF.Kennedy’sMusicCommitteeofthePeople-to-PeopleProgramandwasheldatThe
359“JazzisMusicalSettingforReligiousPoemon‘LookUpandLive’.”TheMorningHerald,(Hagerstown,MD),p.20.January27,1962.360“Today’sShows,”DemocratandChronicle,(Rochester,NY),p.114.January28,1962.361PortmanPaget,ChalmersDale,AnnaSokolowandEdSummerlin.“TheCelebrations,”LookUpandLive,season1967,episode1,airedJanuary15,1967(NewYork,NY:CBS,1967),Videocassette(VHS),30min.New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center. 362Radio-television:TV-radioproductioncentersintheU.S.andabroad,Variety(Archive:1905-2000),August9,1972,44-44,46.Retrievedfromhttps://search.proquest.com/docview/1014860126?accountid=14553.
109
ChurchoftheEpiphany.363FilmedbytheColombiaBroadcastingCompany,theeventwasaired
onaspecialLookUpandLiveprogramonAugust12,1962.364
TheservicewastitledEvensong,AJazzLiturgyandwasconductedbySummerlinand
performedbyanall-starnonetconsistingofDonEllisonfirsttrumpet,LouGluckinonsecond
trumpet,J.R.Monteroseontenorsaxophone,EricDolphyonflute,SlideHamptonon
trombone,DickLiebonbasstrombone,BarryGalbraithonguitar,RonCarteronbass,and
CharliePersipondrums.365ThelyricsforEvensong,AJazzLiturgywerewrittenbyReverend
JohnHarrell.366Thisnewliturgicaljazzservicecontainedaninstrumental“Prelude,”
“ProcessionalHymn,”“Motet:SongoftheApostles,”“Offertory,”“ClosingHymn,”and
“Postlude.”367TheservicealsocontainedsomemusicplayedbyJ.R.Monteroseonthetenor
saxophoneaccompanying“TheLord’sPrayer.”368Itisunclearifthisaccompanimentwas
composedbySummerlinorfreelyimprovisedbyMonterose.Psalm96alsofeaturedmusic
whichincludedamutedtrumpetandbasswithnomentionintheprogramifmoreofthegroup
wasplayingunderneaththerecitation.369
Thenextday,Summerlin’snewservicereceivedascathingreviewbyPaulHumeinThe
WashingtonPost.Humewasthemusiceditorforthepaperfrom1946until1982withmore
363LiturgicalJazzService,ServiceProgram,1962,TheChurchoftheEpiphany.privatecollection.364“JazzLiturgicaltoBeBroadcast,”TheTimes,(Shreveport,Lousiana),p.72.August5,1962.365LiturgicalJazzService,ServiceProgram,1962,TheChurchoftheEpiphany.privatecollection.366Ibid.367Ibid.368PaulHume,“Epiphany’sWorshipersJoininJazzLiturgicalService,”TheWashingtonPost,June4,1962.A14.369Ibid.
110
than20,000articlesandreviewstohiscredit.Hecontributedtomanyotherpublications,
wroteseveralbooks,andbecamefacultyatGeorgetownandYale.370AccordingtoTheNew
GroveDictionaryofMusicandMusicians,Humewasconsideredtobeanexpertin“serious
music”371aswellaschurchmusic.372Ifoundnomentionofanyexpertiseinjazz,however.He
wrotethatthemusicfortheservicewasbadlywrittenandhesingledoutthesaxophonemusic
accompanying“TheLord’sPrayer”asabluesthat“throbbedthewayitdoesbetweendances
whileyouarehavingaquickbourbonontherocks.”Humewrotethatthebass“beganslapping
awayasifhewereworkingoutattheCasinoRoyale.”373Hewrotethatthechoirsangvaliantly
whileaccompanyingtheorgananddancebandbutcouldnothopetosoundgoodwith
Summerlin’smusic.Humefinishedbyreferringtothe“Postlude”assoundinglikethe
“AscensionDayTwist”andthewholeserviceas“sickmusic,andsomegoodjazz,forworshipin
asickgeneration.”374
Hisreviewwasnotunusualinthatitexpressedtheattitudeofsomeworshipersthatjazz
wasunfitforthechurch.Thereferencestohardalcohol,acasino,andthetwistinhisreview
servethepurposeoftellingthereaderthatjazzisnotseriousmusicanddoesnotbelongin
church;rather,itamusicfordancinganddrinkinginplaceswheresuchthingsareappropriate
isthelong-standinglogichere.Healsosinglesoutthisnewgenerationcomingupinthe1960s
as“sick.”Forallthesereasonsitisdifficulttotakethisreviewseriously.Consideringthathe
370PatrickJ.Smith."Hume,Paul."GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedJanuary11,2017,http://www.oxfordmusiconline.com/subscriber/article/grove/music/47670.371Theauthorcouldnotlocatethedefinitionof“seriousmusic”intheGroveDictionary.372Ibid.373PaulHume,“Epiphany’sWorshipersJoininJazzLiturgicalService,”TheWashingtonPost,June4,1962.A14.374Ibid.
111
publishedthebookCatholicChurchMusicin1957,itisnotunreasonabletoassumethatHume
likelyhadapreconceivedsetofparametersofwhatmusicwaspermissibleinchurch.Inthe
book,Humelamentsthecurrentstateofchurchmusicincertaincongregationswhere“musicis
regulated,notaccordingtothelegislationoftheChurch,butstrictlyaccordingtothewhimof
thepastor?...heisallowingatrocitiestorunrampantinhischoirloft.”375Itmustalsobenoted
thatthiscritiqueofchurchmusicwasvoicedbeforeanyliturgicaljazzhadbeenproduced.
ClearlyHumeheldaverynarrowviewonwhatmusiccouldbeconsideredliturgicalandhewas
notgoingtodeviatefromthat,especiallynotforjazz.
AnarticlebyFredCloudtitled“CanJazzBeReligious?”tookamorebalancedapproach.
CloudwasaChristianauthorwhopublishedseveralbooksonavarietyoffaith-basedtopics.He
beginshisarticlebywritingthatthevalidityofjazzasworshipmusicwasonethemost
controversialissuesfacingthechurchoftheday.CloudattendedtheEvensong,AJazzLiturgy
serviceandinterviewedseveralworshipersaftertheconclusionoftheservice.Oneparishioner,
whodislikedtheservice,complainedoftheuseofasaxophoneduringtheLord’sPrayerwhile
anotherfeltthetextwasnotcontemporaryenough.Onejazzfansaid,“IdigjazzandIdig
church–butnottogether!”376Severalclergyaswellaslaypeopleofferedhighpraiseforthe
musicandconfirmedthatjazzwasagenreappropriateforworship.Cloudinterviewedthe
organist,whostatedthatthechoirwasinitiallyhesitanttoperformthework,butasthe
rehearsalsprogressedtheyvirtuallyallunderstoodthecomposer’sintent.Healsoofferedhis
opinionthatitwasappropriatemusicforworshipusingmodernrhythmsandharmony.377He
375PaulHume,CatholicChurchMusic(NewYork:Dodd,Mead&Company,1957),7-8.376FredCloud,“CanJazzBeReligious?,”AdultStudent22,no.6(1963):6-9.377Ibid.
112
concededthatinorderforittobetrulyeffective,thecongregationshadtobeeducatedjust
likeduringBrahms’era.
CloudalsointerviewedSummerlin,RonCarterandBarryGalbraith.Summerlinstated,
“therealcontemporarymusicofourtimeisjazz.Basicconcernsofreligiondon’tchange,but
thestyleofgettingacrosstothepeoplehastochange….Myattemptistoexplorenewmusical
waysofopeningupmeaningsoflifeandreligion.”378RonCarterreferredtoSummerlin’smusic
as“startlingmusic…Ithinkthistypeofmusiciswaypastdue.”379Galbraithalsoofferedup
praisethefortheservice’smusic.ReverendCharlesD.KeanreferredtoPsalm150asevidence
thatjazzwasanacceptablegenreforworshipandthatinstrumentsofthedaywereoftenused
intheglorificationofGod.Hestated,“Ifjazzisarealpartofthewaymanypeoplefindtheir
feelingsexpressedinmusic,thenthisserviceisamostimportantattempttoconnectworship
andeverydaylife.”380ThesermonbyKean,referredtoasanapologybyHumeinhisreview,
emphasizedseveraltimesthatthismusicwasappropriatemusicforworship.
Cloud’sconclusionwasthatforsomepeople,jazzwasawaytoworshipGod,butthatit
wouldcertainlytaketimeforittobeusedwidelyinthechurchifitweretoeverhappen.He
alsowrotethatforacertaingroup,jazzcouldneverbealiturgicalmusicbecauseofthe
preconceivednotionsofwhatcharacterizesjazz.Galbraithsuggestedinhisinterviewthatthe
workshouldbeperformedagain.Summerlindidrevisitthework,performingEvensong,AJazz
LiturgyagainatthemultidayFestivalofReligionandtheArtsinCleveland,OhioonApril28,
1963withDr.RogerOrtmayerpreachingthesermon.Thefestivalcontainedreligiousmusic,
378Ibid.379Ibid.380Ibid.
113
film,lectures,paintings,plays,dance,andtwoworshipservicesofwhichSummerlin’swas
one.381
Summerlin,Heckman,andGensel
ThesameyearSummerlinledanunusualquartetforaliturgicaljazzserviceon
December22,1963.ThegroupconsistedofSummerlinontenorsaxophone,DonHeckmanon
altosaxophone,BobNordenontromboneandRonCarteronbass.382Thelackofachordal
instrumentanddrummerwasanunusualcombinationforSummerlinatthetime.Theservice
alsofeaturedacompletelyimprovisedpieceentitled“Joy”aswellasseveralnewpieces.The
preludewastitled“Observation”andthepostludewas“SoundsandSpace.”Theservicealso
includedmanyhymns,butitisuncleariftheywereplayedinajazzstyle.Summerlinalsoplayed
withthegroupattheFestivalofContemporaryArtsinOctoberof1964duringaliturgicaljazz
worshipserviceandacontemporaryjazzconcert.383Healsocomposedthescoreforatheatrical
work,“HairyWoman,”butitisunclearifhisandHeckman’sgroupprovidedthemusic.384
Summerlincomposedjazzscoresforfourfilmstrips:“GodandOuterSpace,”“Godand
Evolution,”“ScienceandEvolution,”and“ReligionandTechnology,”allofwhichwereshownat
thefestivalandwereintendedtodemonstratethatthesciencesarecompatiblewith
Christianity.385
381FestivalofReligionandtheArts,Program,1963,ChurchoftheSavior.privatecollection.382FourthSundayinAdvent,ServiceProgram,1963,PleasantPlainsPresbyterianChurch.privatecollection.383“2MenComposeMusicforWeekendArtsFestivalatPleasantPlainsChurch,”PoughkeepsieJournal,October4,1964,7C.384Ibid.385“FestivalofArtsSchedulesFilms,”PoughkeepsieJournal,September13,1964,3C.
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OnJanuary12,1964SummerlinledaliturgicaljazzserviceatNorthernIllinoisUniversity
inDekalb,Illinois.Thisservicecontainedanewpreludesimplytitled“PreludeinDminor,”
whichIsuspectwasSummerlin’sLiturgicalJazzservice.Therestoftheservicehadmany
parallelstoSummerlin’sLiturgicalJazzservice,includingthesamehymnsperformedwiththe
sameinstructionstothecongregation.Thestructureoftheservicevariedtosomedegreefrom
theoriginalLiturgicalJazzservice,butpresumablymuchofthemusicandarrangementscame
fromthisearlierwork.Summerlin’soriginalLiturgicalJazzservicewasperformedatthe
UniversityofSouthFloridaonMay24,1964withanonetledbyMarkMorrisandthesermon
preachedbyAllanJ.Burry.386Thebandconsistedofstudentvolunteers,butSummerlinwasnot
present.ThisissignificantbecauseSummerlin’sservicewasfiveyearsoldatthetimeandstillin
circulation.Itisalsotellingthatalthoughhewasnotpresent,othercongregationshadchosen
touseSummerlin’sserviceasaresourceforworship.Theserviceitselfhadbeguntotakeona
lifeofitsownwithoutSummerlinguidingtheprocess.Thatevening,Dr.John“Knocky”Parker
ledalectureonjazzinworshipfortheuniversitystudents.387ParkerwasaprofessorofEnglish
atUniversityofSouthFloridaaswellasaprofessionaljazzpianistwhohadworkedwithZutty
SingletonandJoeTurneramongothers.388
InOctober1964,SummerlinprovidedthemusicfortheAdventPlayers,atheatrical
group.TheplaysweretitledDayofWrathandTheTrappedandwereperformedatMuhlenberg
386LiturgicalJazz:Wesley’sOrderforMorningPrayerwithJazzSetting,ServiceProgram,1964,UniversityofSouthFlorida.privatecollection.387Ibid.388JohnEdwardHasse."Parker,Knocky."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedJanuary12,2017,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J346200.
115
College.389Summerlinwroteandperformedthemusicforsoloclarinet.Hefrequentlywrotethe
musicforandperformedwithawiderangeofensemblesforreligiousplays.Whatis
particularlyinterestingabouttheseplaysisthatReverendJohnGaciaGenselwasinvolvedin
producingthem.GenselwastheheadofthejazzministryatSt.PetersLutheranchurchin
Manhattanfrom1965to1994.Hereceivedaspecialdesignationas“PastortotheJazz
CommunityinNewYorkCity”in1965.390HewasaclosefriendofDukeEllington,who
composed“TheShepard(WhoWatchesOvertheFlock)forhimaspartofEllington’sSecond
SacredConcert.BillyStrayhornleftGenseloneofhisSteinwaypianos,whichisstillhousedatSt.
Peters.GenselalsoofficiatedthefuneralservicesofDukeEllington,TheloniousMonk,John
Coltrane,ColemanHawkins,MilesDavis,DizzyGillespie,andErrollGarneramongmanyother
jazzlegends.391Hewascertainlythemosthighlyvisibleclergymanwhochampionedjazzbothin
andoutofthesanctuary.Genselonceproclaimed,“Ithinkjazzisprobablythebestmusicfor
worship.”392Hewasthemosthigh-profileclergymanwithwhomSummerlinworkedandwasa
hubfortheliturgicaljazzcomposersandperformersinNewYorkCity.
389JamesR.Kaye,TheAdventPlayers,Program,1964,MuhlenbergCollege.privatecollection.390BenRatliff,“JohnG.Gensel,80,thePastortoNewYork’sJazzCommunity,”NewYorkTimes,February8,1998,accessedonJanuary15,2017,http://www.nytimes.com/1998/02/08/nyregion/john-g-gensel-80-the-pastor-to-new-york-s-jazz-community.html.391Ibid.392MichelMarriott,“UpbeatFarewellFora'JazzPastor';Musicians'MinisterRetires,”NewYorkTimes,January3,1994,accessedJanuary31,2017http://www.nytimes.com/1994/01/03/nyregion/upbeat-farewell-for-a-jazz-pastor-musicians-minister-retires.html.
116
InMarch1965,SummerlinperformedaLiturgicalJazzLentenservicewithajazzquartet
alongwithDonMarsh’sPresbyPlayers.393ThePresbyPlayerswereachurch-sponsored
communitytheaterprogram,whichMarshdirectedforoverfortyyears.Marshalsopublished,
alongwithRichardAvery,over150hymns,carols,andanthemsinawiderangeof
contemporarystyles,startingwithHymnsHotandCarolsCoolin1967.394Thesongbook
includesawiderangeofstylesincludingrock,calypso,traditionalchoral,folk,andjazz.The
“GloriaPatri”and“Doxology”werearrangedwithstandardjazzharmonicprogressionsand
performancenotesthatsuggestaswingfeel.395SummerlinperformedalongsideMarshagainat
CarnegieRecitalHallonNovember28,1965inaprogramentitledContemporaryReligious
MusicbyEdSummerlinandDonMarsh.396
BardCollege
InMarch1965,SummerlinperformedataliturgicaljazzserviceatBardCollegein
Annandale-on-Hudson,NewYork.TheserviceincludedseveralpiecesbySummerlin,including
“Prelude,”“Credo,”and“Postlude,”397alongwithseveralhymns.398TheprogramalsolistedRon
Carterasthebassistaswellascontainedaspecialannouncement:
393LentI,ServiceProgram,1965,St.Peter’sEpiscopalChurch.privatecollection.394“DonaldS.Marsh,”TheSanteFeNewMexican,April16,2010,C002.395RichardK.AveryandDonaldS.Marsh,HymnsHotandCarolsCool:NewSongsfortheNowChurch(PortJervis,NY:ProclamationProductions,1967),2-3.396ContemporaryReligiousMusicbyEdSummerlinandDonMarsh,Poster,1965,CarnegieRecitalHall.privatecollection.397Thepostludewastitledpreludeintheprogrambuttookplaceafterthefinalblessingorbenedictionwhichiswhereapostludeingenerallylocatedthereforetheauthorassumesthatthisisatypo.398FourthSundayinLent,ServiceProgram,1965,BardCollegeChapel.privatecollection.
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TheparticipationintheCollegeServicetodaybyEdSummerlinandRonCarter,withPeterBrownandtheCollegeOrganistandChoir,ispartofaspecialprojectbyMr.Summerlin,sponsoredbyBroadcastMusicInc.,tostudytheusesofJazzinworship.AtthepresenttimeMr.SummerlinisdoinghisworkinhisofficeinthebasementofRobbinsHouse.399
Hiscurriculumvitaelistsacomposer-in-residencegrantfromBroadcastMusicInc.,“to
composeexperimentalmusicforthechurch”atBardCollege.400Summerlinhadalready
establishedhimselfastheleaderinliturgicaljazzcompositionandperformancebythistime.His
movetoNewYorkalsofacilitatedtheuseofworld-renownedartistslikeRonCarter,Barry
Galbraith,EricDolphy,SteveKuhn,andHankJonesinhisservices,thusaddingtohisprestigeas
acomposer,arranger,andcomposer.Thestatedgoaloftheresidencywastocomposeand
premiereanoratorioforchorusandjazzensemble,acompleteservicefororganandchorus,
andtwogroupsofjazzhymnsincludingorganandajazzensemble.401
Summerlinplayedaspecialmulti-congregationalliturgicaljazzserviceinJune1965with
himselfontenorsaxophone,DonHeckmanonaltosaxophone,BobNordenontrombone,and
RonCarteronbass.402ThisissignificantinthatthisisthecoreofthehornsectionfortheDon
Heckman-EdSummerlinImprovisationalJazzWorkshopagroup,whichincludedLewGluckin
ontrumpet,BobNordenontrombone,DonHeckmanonaltosaxophone,EdSummerlinon
tenorsaxophone,SteveKuhnonpiano,RonCarterandSteveSwallowonbass,JoeHuntand
399Ibid.400EdgarE.Summerlin,CurriculumVitae.privatecollection.401“SummerlinatBard,”TheKingstonDailyFreeman(Kingston,NewYork),November27,1964,28.402BaccalaureateService,ServiceProgram,1965.privatecollection.
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JoeCocuzzoondrumsandLisaZanda,vocals.403Thegroup’srecordinghadastrongavant-garde
quality,containingtonerows,toneclusters,extendedtechniques,improvisationalsectionsfree
ofharmonicorrhythmicconstraints,andisdiscussedindetailinChapter5.Duringthe
abovementionedservice,ahand-writtenprogramnoteover“ThePrayerofConfession”
suggeststhatRonCarterimprovisedfreelyduringtheprayer.Thegroupasawholeplayedon
“TheProcessional,”“Holy,Holy,Holy,”“TheGloriaPatri,”“TheDoxology,”“Hymn401,”and
“TheRecessional.”Summerlinpresentedseverallecturesonliturgicaljazzatvariouschurchesin
1965,someofwhichincludedRonCarter.404
DuringhisresidencyatBardCollege,SummerlincomposedTheComingofChrist,an
AdventcantatathatwaspremieredatCarnegieRecitalHallonNovember28,1965inaprogram
entitledContemporaryReligiousMusicbyEdSummerlinandDonMarsh.405Itwasapiecefor
tenorsaxophone,altosaxophone,trumpet,twotrombones,bass,drums,choir,andfourvocal
soloists.406Thepiecewasinthreeparts:“TheNewMen,”“TheNewHumanity,”and“Parousia.”
ThewordParousiaisGreekforthesecondcomingofChristreferredtointheBible.407The
ComingofChristincludesimprovisationoverchordchanges,freeinstrumentalimprovisation,
consistentshiftingoftimesignatures,andmanyinstancesofvocalimprovisation.Theworkwas
403DonHeckmanandEdSummerlin,linernotestoDonHeckman-EdSummerlinImprovisationalJazzWorkshop,DonHeckmanandEdSummerlin,IctusRecords101,33⅓rpm,October1967.404MarionLogue,“AreJazz,ReligionRelated,”DelawareCountyDailyTimes(Chester,Pennsylvania),March6,1965,9.405EdSummerlin,linernotestoRingOutJoy,EdSummerlin,AvantGardeRecordsAV114,33⅓rpm,1968.406EdSummerlin,TheComingofChrist,TextbyWilliamR.Miller,score,1965.privatecollection.407Merriam-WebsterOnline,s.v.“Parousia,”accessedJanuary17,2017,https://www.merriam-webster.com/dictionary/Parousia.
119
presentedagainattheMethodistUniversityCenterinMadison,WisconsinonDecember11,
1966.408SummerlinwasaccompaniedbytheRayLorneSextet,presumablyalocaljazzgroup,
andtheMethodistUniversityCenterChoir.409Therewerealsothreedancersperformingduring
theservice,butitisunclearwherethattookplaceintheservice.Theprogramalsoannounces
“AHappening”underthedirectionofSummerlinthattookplacethateveningandincluded
musicians,dancers,poets,andpainters.410AccordingtoKarenSummerlin,EdSummerlin
frequentlyparticipatedinandcoordinatedChristianhappeningsthroughoutthe1960sand
1970sinconjunctionwithliturgicaljazzperformances.411
SummerlinparticipatedintheBardCollegeJazzFestivalduringhisresidencyatthe
college.HeperformedwiththeDonHeckman–EdSummerlinImprovisationalJazzWorkshop
aswellasinanoriginaljazzvespersserviceheldatBardChapel.412Theothergroupswho
performedatthefestivalweretheRonCarterTriowithRonCarteronbass,HerbieHancockon
piano,andTonyWilliamsondrums;TheFreddieHubbardQuintet;TheArtFarmerQuartetwith
ArtFarmerontrumpet,JimHallonguitar,SteveSwallowonbass,andWalterPerkinson
drums.413Summerlinhadprofessionalassociationsbeforethefestivalasaplayer,composer,or
arrangerwithRonCarter,FreddieHubbard,JimHallandSteveSwallow.GivenSummerlin’s
previousconnectionstomanyofthesemusiciansaswellashisresidencyatBard,itislikelythat
hehadsomesayinselectingtheartistsforthefestival.
408OrderofMorningWorship,ServiceProgram,1966,MethodistUniversityCenter.privatecollection.409Ibid.410Ibid.411KarenSummerlin,interviewwithauthor,April2015.412“BardCollegeJazzFestivalisSlatedforThisWeekend,”TheKingstonDailyFreeman(Kingston,NewYork),May5,1965,25.413Ibid.
120
By1966,liturgical,oratleastsacred,jazzworkshadbecomeamuchmorefamiliar
conceptintheUnitedStates.Ebonymagazinerananarticletitled“JazzGoestoChurch,”which
gaveanoverviewofcurrentpractitionersofliturgicalandsacredjazz,includingEdSummerlin,
DukeEllington,LaloSchifrin,VinceGuaraldi,MaryLouWilliams,andRandyWeston.414Theyear
before,Timemagazinehadrunanarticle“CoolCreeds,”wheretheychosethreeliturgicaljazz
workstoreview:EdSummerlin’sLiturgyoftheHolySpirit,LaloSchifrin’sJazzSuiteontheMass
Texts,andVinceGuaraldi’sJazzMass.415Thearticlestatedthatjazzwasnowtakenseriouslyas
amusicforChristianstopraisetheLord.Itgoesontosaythatthemusicitselfwas“composed
andplayedbytopflightprofessionalmusicianswhoareintriguedbythepossibilitiesofblending
theirartwiththetraditionalformsofthechurch’sprayer.”416Onenoteworthyaspectofthe
languageemployedinthearticleisthattheauthoracknowledgesthatthecomposersand
performersarecreating“art.”ThefactthatTimemagazinewasreferringtotheseliturgicaljazz
servicesandmassesasartissignificant;afterall“art”cancertainlybeusedtoglorifyGodina
church.Themagazinealsoacknowledgedthattheuseofjazzmusicinchurchwasstill
somethingofanacquiredtaste,sothepublicsentimenthadcertainlynotcompletelyturned.417
ThedebatewascertainlynotsettledintheChristiancommunityeither.TheChristian
Century,anecumenicalweeklymagazine,publishedtwoarticlesinJune1966.Thefirst,“Sing
totheLordaNewSong,”madetheargumentthattheoldhymnsthatwerebeingusedbythe
414“JazzGoestoChurch,”Ebony,April1966,76-80.415“CoolCreeds,”Time,July9,1965,52.416Ibid.417Ibid.
121
churchwereofpoorquality,asentimentechoedbySummerlin.418Thefollowingweek,Lester
Kinsolving’s“DemurreronJazzyLord’sSuppers,”waspublishedandstatedthat“incertain
liturgicalcircumstancesevengoodjazzisinappropriateandunseemly.”419Kinsolvingreferredto
thecurrenttrendofliturgicaljazzasagimmickdesignedtodrawacrowd.Hewentonto
ridiculesomeofthemorebizarreargumentsthathadapparentlybeenusedforhavingjazzin
church.HecontinuedbysuggestingthatperhapsthetalentsofCarolDoda,afamousstripperin
SanFrancisco,couldbeincorporatedintotheservicessincethatwouldcertainlydrawa
crowd.420Humoraside,thisisstillperpetuatingthenarrativethatjazz,atworst,isamusicfor
stripclubsandbordellosand,atbest,fordancehalls.Giventhattwoofthemusicalreferences
heusedwereDukeEllingtonandVinceGuaraldi,Kinsolvingstayedclearofcriticizingthemerits
ofthemusicitself;rather,hisargumentwasthatitwasgoodmusic,justnotgoodforchurch.
SummerlinalsocomposedLiturgyoftheHolySpiritduringhisresidencyatBardCollege.
TheworkpremieredattheNewYorkConferenceoftheMethodistChurchonJune19,1965.421
SummerlinwrotethemusicandWilliamRobertMillerwrotethetextforthework.James
Geggiewrotethatthiswas“thefirstworktobeconceivedbothmusicallyandtextuallyasa
completeserviceofworshipinjazz.”422Theservicewaswrittenforchoirandjazzsextet.The
instrumentationconsistedofaltosaxophone,tenorsaxophone,trumpet,trombone,bass,and
drums.Theserviceintwelvepartsincludedprayers,choralanthems,andfourhymns,butnota
418WilliamRobertMiller,“SingtotheLordaNewSong,”TheChristianCentury,June15,1966,771.419LesterKinsolving,“DemurreronJazzyLord’sSuppers,”TheChristianCentury,June22,1966,803.420Ibid.421JamesC.Geggie,“AcrosstheReligionEditor’sDesk,”TheSanBernardinoCountySun(SanBernardino,California),Jun26,1965,8.422Ibid.
122
prewrittensermon,whichwasdeliberatelykeptopentofacilitateasermononthepreacher’s
choiceofBiblicalpassages.423Duringthework’spremiere,thesermonwasreplacedabyaskit
titled“AFellowshipofLoving.”424ThearticlehasseveralquotesfromMillerinwhichhe
discussestheneedtoupdatehymnsandtheologytoberelevantinthecurrentage—a
sentimentsharedbySummerlin.GeggieclosesthearticlebywritingthatSummerlinandMiller
were,atthatpoint,“planningafour-partPentecostcantata,‘AHymntoChristtheSavior,’
adaptedfromatextbySt.ClementofAlexandra”aswellasaworkforChristmas.425
TheLiturgyoftheHolySpirithadthirteendistinctsections:TheAgape,Invocation,
Hymn-“HowSweetandHolyistheWord,”Scripturereading,Anthem-“OMightyMysteryofthe
Word,”PastoralPrayer,Sermon,Offertory,OffertoryAnthem-“OLightofLife,”Hymnof
Commitment-“Rejoice,Rejoice,BeginaNewDay,”Epiklesis,RecessionalHymn-“AndNowWe
GoOurVariedWays,”andBenediction.426ThefirstsectionsofLiturgyoftheHolySpiritmake
liberaluseofcontemporaryjazzharmonicprogressions,contemporaryvoicings,wideintervallic
leaps,anddissonance.Duringthe“OMightyMysteryoftheWord”anthemthereisasection
wheretheaccompanyinggroupandchoirimprovisefreely.Thereisnotimesignature,key,or
harmonicconstraintsthatthesingersorplayersmustadhereto.427Thisisthefirsttimewehear
Summerlinintroducingavant-gardepracticesintohislarge-scaleliturgicalworks.Thetext
immediatelyfollowingthisfreesectionisaboutPentecost;inthisfreesection,Summerlin
makesamusicalreferencetothepracticeofspeakingintongues.Theoffertoryanthem“O
423Ibid.424Ibid.425Ibid.426MorningWorship,ServiceProgram,1967,HopeChurch.privatecollection.427EdSummerlin,LiturgyoftheHolySpirit,score,1965.privatecollection.
123
LightofLife,”bycontrast,hasthechoirsingingapedaltoneaccompaniedbyaunisonmelody
referencingearlychurchmusicstyles.Theanthemthenhasanaltosaxophonesoloand
trombonesolothatisopenandhasnowrittenorimpliedharmonicaccompaniment.428The
bassanddrumsofferaccompanimentintimeforbothsoloists.Theworkendswiththe
recessionalhymn“AndNowWeGoOurVariedWays”followedbythebenediction.
SummerlinperformedtheworkagainonMay22,1966attheSecondAnnualFestivalof
ContemporaryMusicatKalamazooCollegeinMichigan.429Theservicewastheculminationofa
four-dayresidencyatthecollegeinwhichSummerlinpresentedalecturetitled“New
DevelopmentsinJazz,”ajazzconcertbyTheEdSummerlinEnsemble,andajazzworkshop.430
TheservicewasthenperformedonApril30,1967inSpringfieldMassachusettsat9:30atthe
TrinityChurchandat11a.m.attheHopeChurch.431Thatprogramalsolistsajazzimprovisation
happeningattheHopeChurchthatafternoonandrecommendssomeliturgicaljazzrecordsfor
listening,includingJoeMasters’TheJazzMassandLaloSchifrin’sJazzSuiteontheMass
Texts.432
OnAugust6,1967,SummerlinconductedtheHerbPomeroycomboinaperformanceof
LiturgyoftheHolySpiritatthemultidayOpenWideReligiousArtsFestivaloftheKennebunksin
Maine.433ThegroupwascomprisedofHerbPomeroyontrumpet,CharlieMarianoonalto
saxophone,JohnLaPortaontenorsaxophone,GeneDiStasioontrombone,NateHygelundon
428Ibid.429FestivalofContemporaryMusic,Program,1966,StetsonChapel.privatecollection.430MorningWorship,ServiceProgram,1967,HopeChurch.privatecollection.431Ibid.432Ibid.433OpenWideReligiousArtsFestivaloftheKennebunks,Brochure,1967,LyricTheater.privatecollection.
124
bass,andArtieCabralondrums.434Thegroupwasaccompanyingfourvocalsoloistsandan
Interchurchchoir.435SummerlinandPomeroyhadledacomboatLenoxSchoolofJazzalong
withConnieKayin1960.436Theperformancemusthavebeenwellreceivedsincethefestival
commissionedSummerlintocomposeanewworkforthe1968Openwidefestival.437
Summerlinattendedseveralreligiousconferencesin1967.ThefirstwastheRevelation
’67conference.OnMarch5,1967,SummerlinledtheserviceattheHennepinAvenue
MethodistChurchinMinneapolis,Minnesotaaspartofaconferencewithalocalchoirandjazz
ensemble,whichincludedlong-timeDonEllisbandmemberJackCoanontrumpet.438Thenight
before,Summerlinledaworkshoponimprovisationthatwasopentothemusicians,students,
andclergy.439Theconferencethemewasfindingsacredmeaninginsecularforms.Thesecular
formsrepresentedwerejazz,folkmusic,choralmusic,baroquemusic,sculpture,dance,and
film.440SummerlinthenledahappeningattheHumanRightsinWorldPerspectiveconference
heldatSt.PaulSchoolofTheologyinKansasCity,MissouriinearlyAugust.Thehappening
includedjazzmusic,painting,dance,anddramaledbyfourguestartists.441Hethenpresented
434OpenWideReligiousArtsFestivaloftheKennebunks,Program,1967,LyricTheater.privatecollection.435Ibid.436“LenoxSchoolofJazz,”ConcertProgram,1960,accessedFeb9,2016,http://www.jazzdiscography.com/Lenox/1960prog.htm.437SourdoughandSweetbread,Program,1968,KennebunkHighSchool.privatecollection.438Revelation‘67,ServiceProgram,1967,HennepinAvenueMethodistChurch.privatecollection.439Revelation‘67,ConferenceProgram,1967,HennepinAvenueMethodistChurch.privatecollection.440Ibid.441HumanRightsinWorldPerspective,ConferenceProgram,1967,St.PaulSchoolofTheologyMethodist.privatecollection.
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anessayinmid-AugustattheExperimentsinCommunityliturgicalconferenceinKansasCity.
Summerlin’spresentationwastitled“ChurchMusic:CreativityorMuzak?”442Summerlinwrote:
Theproblemisthatgoodpoetsandcomposers(withafewexceptions),arenotthepeoplewhoaredoinghymnsforourhymnals.Butlet’snotthinkwearemakingprogresswhenwesubstitutenewmusicbyineptcomposersandlyricists.Thechurchcannotsurviveartisticallybysubstitutingnewclichésforoldones.Wemustconstantlyexperimentwithnewsoundsandwaysofdoing(ritual)togetherinthehopethatavitalandlivingchurchisgrowing,absorbing,changing443
Summerlinwasstillcriticalofthequalityofhymnsbeingusedandwasstillpushingformore
modernityinchurchmusic.Theessaynotonlymentionsjazzbutalsousesfolkandrockas
examplesofcontemporarystyles.Thisacknowledgementofotherstylesisasignofthecoming
musicaltrendsinchurch.Summerlinclearlysawthewritingonthewallthatjazzwasnolonger
aformofpopularcontemporarymusic.By1967,thepopularityofTheBeatlesandfolkartists
hadbeguntofilterintochurches.Asamusicianwhomadehislivingcreatingliturgicaljazz,
Summerlin,muchlikeMaryLouWilliams,hadtoacknowledgethesetrends.OnAugust21,
1967,Summerlinledapresentationtitled“MusicinWorship”attheEcumenicalConferenceon
ChristianWorshipinKansasCity.444
TheLiturgicalConferencebasedinWashington,D.C.sponsoredtwoofthethree
conferencesinKansasCity,allofwhichweregearedtowardcommunityengagementand
modernityinworship.ThefinalconferenceSummerlinattendedin1967wastheMethodist
ConferenceonChristianEducationinDallas,TexasonNovember6-10.Thethemeofthe
442EdSummerlin,ExperimentsinCommunity(WashingtonD.C.:TheLiturgicalConference,1967),37.443Ibid.444EcumenicalConferenceonChristianWorship,ConferenceProgram,1967,KansasCity,Missouri.privatecollection.
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conference,“TheIssueisChange,”echoedtheconcernsoftheotherconferenceshehad
attendedthatyear.445SummerlinledthemusicforahappeningledbyDr.RogerOrtmayer
titled“Change.”Thehappeningwasthegeneralsessionthatopenedtheconferenceandwas
heldinthegrandballroomandincludedelementsofworship.446Thefocusonmodernitywas
theresultofVaticanII,whichwasdiscussedinChapter1,andtrendsinchurchattendance.In
theUnitedStates,thenumberofpeopleattendingchurchservicessawasteadydeclinefrom
1959to1972.447Thisconsistentdropinattendancewasseenbymanyinreligious
establishmentsasacalltomakethechurchmoremodernandthereforemorerelevanttothe
currentpopulation.Thistrendcertainlyhelpedchurchleadershipbemoreopentonewmusic,
suchasjazz,inthepracticeofworship.
In1968,Summerlinenteredtherecordingstudioagaintodocumentsomeoftheworks
composedduringhisresidencyatBardCollege.Herecordedhistwolarge-scaleworks,The
ComingofChristandLiturgyoftheHolySpiritaswellasGiftofJoy,ashortpieceforvocal
soloistandjazzcomboforaPentecostservice.448Thegroupthatwentintothestudioconsisted
ofEdSummerlinontenorsaxophone,MarvinStammontrumpet,DonHeckmanonalto
saxophone,GeorgeMargeontenorsaxophone,BobNordenontrombone,TonyStuddonbass
trombone,RichardDavisandRonCarteronbass,EdShaughnesseyondrums,Rosemary
445MethodistConferenceonChristianEducation,ConferenceProgram,1967,StatlerHiltonHotel.privatecollection.446Ibid.447FrankNewport,“InU.S.,Fourin10ReportAttendingChurchinLastWeek,”Gallup.com,lastmodifiedDecember24,2013,accessedFebruary9,2017http://www.gallup.com/poll/166613/four-report-attending-church-last-week.aspx448EdSummerlin,linernotestoRingOutJoy,EdSummerlin,AvantGardeRecordsAV114,33⅓rpm,1968.
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Unutmazonvocals,andachoirledbyJohnMurphy.449ThechoirwasrecordedlaterinLondon,
whereAvantGarderecordswasbased.450RingOutJoy’sworksdonotincludethepreachingor
scripturereadingsthatwereincludedinLiturgicalJazz.Themusicwaspresentedasacollection
ofstand-aloneworks,whichwasadeparturefromSummerlin’sfirstliturgicaljazzrecord.Inthe
linernotes,Summerlinwrites,“myrecentcompositionsarequitedifferentfromthese.Ihave
becomeconvincedthatwemustdomoreactiontogetherinchurchservicesandhavemade
moreuseofprojectionsandmixedmedia.”451Thealbumwasgivenafour-starratingoutoffive
byBillboardmagazineintheGospelcategoryandwasselectedasanalbumwithpotentialfor
chartingandgoodsales.452Thealbumreceivedverylittleattention,however,despitethe
formidablelineup.Isuspectthatby1968,Summerlin’srecordingsimplyhadtoomuch
competitionfrommorerecognizablenameslikeMaryLouWilliams,DukeEllington,Lalo
Schifrin,andVinceGuaraldi.Therewasnoshortageofliturgicaljazzrecordsoutatthetimeand
reviewersseemedtoignoretherelease.
LatePeriodLiturgicalWorks
SummerlinreturnedtotheOpenWidefestivalagainonAugust4,1968withanewwork
entitledSourdoughandSweetbread,whichwascommissionedbyandpremieredatthe
festival.453Thepiecewasajazzcantatacomposedforflute,threetrumpets,twotrombones,
449Ibid.450BarryMcRae,“EdSummerlin,”JazzJournal,21,no.7(1968):7.451EdSummerlin,linernotestoRingOutJoy,EdSummerlin,AvantGardeRecordsAV114,33⅓rpm,1968.452“SpecialMeritPicks,”Billboard(Archive:1963-2000),March8,1969,61.Retrievedfromhttps://search.proquest.com/docview/1286354055?accountid=14553453SourdoughandSweetbread,Program,1968,KennebunkHighSchool.privatecollection.
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bass,drums,andchorus.Italsoincorporated“threeactors,slideandoverheadprojectors,
artists,priests,ministers,rabbi,youthgroupsandcongregation.”454Dr.RogerOtrmayerwrote
thetext,andthefestivalclassifiedtheworkascontemporaryinform.455Sourdoughand
Sweetbreadwasinsevensections:TraveltoLife,SpreadSeed,DialogueInterlude,LetUsPray,
BreadistobeBroken,SharedBread,andNewLife.ThatmorningOrtmayerandSummerlinled
aservicetitledTheWordIsattheUnitarianChurchofKennebunk.456SummerlinandOrtmayer
performedtheworkagainonMarch2,1969attheMethodistUniversityCenterofWhitewater
StateUniversityinWisconsin.457Summerlinhadbeentheretwicebefore,whereheperformed
hisLiturgicalJazzServiceandhisChristmascantataTheComingofChrist.458Healsoperformed
theworkatCazenoviaCollegenearSyracuse,NewYorkonJune18,1969.459
In1968,Summerlintookpartinaradiobroadcastpaneldiscussiontitled“TheJazz
Mass”onWRVR,aNewYorkradiostation.ThepanelistsincludedSummerlin,ReverandJohn
GarciaGensel,FatherNormanJ.O’Connor,EddieBonnemère,andDonStratton.460Gensel,
O’Connor,andBonnemèrewerediscussedinChapter1.DonStrattonwasatrumpetplayer
whohadplayedwithCharlieParker,PhilWoods,LesterYoung,SteveLacy,andHerbieMann,
454OpenWideReligiousArtsFestivaloftheKennebunks,FestivalProgram,1968,Kennebunk.privatecollection.455Ibid.456Ibid.457SourdoughandSweetbread,Program,1969,MethodistUniversityCenter.privatecollection.458Ibid.459SourdoughandSweetbread,Program,1969,CazenoviaCollege.privatecollection.460JohnGarciaGenseletal.,TheJazzMass,paneldiscussion,WRVR,digitalaudiotape,1968.SchomburgCenterforResearchinBlackCulture.
129
amongothers,andwasalsoasalongtimemusiceducatorattheUniversityofMaine.461The
paneldiscussionwaslivelyandinformal.Themainnewpieceofinformationgatheredfrom
listeningwasthatBonnemèrewasclearlyfrustratedbywhathesawasalackofopportunityto
presenthisliturgicaljazzmorefrequentlyandinmorechurches.462Themenwerefriends,as
wasclearlydemonstratedbytheireasyrapportandfamiliaritywitheachother.Giventhe
significantnumberofjazzartistswhohadcomposed,recorded,andperformedintheliturgical
jazzstyleby1968,itissignificantthatSummerlinwaschosenforthepanelandthattwoofhis
pieceswereplayedattheconclusionofthebroadcast.463
Summerlintookpartinseveralreligiousconferencesandfestivalsin1968,startingwith
theFestivaloftheArtsonMarch10,whereheperformedChristLaginTodesbandenorWhere
DoWeGoFromHere?,anewworkcommissionedbythefestivalatGraceEpiscopalChurchin
Massapequa,NewYork.464OnMarch23,1968,Summerlintookpartinapaneldiscussiontitled
“TheChurchandtheArtsinContemporaryDialogue”attheSixteenthMiddleAtlanticAdult
ConvocationoftheMethodistChurchinBuckHillsFall,Pennsylvania.465Thenextday,
SummerlinandhisgroupledAContemporaryServiceofWorshipfortheconvocation
participants.SummerlinledaperformanceofthesameserviceonApril28,1968inElkton,
461“DonaldStrattonObituary,”Legacy.com,accessedonFebruary3,2017,http://obituaries.centralmaine.com/obituaries/mainetoday-centralmaine/obituary.aspx?n=donald-paul-stratton&pid=179839659462JohnGarciaGenseletal.,TheJazzMass,paneldiscussion,WRVR,digitalaudiotape,1968.463Ibid.464FestivaloftheArts,Poster,1968,GraceEpiscopalChurch.privatecollection.465SixteenthMiddleAtlanticAdultConvocationoftheMethodistChurch,ConferenceProgram,1968,TheInn.privatecollection.
130
Maryland.466HeledtheserviceagainonAugust28,1968inSchenectady,NewYorkwiththe
followinggroupofmusicians:EdSummerlinontenorsaxophone,TarganUnutmazonbass,
RosemaryUnutmazonvocals,CharlesMoranoondrums,anddancerBrendaBaum.467
TheearliestperformanceoftheserviceappearstohaveoccuredonFebruary12,1967
attheMethodistChurchinWappingersFalls,NewYork.468Theservicebeganwithascripted
salutationandwasfollowedbyanoriginalpoemwrittenbyBrendaBaumtitled“TheLiving
Ash,”whichwassettomusicbySummerlin.Thenacongregationalreadingtookplace,followed
byadancebyBrendaBaum.Duringthedance,aclipfromthefilm“CelebrationofLove”was
playedwithascorebySummerlin.ThiswasfollowedbyexcerptsfromT.S.Elliot’s“TheLoveof
J.AlfredPrafrock,”“TheHollowMen,”and“EastCoker,”aswellasRobertFrancis’spoems“Old
Men”and“TheHawk,”allofwhichweresettoSummerlin’smusic.TherewasanOffertorywith
musicandthefinaleventwasadancebyBrendaBaumwithmusicandreadingsfromThomas
WolfeandKahlilGibran.469TheserviceendedwithSummerlin’soriginalHymn“Rejoice,Rejoice,
BeginaNewDay,”whichcomesfromLiturgyoftheHolySpirit.Intheprogram,Summerlin
acknowledgesadditionalsourcesfromthewritingsofDr.RogerOrtmayerandpoemsbyJorge
DeLima,aBrazilianpoetandChristianmystic.470
Summerlin’slinernotesforRingOutJoydiscussedhisnewerworksthatincluded
projectionsandmixedmedia.AContemporaryServiceofWorshipseemstohavebeenthefirst
466AContemporaryServiceofWorship,ServiceProgram,1968,ElktonMethodistChurch.privatecollection.467AContemporaryServiceofWorship,ServiceProgram,1968,FirstUnitedMethodistChurch.privatecollection.468AContemporaryServiceofWorship,ServiceProgram,1967,MethodistChurch.privatecollection.469Ibid.470Ibid.
131
ofmanyworksthatincludeddance,projections,poetry,andjazzcombinedinworship.
SummerlinledtheserviceagainonSeptember6,1967atthe“NationalConsultationonthe
ChurchinCommunityLife”heldattheOhioStateUniversityinColumbus,Ohio.471OnFebruary
8,1967,Summerlin,alongwithOrtmayer,ledanAshWednesdayserviceatWesternMaryland
College.472Theservicehadseveralcontemporaryreadings,dance,asermonaccompaniedby
music,andwhatwaslistedintheprogramasa“CongregationalEvent.”473Theeventwas
writtenaboutsomemonthslaterintheNewYorkTimesinanarticletitled“LiturgiesEmbracing
MorePopArtForms.”EdwardFiskedescribedtheeventas:
AjazzcomboledbyEdSummerlin,asaxophonist,providedthemusicwhiledancersmoveddowntheaislesandhurledpaperplatesatthecongregation.RandomsentencesfromtheBible,newspaperadsandbookswerepastedoneachplate,andtheworshiperwhocaughtaplatewasinstructed:‘Sometime,duringthenextfourminutes,standupandread.’474
Ortmayerstatedinthearticlethatparticipationwasthepoint.Summerlinwasquotedassaying
he“conductschoirsof‘non-musicians’inanthemsofclicks,sighs,andothervocaleffects”
frequently.475
Thearticlealsodrawsattentiontothefactthatliturgicaljazzhadbeensupplantedby
folkandrockstylesincontemporarychurchservices.By1967,theBritishInvasionhadalready
takenplaceandfolkstyleswereexplodinginpopularity.Jazzsawasteadyandsteepdeclinein
471NationalConsultationontheChurchinCommunityLife,ConferenceProgram,1967,OhioStateUniversity.privatecollection.472AshWednesdayService,ServiceProgram,1967,WesternMarylandCollege.privatecollection.473Ibid.474EdwardFiske,“LiturgiesEmbracingMorePopArtForms:ChurchesNowEmbracingMorePopArtFormsinLiturgies,”NewYorkTimes,May15,1967,1.475Ibid.
132
popularityinAmerica.Iftheimpetusforhavingjazzinchurchwasreallytoconnectwiththe
newgenerationortodrawmorepeopletochurch,manyclergymusthavebeenquestioning
thejazzgenreasthevehicletoaccomplishthat.Manyoftheinnovationshappeninginmusicin
thelate1960swereavant-gardeinnatureandpotentiallylesspalatabletocasualaudiences.
Summerlin,alwaysamodernist,wholeheartedlyembracedthesecompositionaland
improvisationaltechniques.
SummerlinpremieredChristLaginTodesbandenorWhereDoWeGoFromHere?on
March10,1968attheGraceEpiscopalChurchinMassapequa,NewYork.476Theworkwas
basedonJ.S.Bach’s1724cantatano.4,ChristLaginTodesbanden(ChristLayintheBondsof
Death.)BachcomposedtheworkforEasterSundayanditisBach’sonlycantata“completelyset
ononechoralemelodywithoutrecitatives.”477ThetextisbasedonapoembyMartinLuther
thatwassettomusicbyJohannWaltherin1524.478W.MurrayYoungwritesthatitwasBach’s
“firsttruechoralecantata.”479Summerlin’sworkofthesamenamewasscoredforstrings,two
trumpets,threetrombones,altosaxophone,bass,drums,taperecorder,transistorradios,
overheadprojector,chorus,andareader.480Theworkiscomprisedofsevensections:
“Todesbanden,”“Sundigen,”“GottesSohn,”“EinWunderlicherKrieg,”“Osterlamm,”“DasHohe
Fest,”and“DemWort.”481IntheperformancenotesSummerlin,wrote:
Itincorporatestraditionalorchestralwritingaswellasaleatory(indeterminate)notation.Theworkisintendedtousethefullrangeofmusicalpossibilitiesforboththe
476AChoralConcert,ConcertProgram,1968,GraceEpiscopalChurch.privatecollection.477W.MurrayYoung,TheCantatasofJ.S.Bach:AnAnalyticalGuide(Jefferson,NorthCarolina:McFarland&Company,1989),52-53.478Ibid.479Ibid.480AChoralConcert,ConcertProgram,1968,GraceEpiscopalChurch.privatecollection.481Ibid.
133
choirandinstrumentalists.Thechoirmembersarecalledupontomakeclicking,hissingsounds,etc.,aswellasshoutingandtalking.Theorchestramembersusetheirinstrumentsinavarietyofways,thestringstaponthewoodoftheirinstrumentsandthebrassplayersareinstructedatonepointto‘blowairintothehornwithoutproducinganote.’482
Summerlinhadcertainlyembracedmanyofthenewmusicaltechniquesthathademergedin
classicalmusicaswellasavant-gardejazzinhisnewcompositions.ThetextwaswrittenbyDr.
RogerOrtmayerandwasacontemporaryversionofBach’stext.483Thetextincludedwordslike
“Vietnam,”“Korea,”“BayofPigs,”and“laserbeams.”484Theworkincludeslongsectionsof
bothstructuredandfreeimprovisationbythejazzinstrumentalistsaswellasseveralsections
withapronouncedswingfeel.485
ThepremierewasreviewedinNewsdayinanarticletitled“JazzMassLagsBeforeit
Swings.”RonEyerwrotethattheworkseemedlikeitwaslackinginimpactuntilheheardthe
finalchorus,“TheWordisLife,”whereeverythingseemedtocoalescebehindtheswinging
group.486TheconcertwasperformedagainApril6,1969inIthaca,NewYork;487February22,
1970atDukeUniversity;488April8,1970atthePittsburghFestivalontheGospels;489May3,
482Ibid.483Ibid.484Ibid.485EdSummerlin,ChristLaginTodesbandenorWhereDoWeGoFromHere?,recordedJune25,1969,CompactDisc.privatecollection.486RonEyer,“JazzMassLagsBeforeitSwings,”Newsday,March11,1968,2A.487ChristLaginTodesbandenorWhereDoWeGoFromHere?,ConcertProgram,1969,DukeChapel.privatecollection.488ChristLaginTodesbandenorWhereDoWeGoFromHere?,ConcertProgram,1969,TerraceCafeteria.privatecollection.489ChristLaginTodesbandenorWhereDoWeGoFromHere?,FestivalProgram,1970,PittsburghTheologicalSeminary.privatecollection.
134
1970inFlint,Michigan;490andMay15,1971atWittenbergArtsFestivalandSymposium.491The
workhaditsNewYorkpremiereonJune25,1969attheChapeloftheInterchurchCenterin
Manhattan.492ThisperformancewasrecordedandfeaturedDonHeckmanonaltosaxophone,
LynnChristieonBass,andJoeCocuzzoondrums.Itisunreleasedandtheonlyknownrecording
ofthework.
SummerlinandOrtmayerpremieredanewworktitledCelebration:TheWordIson
March31,1968atTheFirstChurchofChristinLongmeadow,Massachusetts.493Thework
featuredbyatextbyOrtmayerandwasscoredfortrombone,Frenchhorn,threetrumpets,two
flutes,cello,fourviolins,youthchoir,adultchoir,andfive-piecerockband.494Thisistheonly
timeSummerlinincludedarockbandinsteadofajazzgroup.TheUnitedChurchofChrist
commissionedthework,butitisuncleariftherockensemblewaspartofthecommission
requirementsorSummerlin’sidea.495Hisarticlesofthetimeindicatednonegativefeelings
aboutrockasagenre,butdidemphasizehisdistasteforbadcomposinginanygenre.
SummerlinwascommissionedbytheNationalLiturgicalConferenceinWashington,D.C.
tocomposeaworktoopenthe1969LiturgicalWeekinMilwaukee,Wisconsin.496Thetitleof
theworkandconferencethemewasCelebrationofMan’sHopeandonceagainOrtmayer
490ChristLaginTodesbandenorWhereDoWeGoFromHere?,ConcertProgram,1970,WoodsideChurchandCourtStreetUnitedMethodistChurch.privatecollection.491ChristLaginTodesbandenorWhereDoWeGoFromHere?,FestivalProgram,1971,WittenbergUniversity.privatecollection.492ChristLaginTodesbandenorWhereDoWeGoFromHere?,ConcertProgram,1969,ChapeloftheInterchurchCenter.privatecollection.493EdSummerlin,Celebration:TheWordIs,ConcertPoster,1968.privatecollection.494EdSummerlin,“Celebration:TheWordIs,”Colloquy1no.9(October1968),30.495EdgarE.Summerlin,CurriculumVitae.privatecollection.496Ibid.
135
wrotethetextforthework.497TheworkpremieredonAugust25,1969andwasdescribedasa
multimediaexperiencecreatedtoengagetheconferenceparticipants.498Theaudience
participantsweregivenalargepostercontainingdirectionsforbothverbalandphysicalcues;
instructionswerealsodisplayedonthearena’sscreenstofacilitateparticipation.499
Theworkwasinninesectionsandwasscoredforflute,altosaxophone,threetrumpets,
twotrombones,bass,drums,strings,andchoir.500CelebrationofMan’sHopeisamusical
montage501takinglargesectionsfrombothSourdoughandSweetbreadaswellasChristLagin
TodesbandenorWhereDoWeGoFromHere?Comparingthescoresofallthreeworksreveals
thatsectionsIandIIcomefromSourdoughandSweetbread.SectionIII’sopeningandending
comesfromChristLaginTodesbandenorWhereDoWeGoFromHere?withthemiddlesection
ofIIIrepeatingearliermusic.PartIVisahymntitled“Hello!AndDidYouHeartheWord,”which
wasnewmaterial.PartVissectionIVofChristLaginTodesbandenorWhereDoWeGoFrom
Here?SectionVIistitled“DialogueInterlude,”whichdoesn’tincludemusic.SectionVIIis
“UnisonReading”and“LetUsBreakBreadTogether,”whichmaycomefromSourdoughand
Sweetbread,butitisunclear.SectionVIIIisahymntakenfromSourdoughandSweetbread.
SectionIXcomesfromthesameworkandthentransitionstomaterialfromChristLagin
TodesbandenorWhereDoWeGoFromHere?withacoupleofwordsoftextaddedattheend.
497CelebrationofMan’sHope,ConferenceProgram,1969,Auditorium-ArenaMilwaukee.privatecollection.498Ibid.499CelebrationofMan’sHope,ConferencePoster,1969,Auditorium-ArenaMilwaukee.privatecollection.500EdSummerlin,CelebrationofMan’sHope,score,1968.privatecollection.501TheactofjoiningsectionsofotherworksintoanewworkwasatechniqueusedinmusicbymorecontemporarycomposerslikeKurtWeill,HeinzWernerZimmermannandFrankZappaamongmanyothers.
136
Otherthanthehymn“Hello!AndDidYouHeartheWord,”thereisnonewmusicortext.What
isnewistheaudienceparticipationinstructionsandpossiblytheprojections,butthatis
impossibletoknow.
OnOctober30,1969,Summerlinpremieredanewwork,Pentecost:EcstasyBreaksOut,
atFairfieldHallinCroydon,England.502Itwasoneoffourworkscommissionedforaspecial
contemporarymulti-religiousconcerttitled“FourSeasonsofGod,”whichincludedEd
Summerlin,Summer;DonaldSwann,Autumn;SidneyCarter,Winter;andMichaelGarrick,
Spring.503Summerlin’sPentecost:EcstasyBreaksOut,whichrepresentedSummer,wasscored
fortwoviolins,viola,cello,bass,threetrumpets,twotrombones,basstrombone,jazztrio
(tenorsaxophone,bass,drums),reader,andchorus.Thescoreinstructsthechorustobe
randomlyseatedamongtheaudienceandtakeastaggeredapproachtoenteringthemusic.504
Summerlindescribedhiscurrentthoughtsoncompositionintheprogram:
Ihavecometotheconclusionthatitisnotimportanttomakeviolinsplayjazzorhavejazzplayersplayinso-called‘classical’style.Instead,Iliketotakegroupsofinstrumentalistsandsingersandaskthemtodothingstogether,eachonebeingcalledupontodotheindividualplayer’srealmofpossibilities….thehumanvoiceiscapableofmanysounds,fromscreamsandshoutstogruntsandgroansandclicks….Therefore,Isaydownwithstyle,upwitheclecticisminthebestsense,i.e.let’suseourexperiencesfrombacktoCharlieParkertotheBeatlestoStockhausen.505
HisworksAContemporaryServiceofWorship,SourdoughandSweetbread,ChristLagin
TodesbandenorWhereDoWeGoFromHere?andPentecost:EcstasyBreaksOutcertainly
502FourSeasonsofGod,ConcertPoster,1969,FairfieldHall.privatecollection.503Ibid.504EdSummerlin,Pentecost:EcstasyBreaksOut,score,1969.privatecollection.505FourSeasonsofGod,ConcertProgram,1969,FairfieldHall.privatecollection.
137
demonstratehiswillingnesstoexplorethefullrangeofsoundsavailablefromhis
instrumentalistsandsingerswhilestillkeepingastrongconnectiontothejazzgenre.
Summerlin’snextcommissionwasBlessThisWorld,whichwasamulti-media
experiencecommissionedbyTheAmericanGuildofOrganists1970fortheirnational
conventionheldinBuffalo,NewYorkonJune30,1970.506TheworkpremieredatRutgers
UniversityLivingstonCampusonFebruary4,1970andwaslistedasacontemporaryworship
celebration.507BlessThisWorldfeaturedatextbyDr.RogerOrtmayerandwasscoredfor
mixedchorus,solobaritonesinger,reader,pre-recordedtape,threeslideprojectors,two
trumpets,twotrombones,basstrombone,organ,andajazztrioconsistingoftenorsaxophone,
bass,anddrums.508Theworkisveryavant-garde,withthefirsteightminutesofarecorded
performancefeaturingtapeofvarioussoundscapes;singerssingingrandompitches;thesounds
ofinstrumentalistssettingup,warmingup,andtuningaftertheperformancehadstarted;the
readersaying“Iwantyoutolisten”inacall-and-responseformattotheaudience;andthe
organistusingawoodentwo-by-fourtoplayallthenaturalfootpedalswhileusinghisother
foottoplayrandomblack-keyclusterspunctuatedbythechorusdoingvocaleffects.509
Whenthemusicbecomesmorestructureditfeaturesatenorsaxophoneandorgansolo
overafunk-inspiredostinatoanddrumgroove.Theworkhasagreatdealofdissonance,wide
dynamicranges,andextendedtechniquesforbothvocalistsandinstrumentalists.Thework
featuresimprovisationandfunk-jazzgroovesandostinatosaswellassomeswingsections.
506BlessThisWorld,ConcertPoster,1970,KleinhansMusicHall.privatecollection.507BlessThisWorld,Program,1970,RutgersUniversityLivingstonCampus.privatecollection.508EdSummerlin,BlessThisWorld,score,1970.privatecollection.509EdSummerlin,BlessThisWorld,recorded1970,CompactDisc.privatecollection.
138
Whenyouconsiderthatthemajorityoftheworksbeingperformedattheconventionfellinto
thetraditionalclassicalrepertoire,BlessThisWorldmusthavebeenquiteashockand
departurefortheparticipants.510MusiccriticDanielCariagawrotethattheworkwasdisastrous
andfilledtheaudienceearswithnoise.Hewrote,“withsuchsloppythinkingandstyle-mixing
goingforit,theworkwasalreadymoribundatthisfirsthearing.TheassembledAGOseemed
bothstunnedandangrywhenitwasover.GaveitoneoftheshortestroundsofapplauseIhave
everheard.”511Cariagawasaclassically-trainedpianistandperformerbeforebecominga
longtimemusiccriticinLosAngeles,California.512
TherecordingIheardwasaliveperformanceoftheworkinanunknownlocation,but
thelargecrowd,judgingbytheapplause,wasextremelyenthusiasticandparticipated
wholeheartedly,soitisclearthattheexpectationsoftheaudienceappearedtohaveplayeda
roleinthepoorreceptionitreceivedinBuffalo.TheworkwasalsoperformedonNovember8,
1970attheVassarCollegeChapel513andonNovember22,1970atUnitedChurchonthe
Green’s“FestivalofOurEarthHome”inNewHaven,Connecticut.514InhisreviewoftheVassar
performance,WalterBorawskiwrotethattheskepticalaudiencewasrudeduringtheopening
5101970AGONationalConvention,ConventionProgram,1970,StatlerHiltonBuffalo.privatecollection.511DanielCariaga,“OrganistGuildMeetsinBuffalo,”Independent(LongBeach,CA),July7,1970,13.512“DanielCariaga,71;veteranTimeswriterchronicledthemusicallifeofthecity,”LosAngelesTimes,November3,2006,accessedFebruary13,2017http://articles.latimes.com/2006/nov/03/local/me-cariaga3513BlessThisWorld,ConcertPoster,1970,VassarCollegeChapel.privatecollection.514FestivalofOurEarthHome,ConcertPoster,1970,UnitedChurchontheGreen.privatecollection.
139
ofthework,butthatbytheendSummerlinandhisgrouphadreceivedastandingovationand
cheersforanencore.515ThisperformanceisthelikelysourceoftherecordingIreferenced.
In1969,SummerlincontributedseveraloriginalhymnstoabooktitledContemporary
MusicforCongregations,including“GodGiveUsYourPeace,”“Bread,”“God’sOwnSon,”
“Hello,andDidYouHeartheWord,”and“MusicforMinisterCongregationandSaxophone,”
thelateravant-gardeworklocatedintheNewFormssectionofthebook.516Summerlinedited
thecollectionandwrote:
Thereisacrisisinworshipinthechurch.Thiscrisis,inpart,involvestheproblemofdevelopingliturgieswhichexpresstheconcernsofpeopleinthelanguageandothermodesofexpressionwhichtheyunderstand.Musicisapartofthatcrisis.…Itisourhopethatthechurchwilleventuallyrealizetheimportanceofcommissioningcontemporarycomposerstodocongregationalmusicandthattheirmusicwillbeincludedinourdenominationalhymnals.517
SummerlinalsocontributedsomecompositionstoTheGenesisSongbookin1973.518
In1970,Summerlinself-publishedaguideonhowtousemulti-mediainworship.The
guideincludedsectionsonwhyyoushouldusemulti-mediainworship,howtoharnesslocal
talent,incorporatingdance,musicalgenres,projectoruse,filmuse,rehearsaltips,
incorporatingavant-garde,andhadseveralmusicalexamples.519Itwassoldaspartofa
completekit,whichincludedthetwenty-four-pageguide,forty-eightslidesofabstract
paintings,16mmfilmforcolorloops,paint,apaintbrush,andacassetteofSummerlin’s
515WalterBorawski,“Hey,TheyWantUsToListen!”PoughkeepsieJournal,February5,1971,8.516RobertR.Sanks,compiler,ContemporaryMusicforCongregations(Madison:1969),20-50.517Ibid.,65.518CarltonR.Young,compiler,TheGenesisSongbook(CarolStream,IL:Agape,1973).519EdSummerlinandKarenJones,MultiMediainWorship(Poughkeepsie:SummerlinMusic,1970).
140
worshipmusic.520SummerlinandOrtmayerteamedupagaintopublishHeavyHymns,abookof
fifteencontemporaryhymnsinvarietyofstyles.Thehymnsincludedwere:“ComeLoving,”
“Doors,”“FeedBack,”“God’sOwnSon,”“Hello-Goodbye,”“ListentoWhattheSpiritSays,”
“PrayerofPeace,”“Salvation,”“SayHope,”“SayJoy,”“SayLove,”“SharedBread,”“ThisHeart
ofMine,”“Time,”and“Truth.”521Summerlinalsowrotearticlesforseveralpublicationsduring
thisperiod.Forinstance,hewrote“DoestheChurchReallyWanttoSingaNewSong?”forYour
Church;522“HavingFunWithSightandSound”forBaptistLeader;523“FunWithSightandSound”
forFun;524and“Rappin’WithSydneyCarter”forColloquy.525SydneyCarterhadsharedthebill
ontheLondonconcert“FourSeasonsofGod”withSummerlin.Hewasajournalistand
songwriterwhofrequentlyusedmodernsatire,informaltexts,folkmelodiesandisconsidered
the“patronsaintofamodernschoolofconversationalstylehymnody.”526
Summerlinattendedseveralconferencesandfestivalsduringthisperiod,includingThe
CelebrationoftheNewconferenceinFebruary1969;527theArtWater70FestivalinWisconsin
inFebruary1970;528theLiberationConferenceatVassaronSeptember15,1972;529andthe
520“Liturgy,”ReligionTeachersJournal,(May/June1971):32.521EdSummerlinandRogerOrtmayer,HeavyHymns(CarolStream,IL:Agape,1972).522EdSummerlin,“DoestheChurchReallyWanttoSingaNewSong?,”YourChurch15no.1(1969):13-15,45-46.523EdgarE.Summerlin,“HavingFunWithSightandSound,”BaptistLeaderAugust(1969):30-31.524EdgarE.Summerlin,“FunWithSightandSound,”FunOctober(1969).525EdSummerlin,“Rappin’WithSydneyCarter,”Colloquy3no.11(1970):12-15.526HarryEskewandHughT.McElrath,SingwithUnderstanding(Nashville:BroadmanPress,1980),147-148.527TheCelebrationoftheNew,ConferenceProgram,1969,Unknown.privatecollection.528ArtWater70Festival,FestivalProgram,1970,WhitewaterArmory.privatecollection.529SalvationToday,ConferenceProgram,1972,VassarFarm.privatecollection.
141
SalvationTodayConferenceinBangkok,ThailandinJanuaryof1973.530Summerlinalsoled
liturgicaljazzservicesatBennetCollegeinNewYork;531inStockton,California;532Keene,New
Hampshire;533Billings,Montana;534Nashville,Tennessee;535andCarletonCollegeinMinnesota
thatsameyear.536
Summerlin’sultimategoalwastochangethewaythecongregationandclergy
approachedworship.Afterfourteenyearsoftryingonedayhe
threwuphishandsandsaidit’snotworking.Ican’tdoityouknowandIjustsortofretired.Iwouldgoinandpeoplewouldreallyenjoydoingit.Sometimestheywouldhaveaverygoodtime,sometimespeoplewouldwalkout,buttheendresultwasthatonceIwasgonethingsdidn’tchange.537
SummerlinwhobythispointhadbecomePresbyterianstoppedcomposingforliturgicaljazz
services.Hewouldcontinuetocomposemusicforreligiousdocumentariesandshortfilmsasa
resultofhisfriendshipandworkingrelationshipwithAlCox,anindependentfilmmaker.538
ItwasalmostadecadebeforeSummerlinwouldleadaworshipserviceagain.Heledan
AdventserviceatWashingtonSquareChurchinNewYorkin1982.539Summerlinalso
530TheCelebrationoftheNew,ConferenceProgram,1973,Bangkok,Thailand.privatecollection.531AContemporaryReligiousService,ServiceProgram,1966,Matheson-KennedyAuditorium.privatecollection.532SensoryCelebrationV,ServiceProgram,1968,MorrisChapel.privatecollection.533WorshipintheModernIdiom,ServiceProgram,1969,FirstBaptistChurch.privatecollection.534CampusChapelService,ServiceProgram,1970,RockyMountainChapel.privatecollection.535ComeAlive,ServiceProgram,1970,VanderbiltDivinitySchool.privatecollection.536PalmSundayService,ServiceProgram,1973,CarletonCollege.privatecollection.537EdSummerlin,interviewedbySteveBlonsandMicheleJansen,JazzandtheSpirit,KBEM,2005.538KarenSummerlin,interviewwithauthor,April2015.539AdventService,ServiceProgram,1982,WashingtonSquareChurch.privatecollection.
142
participatedinthenow-legendaryAllNiteSouleventatSt.Peter’sChurchonOctober10,1982,
whichwasorganizedbyJohnGarciaGensel.Hebroughtinaneleven-piecegrouptoplayanew
workdedicatedtotheSt.Peter’sChurchtraditioncalledTheProdigalSon,afittingtitleafter
Summerlin’snine-yearhiatusfromliturgicaljazz.540Summerlinhadalsobecomeaffiliatedwith
theWashingtonSquareMethodistChurchinNewYorkCityandattendedservicestherewithhis
wifeKarenseveralSundaysamonthdespitethetwo-hourdrive.541Clearlyhedidnothavea
crisisoffaithbuthedid,withtheabovementionedexception,decidenottopursuecomposing
fororleadingliturgicaljazzservicesanymore.
DuringEdSummerlin’sliturgicalperiodof1959to1973hecomposedthemajor
liturgicaljazzworksRequiemforMaryJo;LiturgicalJazzService;Evensong,AJazzLiturgy;The
ComingofChrist;LiturgyoftheHolySpirit;AContemporaryServiceofWorship;Sourdoughand
Sweetbread;ChristLaginTodesbandenorWhereDoWeGoFromHere?,CelebrationofMan’s
HopeandBlessThisWorld.Alongwiththesemajorworkshecomposedmanyoriginalhymns,
shorterliturgicaljazzworks,andmanydistinctliturgicaljazzservices.Healsowasheavily
involvedinliturgicalconferencesalloverthecountryandwasafrequentlytelevisedliturgical
jazzartist.Summerlinwastheonlyauthorityonliturgicaljazzintheearly1960sandhe
remaineditsmostprolificcomposer.Hewasconstantlyevolvingasacomposerandperformer
andpushedmodernityintheliturgicaljazzgenremorethananyothercomposer.
540AllNiteSoul,ConcertProgram,1982,St.Peter’sChurch.privatecollection.541KarenSummerlin,interviewwithauthor,April2015.
143
Chapter5
Non-LiturgicalWork
TheLenoxSchoolofJazz
AftercompletinghisstudiesatNorthTexasStateUniversity,EdSummerlinwasinvolved
inanothergroundbreakingeffortinjazzeducation.In1960,hebecameafacultymemberat
TheLenoxSchoolofJazz.Whilethere,Summerlincameintocontactwiththehighestcaliberof
jazzartists,whowerebothfacultyandstudents.Theywereartistshebuiltprofessional
connectionswithandworkedwithinthefuturethroughouthisliturgicalperiodandlaterin
academia.HistimeatLenoxmadehimapeerofsomeofthemostprominentjazzmusiciansof
thedayandbuilthisprofessionalnetworkinaveryshortspanoftime.Thiswashisintroduction
totheheavyhittersoftheNewYorkjazzsceneandestablishedhimasaprofessionalarranger,
composerandplayeronabiggerstage.Whileheneverachievedthenotorietyofthesepeers,
hewouldcompose,conduct,arrangeandperformwiththem.Summerlinbecameamemberin
averyexclusivenetworkofjazzmusiciansasaresultofhisabilitiesandhistimeatLenox.
TheLenoxSchoolofJazzwaslocatedinLenox,Massachusettsinthecenterofthe
Berkshires.Theareawasalreadywellknownforawealthofculturalattractionslikethe
NormanRockwellMuseum,theSterlingandFrancineClarkArtInstitute,severaltheater
companiesandfestivals,andTanglewood,whichiswheretheBostonSymphonyOrchestra
takesupresidencyinthesummers.542StephanieandPhilipBarber,awealthyNewYorkcouple,
hadpurchasedonehundredacresoflandandtheoutbuildingsoftheWheatleighestatein
542JeremyYudkin,TheLenoxSchoolofJazz:AVitalChapterintheHistoryofAmericanMusicandRaceRelations(SouthEgremont:FarshawPub.,2006),16.
144
1950afterthedeathoftheCountessdeHeredia,whohadlivedthereforalmostfiftyyears.543
TheBostonSymphonyOrchestrapurchasedthemansionalongwithtwenty-fiveacresofland
anduseditasadormitoryforitsstudents.544TheBarbersdecidedtostarta“MusicInn”that
wouldbeaplacefor“musicmakingandmusicalinvestigation,withparticularfocusonfolk
musicandjazz.”545
TheLenoxSchoolofJazzbeganas“anoutgrowthofseminarsandroundtable
discussionsheldattheMusicInninLenox.”546Thesebeganthefirstsummertheinnwasopen
andlecturersandperformersincludedAlanLomax,WoodyGuthrie,PeteSeeger,Marshall
Stearns,EubieBlakeandMahaliaJackson.Thelistofspeakersandperformerswouldcontinue
togroweachsummerandrepresentedanextremelyeclecticgroupofgreatartistsinavariety
ofmediums,aswellasrenownedscholars.Jazzwasafocalpointoftheseeventsandspeakers
includedMarshallStearns,RudiBlesh,NatHentoff,JohnLewis,DaveBrubeck,PaulDesmond,
WillisJames,ConnieKay,MiltJacksonandJimmyGiuffre,amongmanyothers.547
Themusicwasnottheonlyprogressivethinghappeningattheinn.Despitethe
prevailingattitudesintheUnitedStatesand,inparticular,theBerkshires,“theMusicInn
houseditsblackandwhitepatronsandmusicianssidebyside.”548Othermixingincludedthe
jazzmusiciansandtheTanglewoodmusicians.Manyoftheclassicalmusicianscametothe
MusicInnafterrehearsalsorperformances,themostnotablebeingLeonardBernsteinandhis
543Ibid.544Ibid.,22.545Ibid.,25.546Ibid.,10.547Ibid.,26-27.548Ibid.,32.
145
wife,whowereregulars.549Withhigh-profilespeakers,musiciansandguests,wordstartedto
spreadabouttheMusicInn.TheBarberswerenowopenforholidaysaswellasthesummer
andwereoftenatcapacity.550
TheincreasingpopularityoftheInnmadeitpossibletoexpandthemusicalseason.By
1954,theseason,nowthreeweekslong,wasbeingcalleda“JazzFestival.”551Despitethislabel,
themusic“rangedfrombluestoNewOrleansmarchingbandstosquaredances,Jamaican
music,themusicanddanceofTrinidad,anda‘CalypsoCostumeBall.’”552Jazzfestivalswerestill
intheirinfancyin1954withtheNewportJazzFestival,oneofthemostprestigiousandlongest
runningjazzfestivals,beingfoundedthatsameyearbyGeorgeWein.Buildingonthesuccessof
thepreviousseason,theBarbersexpandedtheirjazzfestivaltofiveweeksandhad
internationallyrenownedfiguressuchasArtFarmer,DizzyGillespie,ColemanHawkins,the
CountBasieOrchestra,theMaxRoach-CliffordBrownQuintet,theModernJazzQuartet,Dave
Brubeck,GeneKrupa,JimmyRushing,andTheloniousMonk,amongmanyothers.553In1956,
LouisArmstrongopenedtheseasonandtheModernJazzQuartetwasinresidence.The
roundtablesandlecturescontinuedonthroughthe1956season,whichfeaturedperformers
LouisArmstrong,CountBasie,DukeEllington,TommyandJimmyDorsey,ErrollGarner,Sarah
Vaughan,DizzyGillespie,GlenMiller,LeeKonitz,BudPowell,StanGetz,ShellyManne,J.J.
549Ibid.,35.550Ibid.551Ibid.,36.552Ibid.,37.553Ibid.,38-39.
146
Johnson,PhineasNewborn,ChicoHamilton,MarianMcPartland,MaxRoach,andKai
Winding.554
The1956seasonalsoproducedtworecordings,TheModernJazzQuartetatMusicInn,
GuestArtist:JimmyGiuffreandHistoricJazzConcertatMusicInn,bothofwhichcameouton
AtlanticRecords.555JohnLewisalsocomposedapiece,“FuguefortheMusicInn,”forthe
recording.ThesecondrecordingfeaturedJimmyGiuffre,ConnieKay,HerbieMann,PeeWee
Russell,RexStewart,TeddyCharles,OscarPettiford,RayBrown,DickKatz,andGeorgeWein.556
ThepaneliststhatyearincludedCharlesMingus,MiltJackson,DickKatz,JimmyGiuffre,John
Lewis,OscarPettiford,QuincyJones,Willie“TheLion”Smith,RayBrown,CountBasie,Freddie
Greene,ThadJones,ConnieKay,MaxRoach,SonnyRollins,andDizzyGillespie.557Thatyear’s
lineupandthefreeexchangingofideasamongthesejazzgreatswerewhatfinallyledtothe
formationofTheLenoxSchoolofJazz.
TheSchool’sOpening
TheBarbersformedtheLenoxSchoolofJazzin1957.JohnLewiswasitsExecutive
Director.TheGoverningCommitteeconsistedoftheBarbers,NesuhiErtegun,J.J.Johnson,and
GuntherSchuller.TrusteesconsistedofLeonardFeather,NatHentoff,MarshallSterns,Barry
Ulanov,DizzyGillespie,JimmyGiuffre,OscarPeterson,MaxRoach,andGeorgeAvakian,among
others.558Thefirstthree-weeksessionconsistedofthirty-fourstudents,allofwhomwere
554Ibid.,48.555Ibid.,49.556Ibid.557Ibid.,52.558Ibid.,54-55.
147
selectedfromtapedauditions.Theyattendedlectures,studentconcerts,professionalconcerts,
andcomborehearsalsthatallculminatedinanend-of-the-semesterconcerttitled“Schoolof
JazzonParade,”whichfeaturedablendofstudentsandprofessionalsineachgroupperforming
originalcompositions.559Overadozenstudentsfromtheinauguralclasswentontobecome
professionalmusicians.Thesessionalsoyieldedarecord,TheModernJazzQuartetandGuests:
ThirdStreamMusic,whichfeaturedguestmusiciansJimmyGiuffre,JimHall,andRalphPena
whowouldgoontoformthegrouptheJimmyGiuffre3.560The1957musicseasoncontinuedto
offersomeofthebiggestnamesinjazzandincludedartistsEllaFitzgerald,BillieHoliday,Dave
Brubeck,GerryMulligan,LionelHampton,DukeEllington,WoodyHerman,theModernJazz
Quartet,andtheJimmyGiuffretrio,amongothers.561
In1958,theMusicInnexpandedbybuyingtheWheatleighestatefromtheBoston
SymphonyOrchestra.ThefacultyofTheLenoxSchoolofJazzwasBobBrookmeyer,Kenny
Dorham,JimmyGiuffre,JimHall,PercyHeath,MiltJackson,LeeKonitz,MaxRoach,George
Russell,BillRusso,andMarshallStearns.562ProfessionalmusiciansinresidencewereConnie
Kay,GeorgeColeman,ArtDavis,RayDraper,BookerLittle,ModernJazzQuartet,JimmyGiuffre
3,andtheMaxRoachQuintet.563Therewerethirty-threestudentsthatyearwithseveralhaving
receivedscholarshipstoattend.Theconcerts,“thatsummerincluded“regulars”DaveBrubeck,
DukeEllington,LionelHampton,WilburdeParis,BobbyHackett,MaryLouWilliams,Oscar
559Ibid.,57-58.560Ibid.,64.561Ibid.562Ibid.,67-70.563Ibid.
148
Peterson,andtheModernJazzQuartet.564Therewerealsofirst-timeperformers,which
includedAnitaO’Day,ChrisConnor,GeorgeShearing,JoeTurner,andSonnyRollins.Several
recordingsweremadethatsummer:TheMusicInnSuite,TheModernJazzQuartetatMusic
Inn,GuestArtist:SonnyRollinsandTheFourBrothersSound,arecordingwhichfeaturedthe
JimmyGiuffre3withGiuffreoverdubbingfoursaxophonestoachieveasoundcomparableto
theFourBrothers.565Onceagain,severalstudentswentontobecomeprofessionalmusicians.
Duringthe1959session,therewerenowforty-fivestudentsattheschoolandthe
amountofscholarshipsfortheschoolhadexpandedto$10,000.Morethanhalfofthese
studentswentontohavecareersinmusic,suchasDavidBaker,DonCherry,SteveKuhnand
AttilaZoller.566Despitethesescholarshipsandthefacultyreceivingminimalcompensation,the
schoolhadrunasmalldeficitfromtheprevioustwoyears.567Themusicserieshadmany
regularsreturningandhadaddedtheMilesDavisquintet,AmhadJamal,theLambert,
HendricksandRosstrio,andRayCharles,amongothers,buttheseasonwasplaguedby
cancellations.568
OrnetteColemanwasastudentattheLenoxSchoolofJazzin1959.JohnLewishad
arrangedscholarshipsforColemanandDonCherrytoattendtheSchoolofJazz.569By1959,
OrnettehadalreadyrecordedthegroundbreakingalbumsSomethingElse!!!!:TheMusicof
OrnetteColeman,TomorrowistheQuestion:TheNewMusicofOrnetteColemanandTheShape
ofJazztoCome.Despitehisstudentstatus,Colemanwasreallymoreofavisitingartist.
564Ibid.,54-55.565Ibid.,73-75.566Ibid.,86-87.567Ibid.,76.568Ibid.,81-85.569Ibid.,89.
149
AccordingtoGuntherSchullerhisstudentstatuswasconferredbecauseitwastheonlywayhe
couldreceiveascholarshiptofundhisresidency.570Coleman’sreceptionwasmixedatthe
school.WhereasGuntherSchullerandJimmyGiuffrewerevocallysupportive,BobBrookmeyer
quitthefacultyinprotest.571Thelocalnewspaperswrotestoriesclaimingstudentsandfaculty
alikeweresplitdownthemiddleinacceptingorrejectingColeman’snewstyle.Thefinalfaculty
andstudentconcertfeaturedthreeofColeman’scompositions,whichreceivedfavorable
reviewsinthepapers572andaccordingtoSchullerwasan“astonishingperformance.”573This
concertalsospurredJazzReviewco-editorMartinWilliamstoarrangethedebutofthe
ColemanQuartetlaterthatyearattheFiveSpotCaféinNewYork574whichhasgonedownin
historyasoneofthemostreveredandreviledconcertsofalltime.Regardlessofpeople’s
reactions,itwasaseminalmomentinOrnetteColeman’scareerandputhimattheforefrontof
thenewfreejazzmovement.
Itwasinthesummerof1960thatEdSummerlinjoinedthefacultyatTheLenoxSchool
ofJazztoteachsaxophone,arranging,andtheory.575SummerlinwasstudyingwithGeorge
RussellwhoarrangedforSummerlintobeonthestaffoftheSchoolofJazzinLenox.576While
theconcertsattheBarnwerenowintheirsixthyear,theschoolwasinitsfourthyearof
570GuntherSchuller,GuntherSchuller:ALifeinPursuitofMusicandBeauty(Rochester:UniversityofRochesterPress,2011),489.571Yudkin,89.572Ibid.,91.573Schuller,490.574Yudkin,91.575EdgarE.Summerlin,CurriculumVitae.privatecollection.576EdSummerlin,linernotestoSumoftheParts,EdSummerlin,IctusRecords102,compactdisc,1998.
150
existenceand,accordingtoJeremyYudkin,“hadacquiredanationwidereputation.”577Thejazz
festivalfeaturedLouisArmstrong,DaveBrubeck,GeorgeShearing,MahaliaJackson,The
ModernJazzQuartet,J.J.Johnson,DukeEllington,AhmadJamal,andMaynardFerguson.578The
facultyin1960consistedofMiltJackson,JohnLewis,ConnieKay,PercyHeath,Gunther
Schuller,J.J.Johnson,EarlZindars,SusanFreeman,EdSummerlin,FreddieHubbard,andJohn
Garvey,whiletheGeorgeRussellSextetwasinresidencealongwiththeModernJazz
Quartet.579JohnGarvey,aviolistandprofessorattheUniversityofIllinoisatUrbana-
Champaign,broughtsixstringplayerswithhim.Schullerconceivedoftheideainorderto
experimentmorewith“thirdstream”compositions.580Therewereforty-fivestudentsthatyear
andsomeofthemorenotablenewcomerswereJameyAebersoldandChuckIsraels.Sadly,the
financialproblemsfinallycaughtuptotheschooland,despiteplansfora1961season,the
schoolwasclosed.581
NewYork
Summerlin’stimeattheLenoxSchoolofJazzhadprovidedhimanintroductiontomany
ofNewYork’stopjazzmusicians.FreddieHubbard,whohadbeeninSummerlin’scomboat
Lenox,hiredhimtoarrangeoneofHubbard’soriginalcompositionsforarecorddate.Recorded
forBlueNoteRecordsonApril9,1961atRudyVanGelder’sstudio,HubCap(BLP4073)was
577Yudkin,100-101.578Ibid.,101.579Ibid.,102-103.580Ibid.,104.581Ibid.,105-105.
151
FreddieHubbard’sthirdrecordingasaleader.582ThiswasjustafewmonthsbeforeHubbard
wouldreplaceLeeMorganinArtBlakey’sJazzMessengers,possiblythepremierjazztrumpet
gigintheworldatthetime.583Hubbardwasknownasoneofthe“foremosthard-bop
trumpeters,hisimprovisationscombiningimaginativemelodywithaglossytone,rapidand
cleantechnique,abrillianthighregister,asubtlevibrato,andbluesy,squeezedhalf-valve
notes.”584Summerlincontributedanarrangementof“EarmonJr.,”aHubbardcomposition
writtenforhispianistbrother.Thelinernotesstatethatthesongwas“arrangedforthisdateby
EdSummerlin,thecomposerandsaxophonistwhowithFreddiehasbeenstudying.Freddiewas
featuredontheLookUpandLiveCBStelecastswithSummerlin,whosejazz-orientedwritingfor
aMethodistSundaychurchservicecreatedasensationin1959.”585Thestudyingthatis
referredtowasmostlikelyattheLenoxSchoolofJazzsincetherehasbeennoothermentionof
HubbardstudyingwithSummerlin.Thealbumfeaturedanall-starlineupoftrombonistJulian
Priester,tenorsaxophonistJimmyHeath,pianistCedarWalton,bassistLarryRidley,and
drummerPhillyJoeJones.
Summerlin’sarrangementbeginswithaneight-barintroduction,whichfeaturespiano,
bass,anddrumsforthefirstfourbars.Inmeasuresfivethrougheight,therhythmsectionis
joinedbytromboneplayingacounterlinetothepianist’sleft-handnoteswhilethetrumpetand
saxophoneplaytheharmonynotes.Thecompositionisatwenty-fourbarpiecewithtrumpet
582LeonardFeather,linernotestoHubCap,FreddieHubbard,BlueNoteRecordsBLP4073,33⅓rpm,1961.583BarryKernfeld."Hubbard,Freddie."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary27,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J210200.584Ibid.585LeonardFeather,linernotestoHubCap,FreddieHubbard,BlueNoteRecordsBLP4073,33⅓rpm,1961.
152
andtenorsaxophoneplayinginharmonywhilethetromboneplayscounterlines.Themelodyis
playedidenticallyonthewayoutwiththeadditionofacodawherethehornsplayasequence
ofdescendingchordsinharmonywiththetrombone,piano,anddrumsplayingafinalflourish.
SummerlinwouldbethearrangerforanotherLenoxSchoolofJazzalum,pianistSteve
Kuhn.ThealbumTheCountry&WesternSoundOfJazzPianos(DM-4308)wasreleasedby
Dauntlessrecordsin1963andfeaturedpianistsSteveKuhnandToshikoAkiyoshi,bassistsDave
IzenzonandJohnNeves,guitaristBarryGalbraith,anddrummerPeteLaroca.WhileKuhnhad
alreadyrecordedandperformedwithjazzartistsKennyDorham,JohnColtrane586,StanGetz,
DonEllis,andCharlesLloyd,thiswashisfirstoutingasaleader.587Summerlinpennedtheliner
notes,conductedthegroup,andwrotethearrangements.Summerlinwrote:
Thereisnoattemptatrecreatingthefeelofa“western”bandinthisalbum,instead,thearrangementsareintendedtomakeuseofthefeelingandspiritofthemusicitself-muchthesamewayclassicalcomposers,suchasBartokhavemadeuseoffolktunesintheircompositions.Someofthepiecesareplayedwithoutmuchvariation,butothers,suchas“DownInTheValley,”(whichIhaveheardandsungsincemychildhooddaysinMissouri),havebeenalteredtofitmypersonalimpressionsofthem.588
Thesongsontherecordare“TroubleinMind,”“HangYourHeadInShame,”“Maythe
GoodLordBlessandKeepYou,”“SomedayYou’llWantMetoWantYou,”“DownIntheValley,”
“BeautifulBrownEyes,”“It’sNoSecretWhatGodCanDo,”“Nobody’sDarlingButMine,”
586KuhnplayedwithJohnColtrane’sfirstincarnationofwhatlaterbecameknownastheclassicquartet.HewasreplacedaftersixweekswithpianistMcCoyTyner.ColtraneexpressedadmirationforKuhn’splayingbutfeltitwasnotrightforthedirectionthequartetwasgoingin.AccordingtoKuhn,hewasunderstandablydevastated.587PaulRinzlerandBarryKernfeld."Kuhn,Steve."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary27,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J253300.588EdSummerlin,linernotestoTheCountry&WesternSoundsofJazzPianos,SteveKuhn&ToshikoAkiyoshi,DauntlessRecordsDM-4308,33⅓rpm,1963.
153
“AlongtheNavajoTrail,”and“Foggy,FoggyDew.”EverytrackfeaturessolosbyKuhnand
Akiyoshi,withthebassiststakingsolosonsomeofthetracks.Akiyoshiplayscelestaon”May
theGoodLordBlessandKeepYou”and“BeautifulBrownEyes”andKuhnplaysharpsichordon
“BeautifulBrownEyes.”Presumably,sinceSummerlinwasthearrangerandconductor,these
unusualinstrumentchoiceswerehis.Kuhn’sstylehasbeendescribedasrangingfrom“bopto
modaljazzandencompassesimpressionisticplayinganddissonantharmony;hetakesaquasi-
orchestralapproachtothekeyboard.Hiscompositionsoftenhavefractionaltimesignatures(or
notimesignatureatall)andphrasesofunusuallength.”589SummerlindescribesKuhn’sstyleas
a“moreintrospective,reflectivewayofplaying—morebehindthebeat”590while,“Toshiko’s
playingismoreoftheBudPowellschool,withlonglinesandexplosionsofnotesintheright
hand,andamorepercussive,brittleapproachthanSteve.”591Akiyoshihadalreadyplayedand
recordedwithCharlesMingusandCharlieMarianobythetimeshemadethisalbum.592
TomWilson,headofA&RatDauntlessRecords,conceivedoftheconceptofthealbum.
HefeltthatthecombinationofCountryandWesternsongsplayedbyjazzpianistswouldbe
commerciallyviable.593By1963,Wilsonhadalreadycementedanimpressivelistofproduction
credits,includingHerbPomeroy,DonaldByrd,PepperAdams,SunRa,CecilTaylor,Paul
Chambers,BookerLittle,MaxRoach,BennyGolson,CurtisFuller,RandyWeston,ArtFarmer,
589PaulRinzlerandBarryKernfeld."Kuhn,Steve."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary28,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J253300.590EdSummerlin,linernotestoTheCountry&WesternSoundsofJazzPianos,SteveKuhn&ToshikoAkiyoshi,DauntlessRecordsDM-4308,album,1963.591Ibid.592J.BradfordRobinson."Akiyoshi,Toshiko."GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary28,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/41268.593SteveKuhn,interviewwithauthor,March2015.
154
BookerErvin,HerbieMann,BobDylan,andJohnColtrane,withmanymoretocome.594
Originally,thetwopianistsweresupposedtobeSteveKuhnandHerbieHancock,butHancock
wasunavailableaccordingtoKuhn.InMay1963,HancockwouldjoinMilesDavis’snewquintet,
whichwouldgoontobecomeknownasthesecondgreatquintet,onewhichrevolutionized
groupinteractioninjazz.595
Summerlin’sprofilehadrisensignificantlysincehavingtaughtatTheLenoxSchoolof
Jazz.Theconnectionshehadmadeattheschoolhelpedhimprocurearranginggigswithsome
ofthebiggernewnamesinjazz,bothperformersandproducers.FreddieHubbardandTom
WilsonclearlyhadfaithinSummerlin’sabilitiesasanarrangerand,inWilson’scase,asa
conductoraswell.ThesedateswerethemostsignificantinSummerlin’scareeruptothispoint.
DonHeckman
AnothernewcomertotheschoolwasDonHeckman,analtosaxophoneplayerwho
playedaprominentroleinSummerlin’sprofessionalcareerinthe1960sand1970s.In1960
HeckmanwasstudyingmusictheoryatFloridaStateUniversitywherehereceivedhisBAin
1961.596HeckmanandSummerlinmetinthesummerof1960atTheLenoxSchoolofJazz.597
Heckmanrecalls,“Iwasthere,asamusicianplayinginagroupwithFreddieHubbardandEd
594“TomWilsonRecordProducer,”accessedFebruary28,2016,http://www.producertomwilson.com/discography/.595BillDobbins."Hancock,Herbie."GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary28,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/41292.596GaryW.Kennedy."Heckman,Don."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary7,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J588700.597DonHeckman,interviewwithauthor,March2015.
155
wasoneoftheinstructors.Hewastheinstructorforthegroupthatwewerein.”598Thegroup
consistedofFreddieHubbardontrumpet,JimD’Angelo,andDonHeckmanonaltosaxophones,
EdSummerlinontenorsaxophone,MikeGibbsontrombone,JohnPayneonpiano,David
Mauneyonpianoandvibes,NarmaFeueronbass,andConnieKayandPeterBlumondrums.599
TheleaderswerelistedinaconcertprogramasHerbPomeroy,ConnieKayandEdSummerlin,
withSummerlinandKayperformingwiththegroup.600Theirportionoftheconcertfeaturedall
jazzstandardsorcurrentpiecesbyestablishedartistswiththeexceptionofHeckman’s“Tante
Rifka.”601Heckmanstatedthattheconcertwasrecordedthateveningbuttohisknowledgehas
neverbeenreleasedcommercially.602AlthoughJimHalldidnotreturnasafacultymemberin
1960,hewasthefeaturedsoloistwithseveralofthegroupsinthesecondhalfoftheconcert,
althoughnotwithSummerlin’s.603
Duringtheirtimetogetherattheschool,SummerlinlearnedofHeckman’sinvolvement
withmusicianandcomposerJohnBensonBrooks,“whowasdevelopingwaysofimprovising
usingtwelvenoterows.”604HeckmanplayedaltosaxophoneonBrooks’srecordAvantSlant
(OnePlus1=II)onDeccarecords(DL75018.)HeckmanandBrooksplayedalargeeventin
Washington,D.C.in1963andHeckmanrecalled“EdfoundoutwhatIwasdoingandwasvery
curiousaboutit.Hewasalwaysverymusicallycurious.Sowegottogetherandbegantosortof
occasionally,doanoccasionalrehearsaltotrythingsout.Hewasinterestedinavant-gardestuff
598Ibid.599“LenoxSchoolofJazz,”ConcertProgram,1960,accessedFeb9,2016,http://www.jazzdiscography.com/Lenox/1960prog.htm.600Ibid.601Ibid.602DonHeckman,interviewwithauthor,March2015.603“LenoxSchoolofJazz,”ConcertProgram,1960.604DonHeckman,interviewwithauthor,March2015.
156
andsowasI.”605BothSummerlinandHeckmanwerepartoftrumpeterDonEllis’sgroupafter
meetinghimatLenox.606Elliswaspartoftheavant-gardesceneandwasplayinginGeorge
Russell’sgroupwhileleadinghisownbands.SummerlinandHeckmanplayedinEllis’groupat
thelegendaryFiveSpotinNewYorkoppositetheEricDolphygroup.607ThebandhadDonEllis
ontrumpet,LaloSchiffrinonpiano,SteveSwallowonbass,DonHeckmanonaltosaxophone,
andEdShaugnnesseyondrums.608WhenEllisleftforCalifornia,SummerlinandHeckman
begandoingconcertstogetherwithaseven-oreight-piecebandinNewYorkCity,putting
theseconceptsintopractice.
OnesucheventwasrecordedandreleasedonBillDixon’s“CompilationtapeB.”609The
grouppremieredapiecebyDixon,“AlltheKing’sWomen,”whichDonHeckmanhad
commissionedsometimeinearly1964.ThepiecewasperformedatHardwarePoets’Playhouse
inNewYorkCity.ThegroupconsistedofLewGluckinontrumpet,DonHeckmanonalto
saxophone,EdSummerlinontenorsaxophone,SteveKuhnonpiano,SteveSwalloworRon
Carteronbass,JoeCocuzzoondrums,andBobNordenorBrianTrenthamontrombone.Linda
Zandaiscreditedwithhavingperformedvocals,butisnotaudibleonthetape.610Dixonrecalled
thatthegrouprehearsedoftenandhefrequentedtheserehearsalsbecausethegroupwasso
talented.611
605Ibid.606EdSummerlin,linernotestoEyeontheFuture,EdSummerlin,IctusRecords103,compactdisc,1999.607BarryMcRae,“EdSummerlin,”JazzJournal,21,no.7(1968):7.608Ibid.609BenYoung,Dixonia:ABio-discographyOfBillDixon(Westport:GreenwoodPress,1998),323.610Ibid.611Ibid.
157
OnSunday,October4,1964,HeckmanperformedatBillDixon’slegendaryfour-day
avant-gardejazzfestival,TheOctoberRevolutioninJazz,withhisowngrouptheDonHeckman
Octet.612HissetfollowedtheSunRaSextet’ssetonthefinaleveningofthefestival.TheOctet
appearstohavebeenonlyaquintet,whichfeaturedDonHeckmanonaltosaxophone,Don
Friedmanonpiano,AlanSilvaonbass,JoeHuntondrums,andvocalistSheilaJordan.613
Heckmanalsoappearedonapaneldiscussionduringtheevent,presumablywithSunRa,who
wasalsolistedasapanelistandperformedthatday.614Thefestival“triggeredaresurgenceof
thejazzavant-gardemovement(alsoknownasthe‘freejazz’and‘thenewthing’)afternearly
threeyearsofapparentsomnolenceandnear-absencefromthepubliceye.…By1964,the
avant-gardeseemedtohavebeenreducedtoaminorrivuletmeanderingfarfromthe
mainstream.But,inthewakeoftheOctoberRevolution,itreboundeddramatically.”615
SummerlinandHeckman’simprovisationalconceptswereputonrecordin1965and
1966ontheDonHeckman-EdSummerlinImprovisationalJazzWorkshopreleasedonIctus
RecordsandlaterrereleasedontheEnglishlabelJazzWorkshopasJaxorBetter(JLP7009).616
Therecordcontainsfourcompositions:“Leisure#5”617and“Dialogue”byEdSummerlinand
“JaxOrBetter”and”FiveHaikus”byDonHeckman.Recordedin1966,“Leisure#5,”“Dialogue,”
and“JaxOrBetter”featureLewGluckinontrumpet,BobNordenontrombone,DonHeckman
612Ibid.,347.613Ibid.614Ibid.,344.615BernardGendron,“AftertheOctoberRevolution:TheJazzAvant-gardeinNewYork,”inSoundCommitments:Avant-gardeMusicAndTheSixties,ed.RobertAdlington(Oxford:OxfordUniversityPress,2009),211.616DonHeckman,interviewwithauthor,March2015.617Thelinernoteshavethetracklistedas“Leisure#5”whilethealbum’slabeljusthas“Leisure”asthetrack.
158
onaltosaxophone,EdSummerlinontenorsaxophone,SteveKuhnonpiano,RonCarteron
bass,andJoeHuntondrums.Recordedthepreviousyear,“FiveHaikus”hasthesame
personnelwiththeexceptionofSteveSwallowonbass,JoeCocuzzoondrums,andtheaddition
ofLisaZandaonvocals.618
ThelinernotesrevealthattheDonHeckman–EdSummerlinImprovisationalJazz
Workshopwasmorethanjustarecordtitle;itwasa“laboratoryforthecontinuingexploration
ofnewmusic.Itsmaterialsincludejazz,electronicmusic,happenings,theatricalevents,dance,
film,religiousservices,writtenmusic,improvisedmusicandchancemusic.”619Thiswasmoreof
anumbrellaorganizationwhereSummerlinandHeckmancouldexploreawiderangeofmusical
projects.ThereligiousservicesmentionedabovewereSummerlin’sliturgicalworksofthemid-
andlate1960sdiscussedinthepreviouschapter.Thismissionstatementdidnotgounfulfilled;
theydidindeedexplorealloftheseavenuesofcreativecollaborations.Thechoiceofincluding
“Improvisational”inthetitlewasnotsimplybecauseCharlesMingushadbeatthemtotheJazz
Workshoptitlebutwasmeanttostressthatthiswasnotjustaboutcomposition.Theliner
notesgoontoelaborate,“jazzworkshopsinthepasthaveoftenstressedcompositionatthe
costofthelifebloodofjazz—improvisation.HeckmanandSummerlinaredeeplyconvinced
thatavaluablemusicalcontributioncanbemadebythecreative,improvising
composer/performer.”620
618DonHeckmanandEdSummerlin,linernotestoDonHeckman-EdSummerlinImprovisationalJazzWorkshop,DonHeckmanandEdSummerlin,IctusRecords101,33⅓rpm,October1967.619Ibid.620Ibid.
159
ThealbumDonHeckman-EdSummerlinImprovisationalJazzWorkshopcontainsthree
compositionsthataremoreinlinewith1960scontemporaryjazzcompositionalpracticesor,as
thelinernotesputit,improvisation“inafairlytraditionalcontemporaryjazzcontext.”They
were“Dialogue,”“Leisure#5,”and“JaxorBetter.”Summerlin’s“Dialogue”wascomposedfor
useinaCBStelevisionprogramin1961andwasthenexpandedintotheversiononthe
record.621TheCBSprogramtheyarereferringtoisLookUpandLive,athirty-minutereligious
televisionprogramincollaborationwiththeNationalCouncilofChurchesthatairedevery
Sundayfrom1954to1979.Summerlinwasinvolvedwithnineepisodesduringthe1960s.The
show’sgoalwastotacklevariousissuesfromaProtestantperspectivethatwereperceivedby
thechurchtoberelevantduringeachperiod.Variousissuesittackledovertheyearswere
youthculture,rebellion,nonconformity,teenageapproachtolife,atheismanddeath.622
Summerlin’smusicalinclusionisindicativeofthe1960shopethattheinclusionofjazz,seenas
amusicoftheyouth,wouldhelpbridgeagrowingdividebetweentheyouthofthedayandthe
church.
In“Dialogue,”Summerlin’swritingislinearinnatureandhestatesthatheconsidered
“ittobetheculminationofaperiodoflinearwritingthatIwasinvolvedinforseveralyears.”623
Healsoexplainshisuseof“changingtimesignatures”asavehicleforcreatingtensionand
621Ibid.622ChalmersDale,ed.,InthePresenceOfDeath:FourTelevisionPlaysFromTheLookUpAndLiveSeriesAsBroadcastOverTheCBSTelevisionNetwork(St.Louis:ForTheCooperativePublicationAssociationbyBethanyPress,1964),9.623DonHeckmanandEdSummerlin,linernotestoDonHeckman-EdSummerlinImprovisationalJazzWorkshop,DonHeckmanandEdSummerlin,IctusRecords101,33⅓rpm,October1967.
160
momentum.624Themelody,althoughcomplex,ismemorable,featuringseveralcall-and-
responsesectionsandisbrokenupintoAandBsections.Afterthemelody,theimprovisationis
freestartingwithadialoguebetweenpianistSteveKuhnandbassistRonCarter.Thereisa
writtenbreakwiththehornsandthenEdSummerlinontenorsaxophoneanddrummerJoe
Huntjoinintheconversation.Theimprovisationisbrokenupatvarioustimesbywritten
figures.Finally,altosaxophonistDonHeckmanandtrumpeterLewGluckinjointhefraybefore
thegroupreturnstothemainBtheme.
“Leisure#5”isSummerlin’ssecondcompositionalcontributiontothealbum.This,too,
waswrittenforatelevisionprogram,athree-partseriesforCTVCanadacalledCelebrations.625
ThespecialhadSummerlinandHeckmanbeingjoinedbyaCanadianrhythmsectionforthe
broadcast.626Summerlindescribesthepieceas“anupdatedbe-boptunewithfreesolos.”627
ThepieceisbasedonanELydianDominantb9scale,which“isplayedbythetenorand
tromboneinthethirdandfourthbarsoftheintroduction.”628Thecompositionbeginswitha
shorteight-barintroduction.TheformandmelodyexplainSummerlin’susedofthedescription
ofan“updatedbe-boptune.”TheAABAformofthepieceisaverytypicalinjazzandhasbeen
usedincountlessstandards.ThemelodyintheAsectionsislargelyeighth-notebasedandata
brisktempoof260beatsperminute.TheBsectionisabitmoreunusualinitsuseofhighly
rhythmicallydisplacedfiguresoflongernoteduration.ThesolosbeginwithSummerlinontenor
624Ibid.625EdgarE.Summerlin,CurriculumVitae.privatecollection.626DonHeckmanandEdSummerlin,linernotestoDonHeckman-EdSummerlinImprovisationalJazzWorkshop,DonHeckmanandEdSummerlin,IctusRecords101,33⅓rpm,October1967.627Ibid.628Ibid.
161
saxophoneplayingfreeofanyharmonicandrhythmicconstraints,accompaniedbyRonCarter
onbass,SteveKuhnonpiano,andJoeHuntondrums.Thesoloconcludeswithmaterialfrom
theintroductionandthenHeckmanbeginsafreesolo.Withthesameplayersaccompanying
him,JoeHuntthentakesanextendedunaccompanieddrumsoloendingHeckman’ssolo
section.ThewholegroupreturnswiththeAABAformtoendthepiecewithashortfreecodaat
theend.
Summerlinviewedthisrecordingastheculminationofaperiodofcomposition.He
states,“IconsidereditimportanttorecordthesetwopiecesasIfelttheyweretheendofa
stageinmydevelopmentasacomposer,andtherefore,finishedworks.Iamnowinvolvedina
muchdifferentmusicthatinvolvesmorefreedomaswellasactionsandmixedmedia;this
musicisinastageoffluxanddevelopment.”629Clearlyhefeltthathehadalreadybegunanew
musicalchapterinhislifeduringthisperiodanditwasstillcoalescing.Asdiscussedinthe
previouschapter,hisliturgicalworkshadbecomemuchmoreexperimentalbythistime.
DonHeckman’spiece“JaxorBetter”isthebluesiestofthetracksonthealbum.Itsstyle
isveryreminiscentofCharlesMingus’swritinginitsmelodicandharmoniccontent.Thesolos
aremoreindebtedtoOrnetteColemanthanMingus.TheintroductionisplayedbyRonCarter
onbass,JoeHuntondrums,withSteveKuhnaddingsomesporadicpianoclusters.Ithasa
steadypulsebutnocleartimesignature.ThemelodyentersandHeckmandescribesthe
melodyashavinga“freelydeclamatorystyleoverafast,unrelatedrhythmsectionpulse.”630I
wouldnotgosofarastosayitisunrelatedtothepulseasthereisastrongconnectiontothe
629DonHeckmanandEdSummerlin,linernotestoDonHeckman-EdSummerlinImprovisationalJazzWorkshop,DonHeckmanandEdSummerlin,IctusRecords101,33⅓rpm,October1967.630Ibid.
162
tempothatisclearlypresent.Thereisquiteabitoftensioncreatedbytheinteractionofthe
rhythmandthemelodybutthemelodyiscertainlynotfreeofthetime.Thepieceevokesthe
bluesmorethananyothertrackonthealbumandisdescribedbyHeckmanas“anattemptto
retainthefeeling,thespirit,andinonesense,atleast,thecontentoftheblues,inapiece
whoseproceduresexceedtheboundsofthetraditionaljazzstyles.”631Ibelievetheexceeding
Heckmanisreferringtohasmoretodowiththesolosectionsthanthemelodicstatement.
Heckmantakesthefirstsoloandisfreeofanyharmonicconstraints,withthepulseeventually
breakingdowncompletelyandfreeingthewholegroupofanysetrhythm.AsHeckman’ssolo
continuesheisjoinedbySummerlin,Norden,andGluckin,who“playindividualpermutations
ofthebasictonerow:F,Eb,Ab,Db,Gb,E,A,D,G,Bb,B,C.”632SteveKuhnfollowsHeckman’s
soloandthepulsereturnsalbeitmorefracturedthaninitsoriginalincarnationuntilit
eventuallybreaksdown.TherhythmreturnstowardtheendofKuhn’ssoloandthehornsenter
a“Basielikemiddlesection.”633TheBasie-nessofthesectionissomewhatdebatable;Iwould
refertoitmoreinaMingusvainthanBasiebecauseofitsrhythmicandharmoniccontent.Ron
Cartertakesthefinalsolounaccompaniedonbassandeventuallysetsupthepulseagain.The
bandreturnswiththemelodyagaintoendthepiece.
Thefinalpiece,“FiveHaikus,”is,asDownbeatreviewerPeteWeldingputit,“apieceof
adifferentcolor.”634TheHeckmanpiecewasamusicalportraitoffivehaikusbyRyota,Buson,
631DonHeckmanandEdSummerlin,linernotestoDonHeckman-EdSummerlinImprovisationalJazzWorkshop,DonHeckmanandEdSummerlin,IctusRecords101,33⅓rpm,October1967.632Ibid.633Ibid.634PeteWelding,“RecordReviews,”Downbeat,October19,1967,30.
163
Issa,IzenandShiki.635Heckmangavetheplayersfreedomtoplaythenoteshewrote“freely,
butwithincertaintimesegmentsandwithvariousdynamicandarticulativeinstructions.”636
HeckmanwasmuchfreerwiththevocalistLisaZanda.Shewassimplygiven“tonaldirections
(up,down,mid-range,screech,etc.).”637ThefirsthaikuisWinterEveningbyRyota.Itisfree
fromanytimesignatureorharmonicframework.Thetextanditsdeliveryarethemost
traditional,featuringgospelandbluesbasedmelodicmaterial.Thesecondhaiku,The
springtimesea,isalsofreewiththevocalstakingonamorechromaticpalette.Thethirdhaiku,
Snowmelts,beginswithanalmostinaudibleandsparsevocalpunctuatedbyasinglefastthree-
notepianofigurebySteveKuhn.Therestofthegroupentersmidwaythroughthesectionwith
adissonantchordthatisheldagainstZanda’smovingvocalline.Thetenorsaxophone,piano,
trumpet,andbassdrumallplayasinglenoteseparatedbyagooddealofspace,withZanda
singingthefinalwordstotheendthesection.Thefourthhaiku,Bloomsontheplum,begins
withaverydissonantchordplayedbythewholegroupwhileZanda’svocalsmoveagainstitat
timesinaverydissonantfashion.Thegroupthentaketurnsplayingshortfiguresagainstthe
vocallineatseeminglyrandomintervals.Thesectionendsinasimilarfashionasitbeganwitha
dissonantchordbeingheldagainstamovingvocalline.ThefifthhaikuisSpringRoad,which
beginswithanalmostinaudiblevocallinethatisjoinedbysporadicfiguresfromtherestofthe
group.Thevocallineandfiguresslowlygaininvolumeandfrequency.RonCarterendsthe
piecewitharhythmicwalkingbassline.
635DonHeckmanandEdSummerlin,linernotestoDonHeckman-EdSummerlinImprovisationalJazzWorkshop,DonHeckmanandEdSummerlin,IctusRecords101,33⅓rpm,October1967.636Ibid.637Ibid.
164
DownbeatreviewedDonHeckman-EdSummerlinImprovisationalJazzWorkshopinthe
October19,1967issueandgaveitanimpressive4½starsoutofapossible5.638PeteWelding
writes,“thereisarealsenseofspontaneitytothegroup’smusic,andthisappliesequallytothe
composedsections.Thesuccessofthelatterisduewhollytothewriters’abilitytofashion
thematicmaterialsthatareinthemselvesinteresting,haveanairofnaturalnessand
inevitabilityaboutthem,andarealsoshapedbythenormalplayingstylesoftheexecutants.
Andtheyswing.”639WeldinggoesontocompareSummerlin’stwocompositionalcontributions
totherecordasa“contemporarysmallorchestra—orratheracrossbetweentheMilesDavis
nonetandavantegarde.”640TheBirthoftheCoolalbumisoftenassociatedwithMilesDavis’s
trumpetandGilEvans’sarrangements,soitisfittingthatWeldingcomparedSummerlin’s
writingtoamixwiththisgroupandthegeneralavant-gardestylegivenSummerlin’saffection
forEvansandColeman.Welding’sreviewelaboratesmoreonthesimilaritiesincompositional
stylebystatingthat“thetwogroupsemployroughlythesameapproachtowriting;the
composedsectionsgenerallyhavethesamekindoflinearmovement,beinghorizontallyrather
thanverticallyoriented.Andthereis,toadegree,thesamekindofcontrapuntalactivity
beneaththesoloists.”641Thislinearapproachisalsoverymuchinlinewithanotheroneof
Summerlin’sinfluences,OrnetteColeman.
WhileOrnetteColemandidattendtheLenoxSchoolofJazz,hewasthereoneyearprior
toSummerlin.Thereiscertainlynodoubtthathistenureattheschoolcreatedcontroversyand
musthavebeenthestuffoflegendthefollowingyear.Summerlinwasalreadyfamiliarwith
638Welding,“RecordReviews,”30.639Ibid.640Ibid.641Ibid.
165
Coleman’sworkduringhistimeatNorthTexasStateUniversityandwasafan.642Coleman’s
approachisonethatstressesmelodiescreatedwithoutthetraditionalconstraintsofa
harmonicframeworkorstrictform.Italsoespousesanequaltreatmentoftheinstrumentsas
opposedtothetraditionaljazzmodelofasoloistsupportedbyaccompanists.643Thisfreeand
equalapproachhadaprofoundimpactonjazzpracticesnotonlyinfreestylesbutinmore
traditionalsettingsaswell.AnewlevelofinteractionoccurredingroupsliketheBillEvanstrio
ortheJohnColtranequartet,whichinpartwasduetothisnewfounddemocratizationofthe
bassanddrums.WeldingdescribesSummerlin’sdeliveryasfollows:
themoreovertswingerofthepair:DialogueandLeisurearebrighterandmorebuoyantincharacterthanisHeckman’sworkinthesamegenre,Jax(Haikusisapieceofadifferentcolor).Actually,thereisamarkeddifferenceincharterbetweenthecomposedandimprovisedsections;theformerseemfarmoreconventionallyjazz-inflected…..thesolostatementsbyHeckman,Summerlin,Kuhn,andCarter,whichreflectcurrentavant-gardepracticefortheirrespectiveinstruments.Thesoloistsforthemostpart,however,leadongraduallyintothismoreenergizedkindofplaying.And,itmustbeadmitted,itworks.644
Thereviewwasextensiveandtookupalmosttheentirepage.Weldingwasclearlyimpressed
bythefirstandlastrecordedoutingbythisband.
Therewouldbeatwenty-sixyearrecordinggapforSummerlinandhisnon-liturgical
groups.ThedroughtwasbrokenbytheaptlytitledStillAtIt,whichwasreleasedin1994.The
recordingdroughtisnotanaccuratewaytodescribethisperiodbecauseSummerlinwas
recordingbutforHeckmanandCaedmonrecords.Heckmanhadbeendoingincidentalmusic
642MorganPowell,interviewwithauthor,August2015.643BarryKernfeld."Harmolodictheory."TheNewGroveDictionaryofJazz,2nded.,GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedFebruary19,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J189500.644Welding,“RecordReviews,”30.
166
forCaedmonrecords,whichwasaspokenwordcompany.645TherecordingsHeckmancould
notparticipateinwerepassedalongtoSummerlin.HeckmandescribesSummerlinas“avery,
verycapableguy.Hecouldyouknowwriteforsmallgroupsandwasaverygoodarranger.He
wascapableofdoinganykindofmusicaltaskanddoingitverywell.”646Summerlinworkedas
anarrangerandconductoronWinnie-The-PoohToldAndSungByCarolChanning(TC-1408)647
andWhoeverheardofaFird?(TC-1735).648Summerlinwasthecomposer,arrangerand
conductorforManyMoons(TC-1410),649ThegreatQuillow(TC-1411),650CuriousGeorgeand
otherstoriesaboutCuriousGeorge(TC-1420),651andCuriousGeorgelearnsthealphabetand
otherstoriesaboutCuriousGeorge(TC-1421).652
WhenHeckmanwasputinchargeofdoingacoverrecordofthebandChicago’smusic,
hehiredSummerlinasthearrangerandconductor.TherecordSaturdayInTheParkwas
releasedbyRCACamdenandproducedbyDonHeckman.Itfeaturedmanytop-tierNewYork
jazzmusicianslikeguitaristJoeBeck,trumpeterRandyBrecker,bassistTonyLevin,trumpeter
MarvinStamm,aswellasSummerlinontenorsaxophone,DonHeckmanonaltoandsoprano
645DonHeckman,interviewwithauthor,March2015.646Ibid.647A.A.Milne,WinniethePoohToldandSungbyCarolChanning,arrangedandconductedbyEdSummerlinandDonHeckman,CaedmonRecordsTC1408,33⅓rpm,1972.648JoelGrey,OthelloBach'sWhoeverHeardofaFird?,arrangedandconductedbyEdSummerlin,CaedmonRecordsTC1735,33⅓rpm,1984.649JamesThurber,ManyMoons,MusiccomposedandconductedbyEdgarSummerlin,CaedmonRecordsTC1410,33⅓rpm,1972.650Ibid.651H.A.Rey,CuriousGeorgeandOtherStoriesAboutCuriousGeorge,MusiccomposedandconductedbyEdgarSummerlin,CaedmonRecordsTC1420,33⅓rpm,1972.652H.A.Rey,CuriousGeorgeLearnsTheAlphabetAndOtherStoriesAboutCuriousGeorge,MusiccomposedandconductedbyEdgarSummerlin,CaedmonRecordsTC1421,33⅓rpm,1973.
167
saxophone,andBobNordenontrombone.653MarvinStammrecalledtherecordingsessionasa
verytenseoneinwhichanunnamedplayerwasstrugglingwiththemusic.Hefeltthat
Summerlinwasparticularlyharshwiththeplayerduringthesessionanditmadeforan
uncomfortabletimeinthestudio.654Summerlinhaswidelybeendescribedassomeonewho
spokehismind.Heoftencomplimentedmusicianswhenhethoughttheywereperformingwell,
butdidnothesitatetovoicehisdispleasurewhensomeone’splayingwasnotuptopar.I
believethischaractertraitispartofwhatendearedhimtosomanyandalsopermanently
ruffledafewfeathers.
CityCollegeofNewYork
In1971,EdSummerlintookajobastheDirectoroftheJazzProgramattheCityCollege
oftheCityUniversityofNewYork.Thiswashisfull-timejobuntilhisretirementin1989.Don
Heckmanwascompletingamaster’sdegreeattheCityCollegewhenhewasofferedajobat
theschoolandgivenamandatetostartajazzprogram.Heaccepted,butashorttimelater
HeckmanwasofferedajobwithRCAas“headoftheireastcoastA&R.”655Heckmanrealizedhe
couldnotdobothjobsandrecommendedEdSummerlintotheCityCollege,stating,“hewas
evenbetterthanIam….becausehehasabroadereducationalbackground.”656Summerlinbuilt
animpressiveprogramandhiredsomeofthemostaccomplishedandrecognizablejazz
musiciansinNewYork.FacultythathehiredduringhistenurewereRonCarter(1982-2002),
653linernotestoSaturdayInthePark,TheRockGeneration,RCACamdenACL1-0251,33⅓ rpm,1973.654MarvinStamm,interviewwithauthor,March2015.655DonHeckman,interviewwithauthor,March2015.656Ibid.
168
SheilaJordan(1978-2006),JohnLewis(1976-1981),JakiByard(early-mid-1970s),JimmyHeath
(1981-1982),andJoeChambers(mid-1980s-early1990s).657
Fromthestart,EdSummerlinwasfightinganuphillbattlecreatingajazzprogramatthe
CityCollege.WhiletherewerealreadyestablishedjazzprogramsatuniversitieslikeNorthTexas
StateUniversity,theBerkleeCollegeofMusic,theEastmanSchoolofMusic,IndianaUniversity,
andtheUniversityofMiami,theywerefarfromthenorm.658By1969therewere“165colleges
withnon-creditjazzcourses;135gaveacademiccredits.”659Whilethisisasignificantnumber,it
doesnottellthewholestory.AsauthorCharlesSuberputitin1976:
Forallofitsconsiderablecurrentacademicstatus,JazzEducationisnotyetconsidered–bythosewhodeterminesuchmatters–anessentialpartofthemusicaltrainingrequiredbyteachersandstudentmusicians.Thisdeterminationisreflectedinthewidespreaduse–inschoolcurriculaandechoedbymassmedia-ofsuchelitistcharacterizationsofEuropeanmusicas“serious”or“good”or“classical”music.Jazzandblues–synonomoustermsinthecontextofthisessay–aretoooftencharacterizedbyeducationalpejorativeexpressions,suchas“popular”or“commercial”or“youth”music.JazzEducationseemstobe,likejazz,ashadetoopopular,ashadetoodarkandcommontowarrantcompleteintegrationintotheMusicEducationclub.660
Fortyyearslater,thissentimenthasdiminishedbutisnotcompletelygone.Summerlinfaceda
constantstruggleinachievinghismandate,buthedidbuildanoutstandingprogramwith
world-classfacultyoverhiseighteen-yeartenureattheCityCollege.DanCarillostatedthatCity
Collegewas“oneofthefirstprogramstobeajazzmajoranditwouldneverhavehappenedif
657“Jazz@city,”TheCityCollegeofNewYork,accessedFebruary25,2016,http://jazz.ccnysites.cuny.edu/history.html.658RandyLeeSnyder,"CollegeJazzEducationduringthe1960s:ItsDevelopmentandAcceptance,"(DMAdiss.,UniversityofHouston,1999).http://search.proquest.com/docview/304505426?accountid=14553.659CharlesSuber,“JazzEducation,”InTheEncyclopediaOfJazzInTheSeventies,LeonardFeatherandIraGitler,ed.,(NewYork:HorizonPress,1976),p.370.660CharlesSuber,“JazzEducation,”p.366.
169
Edwasn’tasstronganindividualandpassionateanindividualashewasbecauseotherthana
fewhigh-leveladministratorswhobelievedinhimandbelievedintheprogramitwasn’twell
receivedorwellthoughtof….Hehadtofightforeverything….ItonlysucceededbecauseEdis
whoheis.Idon’tknowthatthereisanothermanorpersonintheworldwhowouldhavebeen
abletofighteveryoneofthosebattlesandcomeoutwinning.”661Formerstudent,pianist,and
lecturerinjazzstudiesRayGallonechoedCarillo’ssentiment,sayingthatSummerlin“reallyhad
tofightreallyhardtogetthejazzprogram,notjusttogetitgoing,buttokeepitgoing.”662
Summerlinhadseveralstudentsgoontohavesuccessfulprofessionalcareersas
performersandteachers.DanCarillostartedattheCityCollegein1969asachemistrymajor.
Hehadbeenplayingprofessionallysincetheageofthirteenandputhimselfthroughcollegeby
playinggigs.Eventuallyhemadealivingasastudiomusicianandbyplayingandrecordingwith
high-profileartistslikeHarryBelafonteandDianeReeves,amongothers.Hetookseveralmusic
classesandwasencouragedtoswitchhismajortomusic.In1971,Summerlinarrivedtostarta
jazzprogramattheCityCollegeandbeganwithasmalljazzbandandajazzhistoryclass.663
Summerlin,Carillonotes,“tookarealinterestinsomeoftheplayerswhowerealittlemore
advancedandweusedtoplaywithhiminasmallgrouponourtime.Ilearnedalotfromhim
there.”664WhenrecallingSummerlin’splayingstyleatthetime,Carillostated,“Imarvelatit
becausehewasamasteroftraditionaljazzlanguage,bebop.Hewasabebopmasterbuthe
wasamodernisttoo.[He]reallyunderstoodtheorchestrationsofGilEvansandalways
remindedmeofSonnyRollinsinhisplaying.Thefreenessofthewayhewouldapproachthings
661DanCarillo,interviewwithauthor,March2015.662RayGallon,interviewwithauthor,March2015.663DanCarillo,interviewwithauthor,March2015.664Ibid.
170
especiallytimeandhissound.”665Summerlinwroteagreatdealofmusicforthestudentband
uponhisarrival.Hehadtheabilitytowritetechnicallysimplemusicthatsoundedgood,
accordingtoCarillo.
Summerlinhadaverytell-it-like-it-isapproachtoteaching,music,andlife.Carillo
describedSummerlinasa“noholdsbarredperson.WhatyouseeiswhatyougetwithEd.He
doesn’tstandonanypretense.Hedoesn’tholdbackwhathereallybelievesandfeels.He
comesoutandsaysitandasateacherhewasthesameway.”666Carilloactuallyfeltthatitwas
refreshingtohearhonest,albeitunfilteredcriticismofhisandothers’work.Carilloconcluded
histhoughtonSummerlinasateacherbystatingthat“hewasthorough,hewasvery
opinionatedandverypassionateandreallyknewhisstuff.”667Summerlinwouldalsoinvite
studentsuptothePoughkeepsieareatoplayonweekendsathishomeandwasveryinvolved
withstudents’lives,accordingtoCarillo.SummerlinwasabletobringinOrnetteColeman,
FreddieHubbard,SteveKuhn,JimHall,GeorgeDuvivier,ConnieKay,HarvieSchwartz,Lew
Soloff,CharlesMingus,LeeKonitz,andGilEvansforresidenciesattheCityCollege.Healso
broughtinCharliePalmieritodirectthelatinband.668Palmieriwasapianist,arranger,and
bandleaderwhobeganplayingprofessionallywiththeOsarioSelasieOrchestraatagesixteen.
Later,hejoinedtheRafaelMuñozBandandTitoPuenteband.In“1959hedebutedhis
popularcharanga,LaOrquestaDuboney,featuringJohnnyPachecoonflute….Palmieriwasone
665Ibid.666Ibid.667Ibid.668Ibid.
171
ofthemostimportantPuertoRicanmusicianstopopularizeanddevelopLatinmusicinNew
York.”669
Bythelate1970s,Summerlin’sjazzprogramattheCityCollegehadgrownenoughto
beginofferinggraduatedegrees.RayGallonbeganhisundergraduatedegreeattheCityCollege
in1975and,aftergraduatingin1982,becamethefirstgraduatestudentinthejazzprogramto
receiveaMAincompositionin1989.670Hetaughtclassesduringhisgraduatestudiesandthen
tookonafacultypositionattheschoolunderSummerlin’sleadership.Apianist,Gallonhas
performedwithRonCarter,SheilaJordan,LionelHampton,GeorgeAdams,HarperBrothers,
DakotaStaton,CharliPersip,BennyGolson,theMingusBigBand,HerbHarris,ArtFarmer,Lew
Tabackin,andT.S.Monk.671GallondescribedSummerlin’steachingas“totallydirectandtotally
honestandblunt.Hewasalsoveryconcernedwithpushingenvelopesandtryingtodonew
things.”672GallonstudiedharmonyinSummerlin’sclassasanundergraduateandthen
compositionandorchestrationwithhimasamaster’sstudent.Inthecompositionclass,hesaid
Summerlin“reallypushedmetowritesomethingreallypersonalandnotsomethingthatjust
soundedinthestylethatsomethinghadalreadybeendone.Trytofindsomethingnewthat
wasreallyhisthing.Hereallyencouraged[that.]”Summerlinalsoencouragedhisstudentsto
bemoreartisticallywellrounded:“healwayswouldencourageustodothingslikegotothe
museumsandlookatart.Don’tjustbecaughtupinjustjazzorjustmusicyoushouldbe
669DavidF.Garcia."Palmieri,Charlie."GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedMarch1,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2103542.670RayGallon,interviewwithauthor,March2015.671GaryW.Kennedy."Gallon,Ray."TheNewGroveDictionaryofJazz,2nded..GroveMusicOnline.OxfordMusicOnline.OxfordUniversityPress,accessedMarch3,2016,http://www.oxfordmusiconline.com/subscriber/article/grove/music/J770500.672RayGallon,interviewwithauthor,March2015.
172
exposedtoallformsofart.”673SummerlinalsobroughtinTheViolaFarberDanceCompanyand
hadthestudentsplaytohissketchesandimprovisetothedancerswithSummerlinboth
conductingandplayingaswell.674BythetimeGallonbeganhisstudiesthere,theschoolhad
twobigbands,atraditionalbigbandplayingstandardrepertoireledbyBobNordenanda
contemporarybigbandledbySummerlinprimarilyplayinghischallengingoriginalmusic.675
Gallondescribedthemusicas“verymodern,havingalotoffreejazzelementstoit.Alotof
dissonantharmonies….Helikeddiminishedchordsbutusingdoublediminished.”676
OrnetteColemanwasanartist-in-residenceduringGallon’sstudenttenureand
performedaconcertwiththebigband.ColemanhadsentSummerlinseveralofhis
compositionsandSummerlincreatedbigbandarrangementsofthemusicfortheconcert.He
alsowroteanoriginalcomposition,“IThoughtIHeardOrnetteSay,”fortheconcert,a
referencetoanearliercompositionbytrombonistWilliamCornish,whowasinCharles“Buddy”
Bolden’sband,called“FunkyButt.”677Bolden,acornetist,isdescribedasapioneerinearlyNew
Orleansjazz.AccordingtoDonaldM.Marquis,Boldenwasnot“thefirsttoplayjazz,buthewas
thefirsttopopularizeitandgivethemusicabasefromwhichtogrow.”678Summerlin’schoice
ofsongtitlesaysmuchabouthisfeelingsaboutOrnetteColeman’sinfluenceonjazzasawhole.
Boldenhashistoricallybeenviewedasakindoffatherfiguretojazz,thefirstinthe“greatman”
theoryofjazz.IbelieveSummerlinisdrawingadirectcorrelationbetweenBoldenandColeman
673Ibid.674Ibid.675Ibid.676Ibid.677DonaldM.Marquis,InSearchofBuddyBolden:FirstManofJazz(BatonRouge:LouisianaStateUniversityPress,2005),2-3.678Ibid.,xv.
173
andismakingitknownhefeelsColeman’s,albeitcontroversial,innovationswereaseminal
momentforwardforjazz.InhislinernotesforSumoftheParts,Summerlinwrites,“Ihave
alwayslovedOrnetteandhismusicandIfeelthatheshowedallofusthewayafterbebop.”679
SummerlinalsocreatedextendedworksforJimHallandHankJonesduringhistenureatthe
CityCollege.
WhenSummerlinfirstarrivedattheCityCollege,hewasplayingagooddealofgigsin
thecity,butastimepassedhebecamemorefocusedonplayingopportunitiesupstate,where,
accordingtoGallon,hebecame“animportantmemberofthescene.”680Carillorecalledthat
SummerlinhadoccasionallyplayedwithtrumpeterNatAdderleyandbassistHarveySchwartz,
butIcouldnotcorroboratethiswithanyothersources.Summerlinbroughthisfreejazz
experiencetotheCityCollegejazzprogramandhisstudents.Hisbigbandchartsincludedopen
modalsections,vamps,andpedalpoints.AccordingtoCarillo,Summerlin“wouldwritepretty
freestuffabovethesevampsandthesepedalpointsandalotofsectionalinteractionwithalot
ofdissonancesinhiswriting.Whenitopenedupforsolositwas,Iwouldn’tcallitfreejazz,but
itwasveryopen.Theotherthingthathedidwhenhewouldhavesomeofusplaywithhimoff
onourownandhaveafewofplaywewouldplayfreejazz.”681Summerlinwouldhavethe
studentsplaystandardsaswellashisownoriginalcompositions.Carillorecalls”someofthe
pieceshewrotedidn’thavechordsyouknowtheyjusthadsoundsandwewouldplaythem,so
yeahhebroughtit[freematerial]in.”682
679EdSummerlin,linernotestoSumoftheParts,EdSummerlin,IctusRecords102,compactdisc,1998.680RayGallon,interviewwithauthor,March2015.681DanCarillo,interviewwithauthor,March2015.682Ibid.
174
FinalYears
AfterSummerlinretiredfromtheCityCollegeofNewYorkin1989,hepouredhisenergy
intocompositionandperformance.Hebecameevenmoreactiveasaperformerinupstate
NewYork.SummerlinalsorecordedthreeCDsofhisoriginalcompositionswhichwerereleased
onhisownlabelIctus:StillAtIt(ICTUS104),SumoftheParts(ICTUS102),andEyeonthe
Future(ICTUS103).Thesethreerecordingswouldbeavehicleforhimtocontinueexploringhis
compositionsandavant-gardeimprovising.
StillAtItisthefirstofhispost-retirementrecordingprojects.Itwasrecordedin1994
andthegroupislistedastheEdSummerlin/BobNordenQuartetwithbothSummerlinand
Nordenlistedasproducers.RecordedDecember27-28,1993atTheMakeBelieveBallroom,
thealbum’spersonnelincludesEdSummerlinontenorsaxophone,BobNordenontrombone,
CharlieKniceley,andChristianStarpolionpercussion.683Accordingtothelinernotes,thealbum
hadbeenrecordedandwassupposedtobereleasedonanotherunidentifiedlabelbutwas
shelvedforyears.ThisexplainsthecuriousnumberingofICTUS104foranalbumthatwas
recordedyearsbeforeSumoftheParts(ICTUS102)andEyeontheFuture(ICTUS103).The
albumhasninetracks:“Y.ATitle,”“Déjàvu,”“Roadrunner,”“SecondHand,”“SonicDudes,”
“Cire,”“Osky,”“ScoopItUp,”and“OldFlowers.”Summerlincomposed“Déjàvu,”“Second
Hand,”“SonicDudes,”“ScoopItUp,”and“OldFlowers”withNordenandKniceleyeach
contributingtwooftheothertracks.
SumofthePartswasreleasedin1998andfeaturedaquintetofSummerlinontenor
saxophone,RonFinckonaltosaxophone,BruceAhrensontrumpet,TonyMarinoonbass,and
683EdSummerlinandBobNorden,linernotestoStillAtIt,EdSummerlinBobNordenQuartet,IctusRecords104,compactdisc,1998.
175
JoeChambersondrums.Thistime,Summerlincomposedeachofthecompositionsexcepttwo
tracks,“BroadwayBlues”byOrnetteColeman,and“SoundLee”byLeeKonitz.Summerlin
producedandarrangedallthemusicanditwasrecordedatTheMakeBelieveBallroom.
Summerlin’scompositionswere“Where’dYouFindThis?,”“HopSkipandJump,”“Dialog,”
“SonicDudes,”“WaltzforToshiandRyoko,”and“ChordsandLines.”Summerlinviewedthe
recordastheculminationofallhisexperiencesuptothatpoint.Hegaveachronologicalhistory
ofhismusicalexploitsinthelinernotesandstated,“asIapproachmy70thyear,IfeelIshould
getmymusicalthoughtsonrecord—sothisisthebeginningofasummingupofsomeofthe
partsofmymusicallife.”684
EyeontheFuturewasSummerlin’sfinalrecordedworkandfeaturedasextetlargely
madeupofthemembersofhisquintet,withtheexceptionofreplacingJoeChamberswith
AdamNussbaum,aformerstudentofSummerlin’s.Allofthecompositionsandarrangements
areSummerlin’s.ItwasrecordedDecember14-15,1998atTheMakeBelieveBallroomwith
Summerlinontenorsaxophone,RonFinckonaltosaxophone,BruceAhrensontrumpet,Bob
Nordenontrombone,TonyMarinoonbass,andAdamNussbaumondrums.685The
compositionswere“GoldenOldie,”“Tricky,”“AnotherWaltz,”“BackwardsWeGlance,”
“Relentless,”“Song,”“ThirdMan,”“Episodes,”“Trickly686(Alternatetake),”and
“Improvisation.”Thealbumfeaturesallnewcompositionsbuttheconceptsexploredinthe
songs,accordingtoSummerlin,“goallthewaybacktothesixtiesandmyparticipationinthe
684EdSummerlin,linernotestoSumoftheParts,EdSummerlin,IctusRecords102,compactdisc,1998.685EdSummerlin,linernotestoEyeontheFuture,EdSummerlin,IctusRecords103,compactdisc,1999.686ThisispresumablyatypoonthetitleTricky,whichistrack2onthealbum.
176
DonEllisgroupand[later]theDonHeckman,EdSummerlinImprovisationalJazzWorkshop.”687
WhileSummerlinconsideredthealbumasapartofthesumming-uphestartedinSumofthe
Parts,itisforward-lookingandsearchesfor“waystointegratefreedomanddisciplinewithout
losingtheswingandwithoutlettingthefreedomturnintoundisciplinedchaos.”688
ThealbumreceivedapositivereviewinJazzizmagazine,withSteveFuttermanwriting:
EyeontheFutureisadditionalevidencethatthe70-plus-year-oldremainsacaptivatingmusicalfigurewhosetakeonjazzismoreadventurousthanthatofmostplayershalfhisage….Intheirdissonanttonalitiesandtheirmixtureoffreejazzandtightconstruction,Summerlin'scompositionsarereminiscentofthebrilliantearly'60sworkofBookerLittle,MaxRoach,andEricDolphy.Theleaderhasabrawnytenortoneandunlimitedenergythatheusestogreatadvantage…Adistinctiveimprovisor,Summerlinisalsoanexceptionalthinkerblessedwithagroup-playermentality-jazzneedslotsmorelikehim.689
AccordingtoAdamNussbaum,therewastobeafollowuptoEyeontheFuture.690Although
Summerlinwroteandrehearsednewmaterial,theprojectnevercametofruition.Summerlin
hadbeendiagnosedwiththroatcancerdespiteneverhavingbeenasmoker.Ashiscondition
worsened,hewasnolongerphysicallyabletoplaysaxophoneandheturnedhisattentionto
composition.EdgarEugene“Ed”SummerlinpassedawayonOctober10,2006inRhinebeck,
NewYork.691
687EdSummerlin,linernotestoEyeontheFuture,EdSummerlin,IctusRecords103,compactdisc,1999.688Ibid.689SteveFutterman,“Edsummerlin:Eyeonthefuture,”Jazziz,April2000,75,accessedonMarch19,2015,http://search.proquest.com/docview/1382221?accountid=14553690AdamNussbaum,interviewwithauthor,February2015.691“Openingchorus:News-farewells[EdSummerlin],”JazzTimes,December2006,33,accessedonMay13,2014,http://search.proquest.com/docview/1332165?accountid=14553.
177
EdSummerlin’stimeatLenoxSchoolofJazzwashisintroductiontotheworldofthe
eliteNewYorkjazzmusicians.Whilethere,heworkedwithsomeofthebiggestnamesinjazz
likeFreddieHubbard,JimHall,JohnLewis,MiltJackson,GuntherSchuller,andConnieKay,
manyofwhomhewouldworkwithagaininthenearordistantfuture.HealsometDon
Heckman,amusicianwithsimilaravant-gardeinterestswhowouldbeamusicalpartnerfor
decades.HewouldprovideSummerlinwithsomeofhismostlong-lastingopportunities,like
workingattheCityCollegeofNewYork.Duringhistenurethere,Summerlinwouldgrowa
programfromscratchintoonewhichincludedsomeofthebestjazzmusiciansintheworld.
AfterretirementSummerlinwouldredoublehiseffortstoplay,compose,andrecordthemusic
helovedrightupuntilhisdeath.Summerlintookmanyoftheconceptsandpracticeshe
perfectedinhisliturgicalperiodintotheclassroomwiththesamezealandtotalcommitmentto
hisstudentsthathehadforhiscongregation.
178
Chapter6
Conclusion
ThisdissertationprovidedacloseexaminationofthreevitalfacetsofEdSummerlin’s
long,accomplished,andinfluentialcareer:hisformativeyears,hiscontributionstoliturgical
jazzandhisexperienceswithavant-gardemusicandmusiciansthathelpedshapehisliturgical
works,andhiscontributionstojazzeducation.Althoughthesethreeareasofhislifemayseem
tobeseparatefocalpoints,theywere,inreality,intertwinedandthusprovidedhimthetoolsto
producethefirstliturgicaljazzserviceandthenmountasustainedcareerthatconstantly
pushedtheboundariesofwhatliturgicalmusiccouldbe.Summerlin’sdeepknowledgeand
respectforthejazztraditionwasbalancedbyaconstantsearchingforthefreedomof
expressionthattheavant-gardeprovidedhim.Thesetwoperspectivesallowedhismusictobe
contemporarywhilestillbeinggroundedinthetraditionofjazz.
Wheneducationbecamehisfocus,Summerlinwasabletoimpartwisdomtohis
studentsthatcanonlybeacquiredfromworkingasaperformer,arranger,andcomposer.The
trialsandtribulationshefacedinpromotingjazzasanappropriatevehicleforexpressionand
devotioninsacredspacesgavehimaresiliencythatservedhimwellinrunningajazzprogram.
Summerlinprevaileddespiteaconstantstrugglewithinstitutionalforces,bothinreligious
organizationsandincollegiatebureaucracies.Hewasalwayswillingtofightforjazzmusicand
jazzmusicianstobegiventherespecttheydeserved.
179
Achievements
Here,insummary,areSummerlin’smajormusicalachievementsinjazz:
1. Hecomposed,performed,recorded,andreleasedthefirstliturgicaljazzservice.
2. Hewasthefirsttouseworld-classjazzmusiciansforliturgicaljazzservices.
3. Hewasapioneerinincorporatingavant-gardejazzperformanceandcompositional
practiceintoliturgicaljazzservices.
4. Hewasaninnovatorinincorporatingmultimediaintoliturgicaljazzservices.
5. HewasatirelessadvocateandbroughtjazzintochurchesacrosstheUnitedStates.
6. HedevelopedthejazzprogramattheCityCollegeofNewYork,which,underhis
guidance,hadsomeofthegreatestjazzmusiciansinhistoryasitsfaculty.
7. Hehasleftbehindanever-evolvinglegacyintheformofhisstudents,manyofwhom
arestillpartofthejazzcommunityallovertheworld.
FurtherStudy
Despitethefindingsofthisstudy,thereisstillmoreworkthatcanbedoneon
Summerlinandonliturgicaljazz.ManyofSummerlin’sliturgicalworksaredeservingofdeeper
theoreticalanalysis,andcouldbecomparedtotheworksofprominentavant-gardemusical
innovators.ThisstudyfocusedonSummerlin’scontributionsasbothaperformerand
composer,buthewasalsoaprolificarrangerofsecularjazzstandardsandoriginal
compositions.ThereareunreleasedrecordingsofCityCollegeofNewYorkbandsplayingwitha
varietyofguestsoloists,includingOrnetteColeman,thatcouldbestudied.Theliturgicaljazz
worksofFrankTirro,EddieBonnemère,PaulKnopf,andDavidBakercouldbeanalyzedin
180
greaterdetail.Finally,manyoftheliturgicaljazzworksinthisstudyhavenotbeenperformedin
recenttimesand,insomecases,haveneverbeenprofessionallyrecorded.Thereisstilla
wealthofinformationonliturgicaljazzthathasyettobeexplored.
181
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Unattributed Articles “2 Men Compose Music for Weekend Arts Festival at Pleasant Plains Church.” Poughkeepsie Journal. October 4, 1964. “Area Students to be at Choral Convention.” Clovis News-Journal, Clovis, New Mexico, March 10, 1968. “Bard College Jazz Festival is Slated for This Weekend.” The Kingston Daily Freeman. Kingston, New York. May 5, 1965.
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“Chet Huntley’s Crew Due in Denton: National TV Show Filming New Jazz Church Service.” Denton Record-Chronicle. August 2, 1959. “Cool Creeds.” Time. July 9, 1965. "Dentonite’s Composition: Experimental Jazz Service Well Received at Premier." Denton Record-Chronicle. May 21, 1959. “Disk Artists in Hot Demand for TV Shows.” The Billboard. October 24, 1960. “Donald S. Marsh.” The Sante Fe New Mexican. April 16, 2010. “Ed Summerlin to Tour with Jazz Service.” Corsicana Daily Sun. February 9, 1960. “Festival of Arts Schedules Films.” Poughkeepsie Journal. September 13, 1964. “Festival of Liturgical Arts Opens Monday at Seminary.” Daily Independent Journal, San Rafael, CA. April 1, 1967. “Frank Tirro’s Jazz ‘Te Deum’ Gets Premiere Here Tuesday.” The Lincoln Star. Lincoln, Nebraska, March 28, 1965. “It Proved a Happy Surprise: ‘Swinging Mass’ Has Even Made the Top 40 Charts.” Daily Independent Journal, (San Rafael, CA). October 23, 1965. “Jazz and Religion-End of A Love Affair?” Downbeat. February 23, 1967. “Jazz Goes to Church.” Ebony. April 1966. “Jazz is Musical Setting for Religious Poem on ‘Look Up and Live’.” The Morning Herald, Hagerstown, MD. January 27, 1962. “Jazz Liturgical to Be Broadcast.” The Times, Shreveport, Lousiana. August 5, 1962. “Jazz on Television.” The Pittsburgh Courier. January 27, 1962. “Jazz Vespers set Oct. 10 in New York.” The Pittsburgh Courier. October 9, 1971. “Liturgical Jazz on Tour.” Downbeat. April 14, 1960. “Liturgical Jazz.” Record Reviews. The Atlantic. March 1960. “Liturgy in Jazz.” Downbeat. March 31, 1960. “Liturgy.” Religion Teachers Journal. May/June 1971.
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“Look Up and Live.” Argus-Leader, Sioux Falls, SD. October 14, 1960. “Roger E. Ortmayer Is Dead; A Leader of Church Council.” New York Times, Sect. Obituaries, November 1, 1984. “Summerlin at Bard.” The Kingston Daily Freeman. Kingston, New York. November 27, 1964. “Today’s Shows.” Democrat and Chronicle, Rochester, NY. January 28, 1962. “Tonight’s Pick of The TV Best.” Herald Statesman, Yonkers, NY. February 20, 1960. Dissertations Hill, Wilbert Weldon. "The Sacred Concerts of Edward Kennedy "Duke" Ellington." Dissertation, The Catholic University of America, 1995. Kenagy, Peter Ellis. “George Russell’s Jazz Workshop: The Composer’s Style and Original Methods of 1956.” Dissertation, University of Illinois at Urbana-Champaign, 2009. Pickeral, Charles Wilkins. "The Masses of Mary Lou Williams: The Evolution of a Liturgical Style.” Dissertation, Texas Tech University, 1998. Snyder, Randy Lee. "College Jazz Education during the 1960s: Its Development and Acceptance." Dissertation, University of Houston, 1999. Thomas, Andre Jerome. "A Study of the Selected Masses of Twentieth-Century Black Composers: Margaret Bonds, Robert Ray, George Walker, and David Baker." Dissertation, University of Illinois at Urbana-Champaign, 1983. Scores Bonnemère, Eddie. O Happy the People: A Contemporary Setting Of Matins And Vespers (Philadelphia: Fortress Press, 1973), text by Robert Bornemann, Print. Summerlin, Ed. Bless This World. Unpublished score, 1970. private collection. ———. Celebration of Man’s Hope. Unpublished score, 1968. private collection. ———. Liturgy of the Holy Spirit. Unpublished score, 1965. private collection. ———. Pentecost: Ecstasy Breaks Out, Unpublished score, 1969. private collection. Tirro, Frank. American Jazz Mass: For Mixed Voices With Instrumental Ensemble trumpet, Alto Saxophone, Baritone Saxophone, String Bass And Drums. Evanston, IL: Summy-Birchard, 1960.
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———. American Te Deum: In English, We Praise Thee, O God: SATB With Instrumental Ensemble. Cincinnati, OH: World Library Publications, 1970. Zimmermann, Heinz Werner. Missa Profana: (1980: Für Vokalquartett, Gem. Chor, Dixieland-Jazzgruppe, Tonband Und Grosses Orchester = For Vocal Quartet, Mixed Chorus, Dixieland Jazz Group, Tape, And Big Orchestra. Bad Schwalbach [Germany]: Edition Gravis, 2001. Liner Notes Bonnemère, Eddie. Mass for Every Season, Eddie Bonnemère, Private CSS 698, 33⅓ rpm, 1969. Bornemann, Robert. liner notes to O Happy The People, Eddie Bonnemère, Fortress Records BP 6172, 33⅓ rpm, 1973. Davis, Rabbi David. liner notes to Hear, O Israel: A Prayer Ceremony in Jazz, Jonathan Klein, P/C Jonny Records JBH0025CD, compact disc, 2008. Originally released in 1968. Elwood, Philip. liner notes to The Grace Cathedral Concert, Vince Guaraldi, Fantasy FCD-9678-2, Compact Disc, 1997. Originally released 1965. Feather, Leonard. liner notes to Hub Cap, Freddie Hubbard, Blue Note Records BLP 4073, 33⅓ rpm, 1961. Fox, Charles. liner notes to 20th Century Folk Mass, Geoffrey Beaumont, Oriole MG. 20019, 33⅓ rpm, 1957. Garrick, Michael. liner notes to Jazz Praises at St. Paul’s, Michael Garrick Sextet, Jazz Academy Records JAZA 11, compact disc, 2008. Grey, Joel. Othello Bach's Whoever Heard of a Fird?, arranged and conducted by Ed Summerlin, Caedmon Records TC1735, 33⅓ rpm, 1984. Heckman, Don. linernotestoSaturdayInthePark,TheRockGeneration,RCACamdenACL1-0251,33⅓ rpm,1973. ———, and Ed Summerlin, liner notes to Don Heckman - Ed Summerlin Improvisational Jazz Workshop, Don Heckman and Ed Summerlin, Ictus Records 101, 33⅓ rpm, October 1967. Kerr, John. liner notes to Missa Laetare (Mass of Joy), Eddie Bonnemère, Fortress Records CSS 795, 33⅓ rpm, 1969. Milne, A.A. Winnie the Pooh Told and Sung by Carol Channing, arranged and conducted by Ed Summerlin and Don Heckman, Caedmon Records TC1408, 33⅓ rpm, 1972.
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O’Connor, Fr. Norman J. liner notes to Jazz Suite on the Mass Texts, Paul Horn, RCA Victor LSP-3414, 33⅓ rpm, 1965. Ortmayer, Roger. liner notes to Liturgical Jazz, Ed Summerlin, Ecclesia Records ER-101, 33⅓ rpm, 1960. Rey, H.A. Curious George and Other Stories About Curious George, Music composed and conducted by Edgar Summerlin, Caedmon Records TC1420, 33⅓ rpm, 1972. ———. Curious George Learns The Alphabet And Other Stories About Curious George, Music composed and conducted by Edgar Summerlin, Caedmon Records TC1421, 33⅓ rpm, 1973. Schifrin, Lalo. liner notes to Jazz Mass in Concert, Lalo Schifrin, Aleph Records 007, compact disc, 1998. Sturm, Ike. liner notes to Jazz Mass, Ike Sturm, private label, compact disc, 2009. Summerlin, Ed, and Bob Norden. liner notes to Still At It, Ed Summerlin Bob Norden Quartet, Ictus Records 104, compact disc, 1998. Summerlin, Ed, and Jim Straney. liner notes to New Sounds from Rochester, Contemporary Jazz Ensemble, Prestige Records PRLP163, 33⅓ rpm, 1953. Summerlin, Ed. Bless This World, recorded 1970, Compact Disc. private collection. ———. Christ Lag in Todesbanden or Where Do We Go From Here?, recorded June 25, 1969, Compact Disc. private collection. ———. liner notes to Eye on the Future, Ed Summerlin, Ictus Records 103, compact disc, 1999. ———. liner notes to Ring Out Joy, Ed Summerlin, Avant Garde Records AV114, 33⅓ rpm, 1968. ———. liner notes to Sum of the Parts, Ed Summerlin, Ictus Records 102, compact disc, 1998. ———. liner notes to The Country & Western Sounds of Jazz Pianos, Steve Kuhn & Toshiko Akiyoshi, Dauntless Records DM-4308, 33⅓ rpm, 1963. Thurber, James. Many Moons, Music composed and conducted by Edgar Summerlin, Caedmon Records TC1410, 33⅓ rpm, 1972. Tirro, Frank P. American Jazz Mass, Frank Tirro, Century Records 24026, 33⅓ rpm, 1966. ———. American Jazz Mass, Frank Tirro, recorded 1995, unreleased, compact disc. private collection.
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Wieseltier, Leon. liner notes to The Abyssinian Mass, Jazz at Lincoln Center Orchestra with Wynton Marsalis, Blue Engine Records BE 0005, compact disc, 2016. Witkowski, Deana. liner notes to From This Place, Deanna Witkowski, Tilapia Records 0002, compact disc, 2009. Archival Materials All Nite Soul, Concert Program, 1982, St. Peter’s Church. private collection. Kaye, James R. The Advent Players, Program, 1964, Muhlenberg College. private collection. Kelly, Kevin P. “Community of St. Thomas the Apostle in Harlem.” promotional material. Paget, Portman. Chalmers Dale, Anna Sokolow and Ed Summerlin. “The Celebrations,” Look Up and Live, season 1967, episode 1, aired January 15, 1967 (New York, NY: CBS, 1967), Videocassette (VHS), 30 min. New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center. Summerlin, Edgar E. 1970 AGO National Convention, Convention Program, 1970, Statler Hilton Buffalo. private collection. ———. A Choral Concert, Concert Program, 1968, Grace Episcopal Church. private collection. ———. A Contemporary Religious Service, Service Program, 1966, Matheson-Kennedy Auditorium. private collection. ———. A Contemporary Service of Worship, Service Program, 1967, Methodist Church. private collection. ———. A Contemporary Service of Worship, Service Program, 1968, Elkton Methodist Church. private collection. ———. A Contemporary Service of Worship, Service Program, 1968, First United Methodist Church. private collection. ———. Advent Service, Service Program, 1982, Washington Square Church. private collection. ———. Annual All-American Concert Program, May 13, 1959, private collection. ———. Art Water 70 Festival, Festival Program, 1970, Whitewater Armory. private collection. ———. Ash Wednesday Service, Service Program, 1967, Western Maryland College. private collection.
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———. Baccalaureate Service, Service Program, 1965. private collection. ———. Bless This World, Concert Poster, 1970, Kleinhans Music Hall. private collection. ———. Bless This World, Concert Poster, 1970, Vassar College Chapel. private collection. ———. Bless This World, Program, 1970, Rutgers University Livingston Campus. private collection. ———. Campus Chapel Service, Service Program, 1970, Rocky Mountain Chapel. private collection. ———. Celebration of Man’s Hope, Conference Poster, 1969, Auditorium-Arena Milwaukee. private collection. ———. Celebration of Man’s Hope, Conference Program, 1969, Auditorium-Arena Milwaukee. private collection. ———. Celebration: The Word Is, Concert Poster, 1968. private collection. ———. Central Missouri State, Commencement Program, 1951. private collection. ———. Come Alive, Service Program, 1970, Vanderbilt Divinity School. private collection. ———. Chet Huntley, Ed Summerlin, Mary Summerlin and Roger Ortmayer. “A Requiem for Mary Jo,” World Wide ’60, season 1, episode 5, aired February 20, 1960 (New York, NY: NBC News, 1960), Videocassette (VHS), 60 min. private collection. ———. Christ Lag in Todesbanden or Where Do We Go From Here?, Concert Program, 1969, Chapel of the Interchurch Center. private collection. ———. Christ Lag in Todesbanden or Where Do We Go From Here?, Concert Program, 1969, Duke Chapel. private collection. ———. Christ Lag in Todesbanden or Where Do We Go From Here?, Concert Program, 1969, Terrace Cafeteria. private collection. ———. Christ Lag in Todesbanden or Where Do We Go From Here?, Festival Program, 1970, Pittsburgh Theological Seminary. private collection. ———. Christ Lag in Todesbanden or Where Do We Go From Here?, Concert Program, 1970, Woodside Church and Court Street United Methodist Church. private collection. ———. Christ Lag in Todesbanden or Where Do We Go From Here?, Festival Program, 1971, Wittenberg University. private collection.
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———. Contemporary Religious Music by Ed Summerlin and Don Marsh, Poster, 1965, Carnegie Recital Hall. private collection. ———. Curriculum Vitae. private collection. ———. Distinguished Composer Graduates, Program, 1987. private collection. ———. Ecumenical Conference on Christian Worship, Conference Program, 1967, Kansas City, Missouri. private collection. ———. Experiments in Community, Conference Book, 1967, Kansas City, Missouri. private collection. ———. Festival of Contemporary Music, Program, 1966, Stetson Chapel. private collection. ———. Festival of Our Earth Home, Concert Poster, 1970, United Church on the Green. private collection. ———. Festival of the Arts, Poster, 1968, Grace Episcopal Church. private collection. ———. Festival of Religion and the Arts, Program, 1963, Church of the Savior. private collection. ———. Four Seasons of God, Concert Poster, 1969, Fairfield Hall. private collection. ———. Four Seasons of God, Concert Program, 1969, Fairfield Hall. private collection. ———. Fourth Sunday in Advent, Service Program, 1963, Pleasant Plains Presbyterian Church. private collection. ———. Fourth Sunday in Lent, Service Program, 1965, Bard College Chapel. private collection. ———. George Russell to Ed Summerlin, 19 October 1959. private collection. ———. Human Rights in World Perspective, Conference Program, 1967, St. Paul School of Theology Methodist. private collection. ———. interview by Steve Blons, Jazz and the Spirit, KBEM-FM, 2005. ———. John Garcia Gensel et al., The Jazz Mass, panel discussion, WRVR, digital audio tape, 1968. Schomburg Center for Research in Black Culture. ———. Lenox School of Jazz, Concert Program, 1960. private collection. ———. Lent I, Service Program, 1965, St. Peter’s Episcopal Church. private collection.
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———. Liturgical Jazz Service, Service Program, 1961, Universalist Unitarian Church. private collection. ———. Liturgical Jazz Service, Service Program, 1962, The Church of the Epiphany. private collection. ———. Liturgical Jazz: Wesley’s Order for Morning Prayer with Jazz Setting, Service Program, 1964, University of South Florida. private collection. ———. Merrimon Cuninggim to Ed Summerlin, 21 May 1959. private collection. ———. Methodist Conference on Christian Education, Conference Program, 1967, Statler Hilton Hotel. private collection. ———. Morning Worship, Service Program, 1967, Hope Church. private collection. ———. National Consultation on the Church in Community Life, Conference Program, 1967, Ohio State University. private collection. ———. Open Wide Religious Arts Festival of the Kennebunks, Brochure, 1967, Lyric Theater. private collection. ———. Open Wide Religious Arts Festival of the Kennebunks, Festival Program, 1968, Kennebunk. private collection. ———. “Oral History,” 2006, mini disc, private collection. ———. Order of Morning Worship, Service Program, 1966, Methodist University Center. private collection. ———. Palm Sunday Service, Service Program, 1973, Carleton College. private collection. ———. Praise the Lord in Many Voices, Program, 1967, Carnegie Hall. ———. Pastor’s Study Conference, conference program, 1968, The First Church of Christ. private collection. ———. Revelation ‘67, Conference Program, 1967, Hennepin Avenue Methodist Church. private collection. ———. Revelation ‘67, Service Program, 1967, Hennepin Avenue Methodist Church. private collection. ———. Salvation Today, Conference Program, 1972, Vassar Farm. private collection. ———. Schubert M. Ogden to Ed Summerlin, 20 May 1959. private collection.
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———. Sensory Celebration V, Service Program, 1968, Morris Chapel. private collection. ———. Seventh Annual Symposium of International Federation of Music Schools, Contemporary Jazz Concert Program, 1953. private collection. ———. Sixteenth Middle Atlantic Adult Convocation of the Methodist Church, Conference Program, 1968, The Inn. private collection. ———. Sourdough and Sweetbread, Program, 1969, Cazenovia College. private collection. ———. Sourdough and Sweetbread, Program, 1968, Kennebunk High School. private collection. ———. Sourdough and Sweetbread, Program, 1969, Methodist University Center. private collection. ———. Sterling F. Wheeler to Ed Summerlin, 22 May 1959. private collection. ———. The Coming of Christ, Text by William R. Miller, score, 1965. private collection. ———. The Celebration of the New, Conference Program, 1969, Unknown. private collection. ———. The Celebration of the New, Conference Program, 1973, Bangkok, Thailand. private collection. ———. The Music of the Eucharist In a Contemporary Idiom, Service Program, 1960, University of Nebraska Student Union. ———. This Spring at… Anderson “Y” Center, Spring Event Bulletin, 1961, University of the Pacific Student YMCA-YWCA. private collection. ———. Transcripts, North Texas State College, 1959. ———. Wesley’s Order for Morning Prayer in a Jazz Setting, Service Program, 1961, University of the Pacific. private collection. ———. Whitsunday, Service Program, 1959, Collection on Schubert M. Ogden, Bridwell Library, Perkins School of Theology, Southern Methodist University. ———. Worship in the Modern Idiom, Service Program, 1969, First Baptist Church. private collection. Tirro, Frank P. A Demonstration Jazz Mass, Service Program, 1965, Rockefeller Memorial Chapel.
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“Edward V. Bonnemère,” Biography. Institute of Jazz Studies: Rutgers University. Newark, N.J. “Eddie Bonnemère,” Judith Finell Music Services, Promotional Material. Institute of Jazz Studies: Rutgers University. Newark, N.J. “Jazz for the Masses,” ticket order form, 1969. private collection. “Missa Hodierna,” Ticket. Institute of Jazz Studies: Rutgers University. Newark, N.J. “Missa Hodierna,” Press Release. Institute of Jazz Studies: Rutgers University. Newark, N.J. “St Peter’s Church News Release,” Eddie Bonnemère. Institute of Jazz Studies: Rutgers University. Newark, N.J. Online Articles Budds, Michael J. "Schifrin, Lalo." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 28. 2017, http://www.oxfordmusiconline.com/subscriber/article/grove/music/24853. Chadbourne, Eugene. “Paul Knopf.” All Music. accessed March 3, 2017, http://www.allmusic.com/artist/paul-knopf-mn0001334646. Daniel, Oliver. “Overton, Hall.” The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 28, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/20614. Dobbins, Bill. "Hancock, Herbie." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 28, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/41292. Futterman, Steve. “Ed summerlin: Eye on the future,” Jazziz, April 2000, 75, accessed on March 19, 2015, http://search.proquest.com/docview/1382221?accountid=14553. Garcia, David F. "Palmieri, Charlie." Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 1, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/A2103542. Garland, Reverend F. Richard. “The Collect for Purity as a Pattern for Prayer.” United Methodist Worship, August 12, 2013, accessed September 8, 2016, http://umcworship.blogspot.com/2013/08/the-collect-for-purity-as-pattern-for.html. Harrison, Max and Barry Kernfeld. “Charles, Teddy.” The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 28, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J082100.
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Hasse, John Edward. "Parker, Knocky." The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed January 12, 2017, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J346200. Jaffe, Andrew. "Guaraldi, Vince." The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 28, 2017, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J180000. Kennedy, Gary W. "Gallon, Ray." The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online.Oxford Music Online. Oxford University Press, accessed March 3, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J770500. ———. "Heckman, Don." The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 7, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J588700. Kernfeld, Barry. "Harmolodic theory." The New Grove Dictionary of Jazz, 2nd ed., Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 19, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J189500. ———. "Hubbard, Freddie." The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 27, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J210200. ———. "Pomeroy, Herb." The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 28, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J358400. Lee, William F. and Barry Kernfeld. “Holman, Bill.” The New Grove Dictionary of Jazz, 2nd ed.. Grove Music Online. Oxford Music Online. Oxford University Press, accessed March 1, 2016, http://www.oxfordmusiconline.com/subscriber/article/grove/music/J206000. Marriott, Michel. “Upbeat Farewell For a 'Jazz Pastor'; Musicians' Minister Retires.” Merriam-Webster Online. s.v. “Parousia.” accessed January 17, 2017, https://www.merriam-webster.com/dictionary/Parousia. Morrell, Alan. “Whatever Happened To ... Squeezer's?” Democrat & Chronicle, June 21, 2014. accessed November 24, 2015, http://www.democratandchronicle.com/story/news/local/rocroots/2014/06/20/whatever-happened-squeezers/11159705/. Nathan, Dave. “Johnny Long: In a Shanty in Old Shanty Town.” Allmusic.com, accessed May 7, 2016, http://www.allmusic.com/album/in-a-shanty-in-old-shanty-town-mw0001006419. New York Times. January 3, 1994, accessed January 31, 2017 http://www.nytimes.com/1994/01/03/nyregion/upbeat-farewell-for-a-jazz-pastor-musicians-minister-retires.html.
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Appendix A: Ed Summerlin Discography
As Leader Ed Summerlin, Liturgical Jazz, Ed Summerlin, Ecclesia Records ER-101, 33⅓ rpm, 1959. ———, Ring Out Joy, Ed Summerlin, Avant Garde Records AV114, 33⅓ rpm, 1968. ———, Sum of the Parts, Ed Summerlin, Ictus Records 102, compact disc, 1998. ———, Eye on the Future, Ed Summerlin, Ictus Records 103, compact disc, 1999. As Co-Leader Ed Summerlin and Jim Straney, New Sounds from Rochester, Contemporary Jazz Ensemble, Prestige Records PRLP163, 33⅓ rpm, 1953. Don Heckman and Ed Summerlin, Don Heckman - Ed Summerlin Improvisational Jazz Workshop, Don Heckman and Ed Summerlin, Ictus Records 101, 33⅓ rpm, 1967. Ed Summerlin and Bob Norden, Still At It, Ed Summerlin Bob Norden Quartet, Ictus Records 104, compact disc, 1998. As Arranger and Conductor Compilation, Circa 1960, Gene Hall and the North Texas State Lab A Band, 90th Floor Records s11907, compact disc, 2004. Originally released in 1960. Freddie Hubbard, Hub Cap, Freddie Hubbard, Blue Note Records BLP 4073, 33⅓ rpm, 1961. Steve Kuhn & Toshiko Akiyoshi, The Country & Western Sounds of Jazz Pianos, Steve Kuhn & Toshiko Akiyoshi, Dauntless Records DM-4308, 33⅓ rpm, 1963. A. A. Milne, Winnie the Pooh Told and Sung by Carol Channing, arranged and conducted by Ed Summerlin and Don Heckman, Caedmon Records TC1408, 33⅓ rpm, 1972 James Thurber, Many Moons, Music composed and conducted by Edgar Summerlin, Caedmon Records TC1410, 33⅓ rpm, 1972. ———, The Great Quillow, Music composed and conducted by Edgar Summerlin, Caedmon Records TC1411, 33⅓ rpm, 1972.
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H.A. Rey, Curious George and Other Stories About Curious George, Music composed and conducted by Edgar Summerlin, Caedmon Records TC1420, 33⅓ rpm, 1972. ———, Curious George Learns The Alphabet And Other Stories About Curious George, Music composed and conducted by Edgar Summerlin, Caedmon Records TC1421, 33⅓ rpm, 1973. Ed Summerlin, Saturday In the Park, The Rock Generation, RCA Camden ACL1-0251, 33⅓ rpm, 1973. Joel Grey, Othello Bach's Whoever Heard of a Fird?, arranged and conducted by Ed Summerlin, Caedmon Records TC1735, 33⅓ rpm, 1984. Unreleased Recordings Ed Summerlin, Liturgical Jazz Service, Ed Summerlin, recorded May 20,1959, compact disc, Collection on Schubert M. Ogden, Bridwell Library, Perkins School of Theology, Southern Methodist University. ———, Lenox School of Jazz: featuring Freddie Hubbard on trumpet, Jim D’Angelo, and Don Heckman on alto saxophones, Ed Summerlin on tenor saxophone, Mike Gibbs on trombone, John Payne on piano, David Mauney on piano and vibraphone, Narma Feuer on bass, and Connie Kay and Peter Blum on drums, Ed Summerlin, recorded September 1, 1960, compact disc. private collection. ———, Christ Lag in Todesbanden or Where Do We Go From Here, recorded June 25, 1969, Ed Summerlin, compact disc. private collection. ———, Bless This World, Ed Summerlin, recorded 1970, compact Disc. private collection. Ornette Coleman, Ornette Coleman with City College of New York Jazz Band, Ornette Coleman recorded February 5, 1982, compact disc. private collection. Ed Summerlin, Strings, Ed Summerlin, compact disc. private collection. ———, Robert Francis Songs, Ed Summerlin, compact disc. private collection. ———, Ed Summerlin and Bob Norden, Ed Summerlin, compact disc. private collection.
———, Ed Summerlin Big Band, Ed Summerlin, compact disc. private collection.
———, Quartet at Rosendale, Ed Summerlin, recorded 2003, compact disc. private collection.
203
Film and Filmstrips
We Shall Return, 1963.
Ciao, 1967.
Violence Has No Enemies, 1977.
Housing Project: USA, 1978.
Jazz Improvisation, 1979.
Hope for New Life, 1980.
More Than a Place to Live, 1981.
Void of Desolation, 1981.
The Next Step, 1982.
The World’s Uprooted: Refugees, 1983.
The Blue Devils Come Home, 1993.
A Solemn Contract.
Block in the Bronx.
Brownsville Transfer.
Crack Kills.
Dangerous Crossing: Militarization of Southeast Asia.
Early Days Ago.
Ethiopia.
It’s Up to You.
Looking Back.
Looking Forward.
Lumia.
204
Making the Dream Come True.
Manhattan Transfer.
On Our Own.
The Subway Fantasy.
205
Appendix B: Liturgical Jazz Service and Jazz Mass Discography
Ed Summerlin, Liturgical Jazz, Ed Summerlin, Ecclesia Records ER-101, 33⅓ rpm, 1959. Mary Lou Williams, Mary Lou Williams Presents Black Christ of the Andes, Mary Records FJ 2843, 33⅓ rpm, 1964. Paul Horn, Jazz Suite on the Mass Texts, Paul Horn, RCA Victor LSP-3414, 33⅓ rpm, 1965. Vince Guaraldi, At Grace Cathedral, Vince Guaraldi, Fantasy 3367, 33⅓ rpm, 1965. Frank Tirro, American Jazz Mass, Frank Tirro, Century Records 24026, 33⅓ rpm, 1966. Jonathan Klein, Hear, O Israel: A Concert Service in Jazz, Jonathan Klein, National Federation of Temple Youth NFTY 1968, 33⅓ rpm, 1966. Joe Masters, The Jazz Mass, Joe Masters, Columbia CS 9398, 33⅓ rpm, 1967. Ed Summerlin, Ring Out Joy, Ed Summerlin, Avant Garde Records AV114, 33⅓ rpm, 1968. Michael Garrick, Jazz Praises at St. Paul’s, Michael Garrick Sextet, Airborne Records NBP0021, 33⅓ rpm, 1968. Eddie Bonnemère, Mass for Every Season, Eddie Bonnemère, Private CSS 698, 33⅓ rpm, 1969. ———, Missa Laetare (Mass of Joy), Eddie Bonnemère, Fortress Records CSS 795, 33⅓ rpm, 1969. Mary Lou Williams, Music for Peace, Mary Records MG-7-202.488, 33⅓ rpm, 1970. Eddie Bonnemère, O Happy The People, Eddie Bonnemère, Fortress Records BP 6172, 33⅓ rpm, 1973. James Tatum, Jazz Mass, James Tatum, JTTP Records JTTP 1001, 33⅓ rpm, 1974. Mary Lou Williams, Mary Lou’s Mass, Mary Lou Williams, Mary Records M 102, 33⅓ rpm, 1975. Heikki Sarmanto, New Hope Jazz Mass, Heikki Sarmanto, Finlandia Records FA 201 LP2, 33⅓ rpm, 1979. Gregg Smith, Music for an Urban Church, Gregg Smith, GSS Records GSS 101, 33⅓ rpm, 1984. Lalo Schifrin, Jazz Mass in Concert, Lalo Schifrin, Aleph Records 007, compact disc, 1998.
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William E. Smith, A Jazz Mass, The W.E.S. Group, private WES 00570, compact disc, 2005. Scott Stroman, Jazz Mass, Scott Stroman, 33 Records 33JAZZ157, compact disc, 2007. Deana Witkowski, From This Place, Deanna Witkowski, Tilapia 0002, compact disc, 2009. Ike Sturm, Jazz Mass, Ike Sturm, private, compact disc, 2009. Tore Johansen, Jazz Mass, Tore Johansen, Inner Ear Records INEA06, compact disc, 2009. Jonathan Klein, Hear, O Israel: A Prayer Ceremony in Jazz, Jonathan Klein, Milken Archive, iTunes MP3, 2011. WolfgangKnittel,JazzMass,JazzArtistsRepertoryOrchestra,COTARecords6795,compactdisc,2014. Wynton Marsalis, The Abyssinian Mass, Jazz at Lincoln Center Orchestra with Wynton Marsalis, Blue Engine Records BE 0005, compact disc, 2016.
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