©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

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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

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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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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“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.

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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.

114

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.

125

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.

127

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.

128

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.

186

“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.

187

“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.

188

———. 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.

189

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.

190

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.

191

———. 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.

192

———. 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.

193

———. 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.

194

———. 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.

195

“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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Summerlin, Jeff. Interview with author. July 2015. Summerlin, Karen. Interview with author. April 2015. Tirro, Frank P. Interview with author. November 2015. Wirtel, Thomas. Interview with author. March 2015. Wisotsky, Jeffrey. Interview with author. March 2015. Witkowski, Deanna. Interview with author. March 2015.

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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.

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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.