Tonight we will be sharing our interpretation of both John Coltrane’s masterwork and the essence of this sacred day in the Christian tradition. It is my contention that “A Love Supreme” and Good Friday are exquisitely nuanced meditations upon the blessings of the blues in our everyday lives.
For those who appreciate jazz, you know that the very essence of this art form is constructed upon the blues tradition: experimenting, improvising, honoring as well as pushing the limits of the blues evokes simultaneously mourning and celebration. Wynton Marsalis, director of Jazz at Lincoln Center, once observed that: Everything in jazz comes out of blues music: joy, pain and struggle for the blues is affirmation with absolute elegance. It's about a lovers and the human condition. So the pain and the struggle in the blues is that universal pain that comes from having your heart broken. That’s why most blues songs are not about social statements… but about that which is intimately personal.
Throughout “A Love Supreme” I hear the artist, John Coltrane – and our musicians – reverently beginning with a blues form and a blues soul, but never resting upon either in a static way. For this is not a recital – a recreation of a 50 year old composition – but rather a living, breathing, melodic pilgrimage in prayer that invites you to rejoice in your inner journey even as you recognize your wounds. Guided by the musicians, this is a time to listen carefully to whatever your journey is saying to you and follow wherever it may lead.
That is why
we have set this encounter within the wisdom of Good Friday: of all the holy days in the Christian
liturgical calendar, this is the most paradoxical. There is fear present as we consider the
suffering of the Cross, but comfort as well: sorrow alongside celebration,
darkness as well as illumination, despair, betrayal and bleak emptiness in
addition to human solidarity and divine hope born from above. Because when the Cross is embraced in its
essence, it is not about punishment, penitence or even judgment as we normally
imagine. No, the Cross rightly conceived points to the place where the
holy intersects our humanity with a love that allows us to live freely as women
and men of peace, hope and compassion.
The Cross tenderly announces to those with ears to hear and eyes to see
that there is NO place exempt from God’s grace:
not addiction, not abuse, not war, exploitation or even death. The mystical truth of creation that Coltrane
tapped into is that the Holy mercifully meets us in our shame, abandonment and
experiences of hell in order to set us free.
You know that
Coltrane himself was once a heroin addict, yes?
The junk got him fired from the Miles Davis band back in the day and was
about to devour his life. But dig this: after nearly 10 years of shooting smack
and drinking to excess, ‘Trane had an inner spiritual awakening that empowered
him to get clean. An apocryphal story
says that while playing his saxophone wildly and beyond all traditional sounds
and scales, Coltrane was given a gift of love in sound that so nourished his
core with beauty that he was liberated from his cravings. The story goes on to
say that in response to this grace he gave the rest of his life to sharing beauty
with the world in the hope that his music would inspire healing in other
wounded souls. No longer a junkie, the artist himself said:
In 1957, I experienced, by the grace of
God, a spiritual awakening which was to lead me to a richer, fuller, more
productive life. At that time, in gratitude, I humbly asked to be given the
means and privilege to make others happy through music.
Coltrane
never named his spirituality as Buddhist or Christian, Muslim, Jewish or
earth-
centered; he just played and shared the sounds of a love that would not let him go. We know from his biography that both of his grand-fathers were Baptist preachers – and that his heart was saturated in the old gospel hymns of the South – but ‘Trane’s message cut deeper than any denomination. One of the wisest spiritual teachers of the Western world, Richard Rohr, once wrote:
centered; he just played and shared the sounds of a love that would not let him go. We know from his biography that both of his grand-fathers were Baptist preachers – and that his heart was saturated in the old gospel hymns of the South – but ‘Trane’s message cut deeper than any denomination. One of the wisest spiritual teachers of the Western world, Richard Rohr, once wrote:
All great spirituality teaches about letting go of what you
don’t need and who you are not. Only when you can get little enough and naked
enough and poor enough will you find that the little place where you really are
is ironically more than enough and all that you need. At that place, you will have
nothing to prove to anybody and nothing to protect. That place is called freedom. It’s the freedom of the
children of God and such people can connect with everybody… because they don’t
feel the need to eliminate anybody . . .
Part of what we’re exploring with you tonight is precisely
this freedom to love – the power to break down barriers – to trust that when
we’re nourished by grace we can challenge tyrants and bullies, embrace those
who have been excluded or wounded and feast together in hope rather than fear. Like Coltrane before us, this sacred
meditation on discovering God’s love looks beyond what is obvious,
beyond what is comfortable, beyond even what is even
comprehensible. Like Jesus on Good Friday it is about
trusting that the holy not only saturates all reality – including our pain –
but that grace is mystically present with us whether we’re paying attention or
not. Most of the time, we’re too
frazzled to grasp this blessing.
But even our
busyness and exhaustion can become for us the still, small voice of the holy
whispering: be still, be free and rest
for you are my beloved if we allow ourselves time for thought and prayer in
silence. So tonight with musical
meditations mixed with the wisdom and ambiguity of poetry – with finely tuned
vocal harmonies placed alongside silence – we hope to point to the concealed
mystery of creation. Namely, that even in the blues there is a love that will
not let us go.
Coltrane
testifies to the efficacy of this love in the midst of the blues throughout “A
Love Supreme” in ways that those who aren’t familiar with jazz may not
realize. For me, this sacred composition
in four movement is an ode to the blues form but always one or two steps beyond
what is obvious.
+ Acknowledgment suggests the
wonder of discovering that we are God’s beloved:
it starts with a fanfare announcing that something important is about to
happen in the key of E – the quintessential guitar blues key. Then it moves
into a blues riff on the bass in F to remind us that this journey of faith is
about finding the sacred within the secular, the extraordinary within the ordinary,
a sense of hope and love even in a lament.
And please note two musical cues here:
1) The bass notes are a clever reworking of a time-tested Chicago blues
riff made popular by Muddy Waters and Howlin’ Wolf (play: I’m a Man); and 2) listen for the recurring
theme that Coltrane opens this movement with that returns later over and over
again, but now in every different key possible. He wants to show us through
music us God’s love not only transcends every key and race and religion, but
that it triumphs in all situations. And just so that we don’t fail to miss his
message, the first movement closes with a simple chant.
+ Resolution, the second movement, reminds
us that holy love is all about compassion. When our wounds have been touched, when our
broken hearts have been honored, when the violence and fear of the world is
challenged, healing does not take place through brute force but… through
compassion. All true mystics tell us
that the sacred is a lover not a judge – and so does Coltrane. And he does this by taking an aching melody
and letting his players feel it and then improvise with it however their hearts
feel inspired. This shared freedom, you
see, is all about listening carefully to one another, helping one another take
the music to a new place in real time and celebrating the joy of being creative
together.
+ Pursuance, movement three, is
about dancing to that love that is greater than our imagination. Its form is pure blues but
Coltrane sets it to such a wild be-bop beat that unless you saw the chord
changes you wouldn’t know this was a blues: it feels too joyful. I keep thinking that this is the tune that
this is what it felt like when Coltrane got clean and discovered new meaning
for his new life. It is a total gas –
much like Easter is to Good Friday.
+ And the closing movement, Psalm,
is a saxophone explosion over a love
poem/prayer, ‘Trane wrote this prayer to return thanks to the Lord; and we will actually say it and pray it out loud at the close of this liturgy. And while it is a celebration of what it means to be in touch with a love supreme, it feels boldly open-ended – more like the start of a new pilgrimage than the close of a journey.
poem/prayer, ‘Trane wrote this prayer to return thanks to the Lord; and we will actually say it and pray it out loud at the close of this liturgy. And while it is a celebration of what it means to be in touch with a love supreme, it feels boldly open-ended – more like the start of a new pilgrimage than the close of a journey.
The other
music we will share tonight, the vocal selections, have been chosen to give you
a firm foundation in the beauty of the blues. They evoke an oasis in the
pilgrimage of jazz and lift up the paradox of sacred tenderness in a world of
pain. The first comes from the early
American composer, William Billings, born in Boston and raised in the
Congregational tradition. It lifts up a traditional Good Friday theme that I’ve
come to think of as Boston blues knowing that Billings was not only born physically
challenged and blind in one eye but often addicted to various substances
throughout his life. The second vocal offering comes from the incomparable
American indy artist, Ann Heaton, who lived for years in Cambridge, MA. Her
reworking of the Prayer of St. Francis is a love lament if ever one existed –
and at the close our singers do what Coltrane did – see where the spirit leads
them with their vocal improvisation. And we close with George Harrison’s
stinging song of sorrow: While My Guitar
Gently Weeps. For me this is rock and roll blues saturated with sacred sorrow –
and the electric guitar takes on the voice of the Lord crying over our brokenness
and confusion.
Tonight’s
poetry retells the Passion narrative of Jesus using secular stories rather than
sacred Scripture. It is our belief that
all faiths are true so even while many of us have entered into the Christian
realm, we want to make space for those who do not, too. That is one reason why
we will take up an offering tonight to assist our sisters and brothers fleeing
the violence and terror of Syria. When
you come forward to light a candle of hope, if you are able to share a gift it
will all go to Syrian refugees who are now in Turkey or Jordan awaiting
relocation. We are using the interfaith organization, Church World Service, to
make certain that more than 95 cents of every dollar provides direct services.
So, please share what you can in the spirit of a Love Supreme.
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