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God's Mind in That Music: Theological Explorations through the Music of John Coltrane
As part of the growing literature on theology and the arts, God's Mind in that Music explores the substantial theological insight expressed in the music of jazz legend John Coltrane. Focusing on eight of Coltrane's pieces, themes under consideration include lament ("Alabama"), improvisation ("My Favorite Things" and "Ascension"), grace ("A Love Supreme"), and the Trinity ("The Father and the Son and the Holy Ghost"). By attending to the traditions of theology and of jazz criticism, and through a series of interviews with musicians, theologians, and jazz writers, Jamie Howison draws the worlds of theology and jazz into an active and vibrant conversation with each other. Built around a focused listening to John Coltrane's music as heard against the background of his life and social context, and interacting with the work of a range of writers including James Baldwin, Dorothee Soelle, Jeremy Begbie, and James Cone, God's Mind in that Music will be of interest not only to those interested in the intersection of music and theology, but also to Coltrane fans, students of jazz studies, and anyone who believes that music matters.
250 pages, Paperback
First published October 17, 2012
8 people are currently reading
45 people want to read
About the author
Jamie Howison
9 books13 followersJamie Howison is a priest of the Anglican Church of Canada and the founding pastoral leader of ‘saint benedict's table,’ a church community located in Winnipeg.
Over the years he has authored an array of articles and reviews, and has contributed chapters to "Get Up Off Your Knees: preaching the U2 catalogue" (Cowley, 2003), "Creating Change: the arts as catalyst for spiritual transformation" (CopperHouse, 2008), and "Fresh and Re: Fresh: Church Planting and Urban Mission in Canada Post-Christendom" (Allelon, 2009). As part of the research phase for "God’s Mind in that Music," he spent time as Scholar in Residence at the Burke Library of Union Theological Seminary and as a resident scholar at the Collegeville Institute at St John’s Abbey, Minnesota.
Over the years he has authored an array of articles and reviews, and has contributed chapters to "Get Up Off Your Knees: preaching the U2 catalogue" (Cowley, 2003), "Creating Change: the arts as catalyst for spiritual transformation" (CopperHouse, 2008), and "Fresh and Re: Fresh: Church Planting and Urban Mission in Canada Post-Christendom" (Allelon, 2009). As part of the research phase for "God’s Mind in that Music," he spent time as Scholar in Residence at the Burke Library of Union Theological Seminary and as a resident scholar at the Collegeville Institute at St John’s Abbey, Minnesota.
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Displaying 1 - 4 of 4 reviews
December 26, 2012
If I could give this book six stars, I would. It is beautiful, profound, thoughtful and unique. Reading it was a joyful, educational and profound experience.
God's Mind in That Music is two things: Firstly, an exploration of theology in music, and secondly, an exploration of the life, work and meaning of John Coltrane's music on its own terms. In both halves it delivers quite well. It is remarkable to me that it would be a fascinating read for theologians who do not care for Coltrane, as well as for Coltrane fans who do not care for theology.
I first discovered this book when poking around the publisher's website. A fan of theology and the arts, and also a fan of jazz (and early Coltrane), I bought a n eBook copy with low expectations. Frankly I assumed it would be, as I described to friends at the time, "academic wankery." But by the time I was through just the Foreword and the Introduction, I bought a print copy of the book because I wanted fingers on paper, and I wanted to flip back and forth, and I knew that the book would be impactful to me and would need to live on my bookshelf for many readings and references.
The beginning of the book is an introduction to the ways in which we can understand deep meaning in music, even if it is not directly intended by the artist. How can we perceive the story of the things Sacred in music? How does the history of jazz, embedded with powerful racial dynamics, affect that perception of meaning? And who was this artist, John Coltrane, valued by many through his short and explosive career, and far past his untimely death 45 - !!! - years ago.
The next sections of the book are a listening party, taking seven songs from Coltrane's recordings and exploring meaning within and from them.
It's a beautiful dance that taught me so much - about theology and the arts; understanding music; Coltrane as an individual and historical figure - and even more so, about seven brilliant songs that range from accessible to otherworldly. I have long been a fan of Coltrane's earliest (most approachable) music, and just did not understand his later, more free, work.
Author Jamie Howison pulled the scales away from my eyes. For the first time in my life, I feel that I understand Coltrane as a musician, his approach and goals with his later work, but most importantly, how the man could pray though his horn and impact so many, with no words and no overt theology.
True, Coltrane was a deeply spiritual man who grew up in a traditional Christian home, but his his spirituality grew beyond that - as did many in his age. Like the author, I don't land in the same theological camp as a late Coltrane, but I find profound meaning in what the artist was able to create through his entire life - early and late.
I will not perceive or experience Coltrane, jazz or any music the same way again. As an artist, John Coltrane continues to impact me, not just as a fan of music.
God's Mind in That Music is two things: Firstly, an exploration of theology in music, and secondly, an exploration of the life, work and meaning of John Coltrane's music on its own terms. In both halves it delivers quite well. It is remarkable to me that it would be a fascinating read for theologians who do not care for Coltrane, as well as for Coltrane fans who do not care for theology.
I first discovered this book when poking around the publisher's website. A fan of theology and the arts, and also a fan of jazz (and early Coltrane), I bought a n eBook copy with low expectations. Frankly I assumed it would be, as I described to friends at the time, "academic wankery." But by the time I was through just the Foreword and the Introduction, I bought a print copy of the book because I wanted fingers on paper, and I wanted to flip back and forth, and I knew that the book would be impactful to me and would need to live on my bookshelf for many readings and references.
The beginning of the book is an introduction to the ways in which we can understand deep meaning in music, even if it is not directly intended by the artist. How can we perceive the story of the things Sacred in music? How does the history of jazz, embedded with powerful racial dynamics, affect that perception of meaning? And who was this artist, John Coltrane, valued by many through his short and explosive career, and far past his untimely death 45 - !!! - years ago.
The next sections of the book are a listening party, taking seven songs from Coltrane's recordings and exploring meaning within and from them.
It's a beautiful dance that taught me so much - about theology and the arts; understanding music; Coltrane as an individual and historical figure - and even more so, about seven brilliant songs that range from accessible to otherworldly. I have long been a fan of Coltrane's earliest (most approachable) music, and just did not understand his later, more free, work.
Author Jamie Howison pulled the scales away from my eyes. For the first time in my life, I feel that I understand Coltrane as a musician, his approach and goals with his later work, but most importantly, how the man could pray though his horn and impact so many, with no words and no overt theology.
True, Coltrane was a deeply spiritual man who grew up in a traditional Christian home, but his his spirituality grew beyond that - as did many in his age. Like the author, I don't land in the same theological camp as a late Coltrane, but I find profound meaning in what the artist was able to create through his entire life - early and late.
I will not perceive or experience Coltrane, jazz or any music the same way again. As an artist, John Coltrane continues to impact me, not just as a fan of music.
April 10, 2014
Review first appeared here: http://stevebishop.blogspot.co.uk/201...
A recent trend in theology has been theology for and through the arts - in the first art is understood in the light of theology, the second asks the question "What can the arts bring to theology?" Howison’s book takes the latter approach but within a narrower scope: the life and music of John Coltrane.
Coltrane is the first, and probably, only jazz musician who has had a church formed in his name: Saint John Will-I-Am Coltrane African Orthodox Church, which is part of the African Orthodox Church. He was bought up in the African Methodist Episcopal Zion church orthodox and recognised the spirituality behind his music even if it was a misdirected spirituality. As Edgar has written “All music articulates a two-way relation to spirituality”. Coltrane then provides an excellent case study for a theological appraisal of his work. Howison has done that and he writes as a fan; throughout his passion for Coltrane shines through. Calvin Seerveld sums up the project very well: “You could think about his music as glossolalia, and you are the interpreter now, struggling to see what the tongues are saying …” (p 18)
The first three chapters place Coltrane in context. The first chapter examines theology’s engagement with music, the second a brief personal view of jazz and the third chapter a brief biography of Coltrane. These chapters are helpful especially to those who know little of Coltrane’s background. Chapters 4-10 then examine key pieces by Coltrane. These for me were the best part of the book. Here Howison’s love for, and knowledge of, Coltrane shine through. Music, like any other cultural activity, is not divorced from a context and Howison helpfully places each piece in its historical context. He then exegetes the music. The book then has to be taken with Coltrane’s music to get the best out of it.
Neither Begbie nor Rookmaaker were ill-disposed towards free jazz. They thought that it was “breaching musical norms” and was “more and more anarchistic” (Rookmaaker), and a blind alley, a break from tradition (Begbie). Hence, Howison provides a helpful other-perspective to their views. Howison is at his best describing and looking at the background to Coltrane’s work. The theological explorations are for me the weakest aspect - at worst they tend towards a moralising point, but at best they do offer some important insights. If you love Coltrane you’ll find listening to him more satisfying after reading this book; if you don’t love Coltrane do yourself a favour and listen to him then read this book.
Pieces of music examined/ exegeted by Howison:
My Favorite Things from My Favorite Things (Atlantic 1961) and Live at the Village vanguard Again (Impulse, 1966)
Naima from Giant Steps (Atlantic, 1960) and Wise One from Crescent (Impulse 1964)
Alabama from Live at Birdland (Impulse 1964)
A Love Supreme (Impulse, 1966)
Ascension (Impulse 1966)
The Father, Son and Holy Ghost from Mediations (Impulse, 196)
Attaining from Sun Ship (Impulse, 1966)
A recent trend in theology has been theology for and through the arts - in the first art is understood in the light of theology, the second asks the question "What can the arts bring to theology?" Howison’s book takes the latter approach but within a narrower scope: the life and music of John Coltrane.
Coltrane is the first, and probably, only jazz musician who has had a church formed in his name: Saint John Will-I-Am Coltrane African Orthodox Church, which is part of the African Orthodox Church. He was bought up in the African Methodist Episcopal Zion church orthodox and recognised the spirituality behind his music even if it was a misdirected spirituality. As Edgar has written “All music articulates a two-way relation to spirituality”. Coltrane then provides an excellent case study for a theological appraisal of his work. Howison has done that and he writes as a fan; throughout his passion for Coltrane shines through. Calvin Seerveld sums up the project very well: “You could think about his music as glossolalia, and you are the interpreter now, struggling to see what the tongues are saying …” (p 18)
The first three chapters place Coltrane in context. The first chapter examines theology’s engagement with music, the second a brief personal view of jazz and the third chapter a brief biography of Coltrane. These chapters are helpful especially to those who know little of Coltrane’s background. Chapters 4-10 then examine key pieces by Coltrane. These for me were the best part of the book. Here Howison’s love for, and knowledge of, Coltrane shine through. Music, like any other cultural activity, is not divorced from a context and Howison helpfully places each piece in its historical context. He then exegetes the music. The book then has to be taken with Coltrane’s music to get the best out of it.
Neither Begbie nor Rookmaaker were ill-disposed towards free jazz. They thought that it was “breaching musical norms” and was “more and more anarchistic” (Rookmaaker), and a blind alley, a break from tradition (Begbie). Hence, Howison provides a helpful other-perspective to their views. Howison is at his best describing and looking at the background to Coltrane’s work. The theological explorations are for me the weakest aspect - at worst they tend towards a moralising point, but at best they do offer some important insights. If you love Coltrane you’ll find listening to him more satisfying after reading this book; if you don’t love Coltrane do yourself a favour and listen to him then read this book.
Pieces of music examined/ exegeted by Howison:
My Favorite Things from My Favorite Things (Atlantic 1961) and Live at the Village vanguard Again (Impulse, 1966)
Naima from Giant Steps (Atlantic, 1960) and Wise One from Crescent (Impulse 1964)
Alabama from Live at Birdland (Impulse 1964)
A Love Supreme (Impulse, 1966)
Ascension (Impulse 1966)
The Father, Son and Holy Ghost from Mediations (Impulse, 196)
Attaining from Sun Ship (Impulse, 1966)
February 16, 2013
Someone once told me they were much less interested in books people had read once, than ones they'd read twice.
There are two fine books I've read twice this year alone: Malcolm Guite's Faith, Hope and Poetry: Theology and the Poetic Imagination and Gregory Wolfe's Beauty Will Save the World: Recovering the Human in an Idealogical Age.
I've just finished another, which I plan to immediately begin again. Winnipeg author Jamie Howison's new book God's Mind in That Music: Theological Explorations through the Music of John Coltrane was a surprising and exceptional read.
I have a limited capacity for jazz, and had no particular interest in Coltrane. But the author's love of the music, the complex story, his capacity to articulate the artistic (mystic) way of knowing, and his thoughtful theological explorations make for a unique and important experience.
Ever dialogical, Jamie also draws into conversation a respectable range of writers who have thought deeply about the intersection of arts and theology.
After a short but well researched history of theology's engagement with music, a thoughtful discussion about the "contested story of jazz," some careful biography (never hagiography,) and many touching, very human stories gleaned from research and interviews, Jamie, like a gracious sommelier, illuminates eight Coltrane pieces compelling the reader to taste the music for h(er) self.
Before I started to read, I wasn't assuming I'd be purchasing the music, but I found myself at several points having to put the book down, find the piece on iTunes, then take a walk around block with my headset on before returning to the book.
One doesn't need to be a lover of jazz or interested in theological exploration to enjoy this book, but I can't imagine the reader's interest not being piqued after reading it. The enthusiasm comes from Howison himself, whose engagement is masterfully invitational and infectious.
There are two fine books I've read twice this year alone: Malcolm Guite's Faith, Hope and Poetry: Theology and the Poetic Imagination and Gregory Wolfe's Beauty Will Save the World: Recovering the Human in an Idealogical Age.
I've just finished another, which I plan to immediately begin again. Winnipeg author Jamie Howison's new book God's Mind in That Music: Theological Explorations through the Music of John Coltrane was a surprising and exceptional read.
I have a limited capacity for jazz, and had no particular interest in Coltrane. But the author's love of the music, the complex story, his capacity to articulate the artistic (mystic) way of knowing, and his thoughtful theological explorations make for a unique and important experience.
Ever dialogical, Jamie also draws into conversation a respectable range of writers who have thought deeply about the intersection of arts and theology.
After a short but well researched history of theology's engagement with music, a thoughtful discussion about the "contested story of jazz," some careful biography (never hagiography,) and many touching, very human stories gleaned from research and interviews, Jamie, like a gracious sommelier, illuminates eight Coltrane pieces compelling the reader to taste the music for h(er) self.
Before I started to read, I wasn't assuming I'd be purchasing the music, but I found myself at several points having to put the book down, find the piece on iTunes, then take a walk around block with my headset on before returning to the book.
One doesn't need to be a lover of jazz or interested in theological exploration to enjoy this book, but I can't imagine the reader's interest not being piqued after reading it. The enthusiasm comes from Howison himself, whose engagement is masterfully invitational and infectious.
March 2, 2013
The most important idea I took away from this book is the ability to see music as inherently theological. There is no need for explicitly religious lyrics when music itself -- the content and the way it's played and the story behind its composition -- can reveal something to us about God and the human condition.
This is exactly what Howison would like his readers to see in the music of John Coltrane. When Trane blew on his horn, he was praying. And through a careful listen of his music we also can commune with God.
This is exactly what Howison would like his readers to see in the music of John Coltrane. When Trane blew on his horn, he was praying. And through a careful listen of his music we also can commune with God.
Displaying 1 - 4 of 4 reviews