Fall
2004 CJA Network Newsletter Featured Interview Part II
Jazz
Pianist and Presbyterian Minister
Bill Carter Interview ( Continued )
You
have a new Jazz book," Swing
A New Song To The Lord" which is a
resource for using Jazz in the Church. Provide us with
the details.
Bill: “Swing a
New Song to the Lord” is a collection of nearly sixty
jazz settings of congregational hymns and worship music.
Through a grant from the Calvin Institute of Christian
Worship ( www.calvin.edu/worship/index.htm),
we have commissioned a number of jazz musicians to write
charts that an average congregation and/or choir can
sing. There are lots of familiar hymns in the
spiral-bound book, and musicians can swing their way
through it as a hymnal accompaniment. There are also a
number of prayer settings in a jazz idiom (both psalms
and corporate prayers), which are ready for a worship
service. Our task force wanted to compile a resource
that was truly helpful to the wider church. It’s my
personal hope that this book will spark the creativity
of jazzers to do some similar compositions and
arrangements. It’s available through our website at www.presbybop.com.
The
key to the book is that it is communal. All public
Christian worship is inherently communal. We belong to
God as a people. We inherit the scriptures and songs of
faith as gifts from this community. Even our private
devotions are part of a worldwide movement called
“church.” Public worship, therefore, should build up
the community of faith by focusing on the God who
redeems us. This raises an immediate concern: jazz has
developed as a performance art that emphasizes the
soloist. Jazz worship among Christians will always need
to blend the personal expression of the soloist with the
congregational participation of those in the pews.
Neither group is present merely for themselves, but to
bless and honor God. If we import jazz into a worship
service without regard for the congregation’s
involvement, it can be a superficial bend toward
“hipness” that merely replicates the whims of the
prevailing consumer culture.
In
a larger sense, this is a critical issue for the
American church. We don’t worship God in order to
“get something out of it.” That is a form of
blasphemy and idolatry, for it assumes that God can be
“consumed.” No, we worship God because (a) the
creature repeatedly needs to be reoriented toward the
Creator, (b) we are enrolled in a Story that began
before time and can catch us up in its plot, and (c)
communal Christian worship shapes our discipleship. I am
vehemently opposed to worship that is self-serving. God
does not exist to make me feel better. Jesus did not
give himself in life and death in order for me to get my
entertainment fix. The Holy Spirit does not speak
through the scriptures so that I can become a better
consumer. We worship God, not ourselves. Authentic
jazz-shaped worship will always point to the Giver of
the gift, to the Ultimate Composer, to the One who can
improvise life out of death. For musicians in service to
the Gospel, it’s more than a gig.
It’s
very exciting to see the younger generation embracing
jazz and even recently some of their music has reached
the top of the Jazz charts. Thanks in part to excellent
Jazz Education programs it looks as though Jazz has not
only endured into the 21st Century, but one could say
that presently there is a "Jazz Revival"
across the entire world! What are your thoughts
concerning this?
Bill: From
where I sit, most creative musicians are still starving
and scrambling for work. The only jazz musicians who are
making real money are either the “superstars” (i.e.
the top one percent who have had some good breaks) or
those who have sold out their creative gifts. Sadly,
both groups are treated as market commodities in a
consumer society – they make music to be bought and
sold, and rarely benefit from their own work. Just
witness how the record companies are currently obsessed
with re-releasing forty-year-old music, rather than
investing in new jazz musicians.
Walking through a theme park with my family recently, I heard a lot
of slick “happy jazz” as background music for the
tourists, kind of a “music to spend by.” I found
that deeply disturbing, but indicative of how the
culture will co-opt our art form. True music-making is
never about the sales charts. It’s about reaching
toward the Eternal or expressing the depths of human
experience. As most jazz musicians know, going in either
direction will demand great sacrifices. If we can take a
cue from Jesus, maybe it’s the practice of making
sacrifices that is the key to eternal life.
I applaud the jazz education movement. I think it’s wonderful. It
has helped to professionalize our music, highlight its
history, and theorize its harmony. But I have bigger
questions: where are the gigs? Where are the
appreciative audiences in America? Where is the public
encouragement to make music for a living? Where is the
systemic support for the music of freedom? When
worldwide audiences respond to jazz, I think they are
mostly responding to the freedom in our music. That’s
what the U.S. State Department was thinking when it sent
the Dave Brubeck Quartet on a worldwide tour in the
1960’s: they were ambassadors of freedom. Sad to say,
but these days some of the last people to taste that
freedom are the American musicians who are still making
the music.
Share with us one of your most memorable experience playing
Jazz at a church/concert and why.
Bill: I
have been blessed with hundreds of memorable moments.
Within the past ten years, the quartet has led worship
services and presented concerts around the country.
I’ve enjoyed friendships with extraordinary musicians,
and kept in touch with the people who encourage our
music. Back in June, we played for 4500 Presbyterians in
Richmond, VA. It was a kick to try and get them to sing
“Come Thou Fount of Every Blessing” in 5/4 time. Or
maybe it was playing for 800 preachers at a recent
conference in Washington, D.C., as the Baptist legend
Gardner Taylor stood to preach. One of our best gigs,
musically speaking, had only twenty people in
attendance. Yet the musical moment was very special. For
us, special moments come pretty regularly.
The best experience, however, is having the opportunity to
contribute something positive to somebody’s day by
playing our music. It happens regularly enough that
I’ve come to believe that God often has something to
do with it. Maybe it’s a swinging solo that connects
with someone’s heart. Or the band might be feeling
feisty and there’s a lot of interaction between the
musicians. Or a tune might be particularly well-played,
and there’s an intersection between human effort and
divine presence. The musician can serve a priestly
function, mediating the presence of God by offering
musical skills. That, I believe, is what the ancient
Levites of Israel were up to. If you read a text like 2
Chronicles 5:11-14, you get the sense that God drew near
to the temple when the trumpeters were jamming to his
glory. All of us who love music can affirm its power and
potential. Those of us who make music are particularly
blessed with a great privilege. We should never take it
lightly.
Do you find a spiritual connection in playing, arranging, and
writing music? What kind of music touches you down
deep?
Bill:
Yes,
but the connection is neither automatic nor simple. When
I write and arrange, it’s a lot of hard work. There
are no shortcuts, and it’s quite typical for the
writing process to be all-consuming. I’ll stumble on a
musical idea, explore it, reharmonized it, change the
rhythms, displace the melodic cell, and so on and so
forth. At critical points in the composition process, I
will criticize and evaluate what I’ve done thus far.
It’s rare for me to finish a new tune in less than
three weeks. A new arrangement could take even longer.
Often, we’ll play a new chart as the second tune in
the second set of a concert, when we’ve had time to
build a rapport with the audience and warm up to the
situation. Even so, I will frequently retrieve the parts
after the gig and keep tweaking them until I think
they’re right.
Playing music, on the other hand, is an act of spontaneity, trust,
joy, and trust. All the practice time and study leads me
to that point, and the trick is learning how to let
myself be fully attentive to that moment. For an uptight
first-born overachiever like me, this is a learned
behavior. It is an exercise in trust: I must trust
myself, trust my musical colleagues, and trust the
Spirit to draw near in inspiration.
It strikes me that these are two complementary dimensions of the
spiritual life. There is, of course, a time for study
and reflection, as well as a time to cut loose and let
the music flow. Both are opportunities for us to connect
our abilities with God’s creative life-giving energy.
As Ecclesiastes 3 points out, there is a rhythm between
the different seasons of human life. God meets us when
we discern what time it is, and when we make the most of
each moment. If I can be attentive to these things, the
music can touch me the most.
What is your favorite church hymn and why?
Bill: I
like hymns for their texts, as much as for their tunes.
My favorite hymn text is “I Greet Thee, Who My Sure
Redeemer Art.” The words are attributed to John
Calvin, the sixteenth-century reformer. The hymn speaks
of our secure salvation through the work of Christ. The
last verse speaks the heart of my faith: “Our hope is
in no other save in thee; our faith is built upon Thy
promise free; Lord, give us peace, and make us calm and
sure, that in Thy strength we evermore endure.”
In terms of hymn tunes, I like many of the classic tunes which
informed my faith from very early. One of my current
favorites is “Slane,” the melody upon which “Be
Thou My Vision” is based. The tune flows across the
bar lines in an inventive way, and I love to play it
with the band.
How
has being a jazz musician shaped your outlook on being a
pastor?
Bill:
When I
went to seminary, I thought I had closed the musical
door for a “greater purpose.” It was much later that
I realized that I was compromising some of my God-given
gifts for the sake of another skill set. These days, I
have given a lot of time to integrating my life, so
there is little distinction between the spheres of my
life. My church pays for the “pastor part,” but I am
most effective as a pastor when I bring all of my
abilities to the people and situations before me.
Spiritual integration often requires a blurring of
boundaries. My pursuit for integrating ministry and
music has taught me how to be focused and spontaneous,
diligent and free, productive and reflective, passionate
and still. Thanks to my music-making, I am more willing
to cut myself a break, and to be hospitable toward
others. Most of all, I have learned how to appreciate
and trust the gifts of others. As the Benedictines point
out, there’s no telling when Christ may walk through
your door. It’s best to always be welcoming and
hospitable.
Name
three books on Theology/Spirituality that have made a
deep impact on your life?
Bill:
I
can’t name only three! I’m a perpetual reader, and
am constantly plowing through a book. I can recommend
three which have been helpful in recent months. Searching
for Home: Spirituality for Restless Souls is the
latest book by my friend Craig Barnes. I found it to be
a moving exploration of our tendency to wander from God,
and personally quite helpful to me. Joan Chittister’s
commentary on the Benedictine Rule was also a helpful
read. Published under the title The Rule of Benedict: Insights for the Ages, it offers a practical
application of St. Benedict’s ancient guidance, and
makes an ancient church leader accessible to a dull
Protestant like me. Finally, I’d recommend the poetry
of Wendell Berry, a Kentucky farmer who practices
sustainable agriculture and keeps the Sabbath. Berry has
become a model for a lot of us who pursue a balanced and
productive life. He has been a role model for many
pastors and poets who work the landscapes of soil and
heart.
Share with us a Bible verse that has helped
shape your outlook on Music in the church and why?
Bill:
Musically
speaking, I love Revelation 5:11-14. When the door to
heaven swings open, we hear a new song. It is a song
exalting Christ, and blessing God for Christ’s good
work. We get to overhear the saints who are lost in
“wonder, love, and praise,” and that has come to
personally mean a great deal to me. When we praise God
through music, we are participating in the primary
reality of God’s eternal life. We are harmonizing with
heaven, and moving beyond the blues of daily life. I can
think of no higher biblical mandate for what jazz
musicians do. God bless them!
More
information on Bill Carter can be found on his website:
www.presbybop.com
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