What do you think?
Rate this book
A Supreme Love: The Music of Jazz and the Hope of the Gospel
For practitioners and fans, jazz expresses the deepest meanings of life. Its rich history and its distinctive elements like improvisation and syncopation unite to create an unrepeatable and inexpressible aesthetic experience. But for others, jazz is an enigma. Might jazz be better appreciated and understood in relation to the Christian faith?
In this volume, theologian and jazz pianist William Edgar argues that the music of jazz cannot be properly understood apart from the Christian gospel, which like jazz moves from deep lament to inextinguishable joy. By tracing the development of jazz, placing it within the context of the African American experience, and exploring the work of jazz musicians like Miles Davis, Duke Ellington, John Coltrane, Ella Fitzgerald, and Louis Armstrong, Edgar argues that jazz deeply resonates with the hope that is ultimately found in the good news of Jesus Christ.
Grab a table. The show is about to begin.
In this volume, theologian and jazz pianist William Edgar argues that the music of jazz cannot be properly understood apart from the Christian gospel, which like jazz moves from deep lament to inextinguishable joy. By tracing the development of jazz, placing it within the context of the African American experience, and exploring the work of jazz musicians like Miles Davis, Duke Ellington, John Coltrane, Ella Fitzgerald, and Louis Armstrong, Edgar argues that jazz deeply resonates with the hope that is ultimately found in the good news of Jesus Christ.
Grab a table. The show is about to begin.
228 pages, Paperback
Published July 26, 2022
17 people are currently reading
260 people want to read
About the author
William Edgar
57 books12 followersWilliam Edgar (DTheol, University of Geneva) is professor of apologetics and coordinator of the apologetics department at Westminster Theological Seminary. His books include Reasons of the Heart, The Face of Truth, and Truth in All Its Glory.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 23 of 23 reviews
August 8, 2022
Summary: A study of the roots and contributing streams of jazz music, proposing that the reason jazz moves from miserable lament to inextinguishable joy is the Christian hope found in the gospel.
This book had me from the title. I recognized the allusion to one of the great jazz albums of all times, John Coltrane’s A Love Supreme. And I found myself intrigued by the idea of the connection between jazz and the Christian gospel. That connection did not seem readily apparent for many years, my associations being of performances in speakeasys and clubs. Then I had the chance to perform some of Duke Ellington’s Sacred Songs with a local choral group, learned about the spirituality of Coltrane in his later life, and listened to some of the sacred works of Dave Brubeck.
William Edgar’s book shows the connection going far deeper, and further back. Most know that jazz is one of the gifts that has come out of the Black community. Edgar, who is both a theologian and an accomplished jazz pianist, traces it all the way back to the Middle Passage experience and the centuries of slavery. He writes:
"How could the music that grew out of the realities of the enslavement of Black people, forced migration, rape, husbands and wives being separated, and children being ripped from their families not reflect this suffering and pain? If, as I will argue, jazz is the story of deep misery that leads to inextinguishable joy, then we cannot ignore the sources of sorrow that are found at the root of this music, from spirituals to blues
to jazz." (Edgar, p. 27)
As noted, a theme running through the book is the idea of deep misery and lament that leads to inextinguishable joy. Edgar traces that misery to the deplorable conditions of slavery, but also notes the strange and miraculous reception of the Christian gospel despite the iniquities of Christian slave owners. The biblical narratives of physical and spiritual bondage and emancipation resonated deeply as did the movements from lament to praise in the Psalms.
All of this found expression in distinctive forms of music and dance drawing upon both African culture and the musical forms found in various parts of the South. Edgar traces several different streams arising, beginning with spirituals, then gospel, and finally the blues, all of which contribute to jazz. Edgar connects the “lining out” used to teach words with the “call and response” character of the spirituals, the use of spirituals as code on the Underground Railroad and the popularizing of spirituals by the Fisk Jubilee singers. Gospel is more complicated with roots both in nineteenth century revivalism in the white Southern church and a parallel movement of Black gospel music beginning in the 1920’s, one of the most significant figures of which was Thomas Andrew Dorsey, known for the song “Take My Hand, Precious Lord.” Meanwhile the blues arose around the work songs and “sorrow songs” of the plantation experience. While the connection with biblical faith may not be immediately evident, Edgar notes the connections with the laments of scripture, even noting the similar uses of parallelism.
The third part of the book focuses on jazz itself. Edgar traces its immediate origins to ragtime, stride piano and the music of New Orleans, introducing us to some of the greats of early jazz from Art Tatum, Buddy Bolden and James Reese, Louis Armstrong, “Jelly Roll” Morton, and Duke Ellington. He discusses their music and their spirituality. From “Jelly Roll” Morton, we get the dictum, “Rejoice at the death and cry at the birth: New Orleans sticks close to the scriptures,” another example of the sorrow to joy theme. He goes on to discuss the “midlife of jazz” in bebop and cool, focusing on “Dizzy” Gillespie, Charlie Parker and the great Miles Davis. The two following chapters then draw more specific connections of jazz and the gospel or spirituality in the life of jazz musicians offering examples from the work of Sister Rosetta Tharpe, Duke Ellington, jazz pianist Billy Taylor, Oscar Peterson, Dave Brubeck, John Coltrane, Keith Jarrett, and others. Not all would be considered orthodox Christians by any means, but evidence of the hope of the gospel may be found in their work, according to Edgar.
The book concludes with Edgar’s seven joys of jazz: its bluesy ambiance, its strength to climb, the element of invention, the concept of “swing,” the solidarity of jazz musicians in which performances are conversations in music, the great art that arises from earthy roots, and finally the joy out of deep pain that Edgar attributes to the influence of the Christian message. I suspect some will want to contend this last, but Edgar’s cumulative case of history, contributing streams, and examples from some of the signature jazz greats offer a good explanation for the element of joy that distinguishes this music. I also found it interesting that Edgar contrasts the joy of this music with the “happy” feel of much White evangelical music. Jazz is rooted in both a more profound experience of pain and a more profound hope.
Edgar makes this argument without being polemical. I felt like I was in a jazz appreciation course, being invited to understand and appreciate and truly love the music Edgar loves. And he helps us cultivate that love as well. He includes a nine-page appendix of links to YouTube videos of performances by various artists organized by sub-genres and time periods. What a great way to introduce oneself to jazz in its various expressions and to explore for oneself the “supreme love” that Edgar believes is the source of the great joy in jazz.
____________________________
Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher.
This book had me from the title. I recognized the allusion to one of the great jazz albums of all times, John Coltrane’s A Love Supreme. And I found myself intrigued by the idea of the connection between jazz and the Christian gospel. That connection did not seem readily apparent for many years, my associations being of performances in speakeasys and clubs. Then I had the chance to perform some of Duke Ellington’s Sacred Songs with a local choral group, learned about the spirituality of Coltrane in his later life, and listened to some of the sacred works of Dave Brubeck.
William Edgar’s book shows the connection going far deeper, and further back. Most know that jazz is one of the gifts that has come out of the Black community. Edgar, who is both a theologian and an accomplished jazz pianist, traces it all the way back to the Middle Passage experience and the centuries of slavery. He writes:
"How could the music that grew out of the realities of the enslavement of Black people, forced migration, rape, husbands and wives being separated, and children being ripped from their families not reflect this suffering and pain? If, as I will argue, jazz is the story of deep misery that leads to inextinguishable joy, then we cannot ignore the sources of sorrow that are found at the root of this music, from spirituals to blues
to jazz." (Edgar, p. 27)
As noted, a theme running through the book is the idea of deep misery and lament that leads to inextinguishable joy. Edgar traces that misery to the deplorable conditions of slavery, but also notes the strange and miraculous reception of the Christian gospel despite the iniquities of Christian slave owners. The biblical narratives of physical and spiritual bondage and emancipation resonated deeply as did the movements from lament to praise in the Psalms.
All of this found expression in distinctive forms of music and dance drawing upon both African culture and the musical forms found in various parts of the South. Edgar traces several different streams arising, beginning with spirituals, then gospel, and finally the blues, all of which contribute to jazz. Edgar connects the “lining out” used to teach words with the “call and response” character of the spirituals, the use of spirituals as code on the Underground Railroad and the popularizing of spirituals by the Fisk Jubilee singers. Gospel is more complicated with roots both in nineteenth century revivalism in the white Southern church and a parallel movement of Black gospel music beginning in the 1920’s, one of the most significant figures of which was Thomas Andrew Dorsey, known for the song “Take My Hand, Precious Lord.” Meanwhile the blues arose around the work songs and “sorrow songs” of the plantation experience. While the connection with biblical faith may not be immediately evident, Edgar notes the connections with the laments of scripture, even noting the similar uses of parallelism.
The third part of the book focuses on jazz itself. Edgar traces its immediate origins to ragtime, stride piano and the music of New Orleans, introducing us to some of the greats of early jazz from Art Tatum, Buddy Bolden and James Reese, Louis Armstrong, “Jelly Roll” Morton, and Duke Ellington. He discusses their music and their spirituality. From “Jelly Roll” Morton, we get the dictum, “Rejoice at the death and cry at the birth: New Orleans sticks close to the scriptures,” another example of the sorrow to joy theme. He goes on to discuss the “midlife of jazz” in bebop and cool, focusing on “Dizzy” Gillespie, Charlie Parker and the great Miles Davis. The two following chapters then draw more specific connections of jazz and the gospel or spirituality in the life of jazz musicians offering examples from the work of Sister Rosetta Tharpe, Duke Ellington, jazz pianist Billy Taylor, Oscar Peterson, Dave Brubeck, John Coltrane, Keith Jarrett, and others. Not all would be considered orthodox Christians by any means, but evidence of the hope of the gospel may be found in their work, according to Edgar.
The book concludes with Edgar’s seven joys of jazz: its bluesy ambiance, its strength to climb, the element of invention, the concept of “swing,” the solidarity of jazz musicians in which performances are conversations in music, the great art that arises from earthy roots, and finally the joy out of deep pain that Edgar attributes to the influence of the Christian message. I suspect some will want to contend this last, but Edgar’s cumulative case of history, contributing streams, and examples from some of the signature jazz greats offer a good explanation for the element of joy that distinguishes this music. I also found it interesting that Edgar contrasts the joy of this music with the “happy” feel of much White evangelical music. Jazz is rooted in both a more profound experience of pain and a more profound hope.
Edgar makes this argument without being polemical. I felt like I was in a jazz appreciation course, being invited to understand and appreciate and truly love the music Edgar loves. And he helps us cultivate that love as well. He includes a nine-page appendix of links to YouTube videos of performances by various artists organized by sub-genres and time periods. What a great way to introduce oneself to jazz in its various expressions and to explore for oneself the “supreme love” that Edgar believes is the source of the great joy in jazz.
____________________________
Disclosure of Material Connection: I received a complimentary review copy of this book from the publisher.
April 8, 2024
With some experience in jazz and in Christian theology, I was excited to read William Edgar’s book A Supreme Love. I expected a scholarly theological perspective on jazz and faith that might invite me to a new, deeper understanding of both. Instead, however, the book presents a central thesis that the author never supports in a satisfactory way. Edgar writes,
The imprecision is evident throughout the book, which is not scholarly but personal. The opening of chapter 8 will indicate the kind of tone the reader can expect: “The blues! There has perhaps never been such powerful, simple folk music that comments so effectively on everyday life” (90). Continuing about the blues, Edgar says that “the harmony could not be simpler. There are only three chords” (91)—in other words, it literally could be simpler. The book presents the opinions and views of the author, and though a lot of the facts in the book are cited with other sources, the opinions remain unsupported and individualistic.
Edgar also maintains a distinction between “simple folk music” and “art music” that doesn’t align with my perspective on the musical arts. “Like jazz, piano ragtime evolved from being simply amusing entertainment to a true art form” (106). I find it unhelpful to create categories of “folk” and “art” and then apply value judgments in assigning various musical examples to one category or the other. Why are such categories important? If any categories like this are important, let them come as emic distinctions from the practitioners, not from the outside observer. Ethnomusicology could help here. Edgar cites older sources by Alan Merriam, and a newer piece by Ingrid Monson. But I was quite surprised to see no reference to Paul Berliner’s major work on improvisation or other current ethnomusicology publications in jazz studies. One reference to Bruce Ellis Benson was welcome, but more engagement with another book by Benson, The Improvisation of Musical Dialogue, would have been useful.
In the end, Edgar’s thesis about the deep connection between jazz and Christianity remains unconvincing to me. When he writes, “If it is true . . . that all jazz musicians have a ‘soft spot’ for the gospel, then it is also the case that this is more evident in the work of some artists than others” (141), it seems like he’s simply selecting examples that affirm his thesis. I wonder if other opinions are being overlooked. In his conclusion, he says,
What I did enjoy was keeping Spotify close to hand as I read, so I could listen to the musical examples Edgar mentions. It has been a while since I went back to the roots, such as King Oliver and early Louis Armstrong, and I loved the invitation to listen again. I’ve made a Spotify playlist of all the music referenced in the book, or near equivalents (listed in the appendix).
A final note: When I first heard about this book, I loved the title, which plays on one of my favorite John Coltrane albums. Unfortunately, Coltrane only appears on about one page of the book (156–157). I think a book about jazz and faith could glean quite a lot from the fascinating example of Coltrane and his spirituality.
It is my conviction that if we are going to understand the deeper significance of jazz . . . then we need to attend to its relation to the gospel of Jesus Christ, which moves from the deep pain and sorrow of the crucifixion to the joy of the resurrection. By knowing the historical roots of jazz and by being better listeners, I believe we will hear something that is deeply embedded in jazz: a supreme love—the love of God. (15)I find that to be a bold claim—not necessarily unprovable, but definitely challenging. One of the challenges is to clearly delineate what the author means by “jazz,” but here he remains imprecise. “The borders between musical genres, including the spirituals and gospel,” he says, are rarely completely clear” (89). And I agree, but then it renders large assertions about one genre difficult to support. Edgar has similar difficulties elucidating aspects of jazz, such as swing. How do we define swing? He suggests, “For an easier litmus test, listen to jazz. Ask yourself whether it moves you, outwardly or inwardly, to want to swing and dance. If not, then it may not be real jazz” (177). Real jazz. Sigh.
The imprecision is evident throughout the book, which is not scholarly but personal. The opening of chapter 8 will indicate the kind of tone the reader can expect: “The blues! There has perhaps never been such powerful, simple folk music that comments so effectively on everyday life” (90). Continuing about the blues, Edgar says that “the harmony could not be simpler. There are only three chords” (91)—in other words, it literally could be simpler. The book presents the opinions and views of the author, and though a lot of the facts in the book are cited with other sources, the opinions remain unsupported and individualistic.
Edgar also maintains a distinction between “simple folk music” and “art music” that doesn’t align with my perspective on the musical arts. “Like jazz, piano ragtime evolved from being simply amusing entertainment to a true art form” (106). I find it unhelpful to create categories of “folk” and “art” and then apply value judgments in assigning various musical examples to one category or the other. Why are such categories important? If any categories like this are important, let them come as emic distinctions from the practitioners, not from the outside observer. Ethnomusicology could help here. Edgar cites older sources by Alan Merriam, and a newer piece by Ingrid Monson. But I was quite surprised to see no reference to Paul Berliner’s major work on improvisation or other current ethnomusicology publications in jazz studies. One reference to Bruce Ellis Benson was welcome, but more engagement with another book by Benson, The Improvisation of Musical Dialogue, would have been useful.
In the end, Edgar’s thesis about the deep connection between jazz and Christianity remains unconvincing to me. When he writes, “If it is true . . . that all jazz musicians have a ‘soft spot’ for the gospel, then it is also the case that this is more evident in the work of some artists than others” (141), it seems like he’s simply selecting examples that affirm his thesis. I wonder if other opinions are being overlooked. In his conclusion, he says,
To my mind, the numerous ways that jazz has been adapted to different cultures and fused with different musical styles to create new sounds and genres reminds me of the adaptation of the Christian gospel to different cultures, languages, and geographies across time. Like jazz, the message of Christ’s life, death, and resurrection came out of a particular set of historical events and circumstances, but it was not meant for one people, but for the whole world. The appeal of jazz across such boundaries is, for me, another example of the resonance between jazz and faith. (165)If you agree with him, then that’s fine. If you disagree with him, then he hasn’t invited conversation; he has only stated his opinion. And that’s fine, too, but I’d expected something with more scholarly depth. This book is just journalism or memoir. For readers with very little experience in jazz listening, this book might provide an interesting introduction (though I still wouldn't recommend it above other better introductory texts); for me, I found the writing overly simplistic.
What I did enjoy was keeping Spotify close to hand as I read, so I could listen to the musical examples Edgar mentions. It has been a while since I went back to the roots, such as King Oliver and early Louis Armstrong, and I loved the invitation to listen again. I’ve made a Spotify playlist of all the music referenced in the book, or near equivalents (listed in the appendix).
A final note: When I first heard about this book, I loved the title, which plays on one of my favorite John Coltrane albums. Unfortunately, Coltrane only appears on about one page of the book (156–157). I think a book about jazz and faith could glean quite a lot from the fascinating example of Coltrane and his spirituality.
April 23, 2023
This book presents the history of the development of blues and jazz music. Edgar shows how these original American arts grew out of the experiences of Black Americans—reflecting the suffering and lament of slavery and providing a protest and critique of the culture, but also the joy and hope provided by a Christian faith.
He also gives some biographical details of some influential jazz artists and helpful links to YouTube videos of specific performances.
“Indeed, I argue that the entire musical genre that is jazz is best heard as a reflection not just of a certain gospel sound, but as a musical echo of the good news of Christ.”
He also gives some biographical details of some influential jazz artists and helpful links to YouTube videos of specific performances.
“Indeed, I argue that the entire musical genre that is jazz is best heard as a reflection not just of a certain gospel sound, but as a musical echo of the good news of Christ.”
July 8, 2023
Absolutely LOVED this ode to jazz and the Christian influences it rests on!! The technical parts went over my head a little but was so inspired by the rest! I’m not ashamed to say that it brought me to tears a few times (as jazz and the gospel often do)! 10/10 would recommend!! Shoutout to my dear friend Taylor who got this for me! She knows me so well!!
April 17, 2023
A beautiful reminder of the gospel in all of life. I was introduced to some artists I have never heard of before and moved to love a God who enters into our human disposition.
January 12, 2025
i really enjoy books that take a Christian theologian’s “second love” (second to Christ) and explain how the gospel is expressed by, or an influencer of, that love. A Supreme Love tries to spell out both of those for jazz music, but unfortunately doesn’t really explain either. The grand thesis set forth is that jazz uniquely expresses elements of “misery” and “joy,” as found in the gospel (sinfulness of the world / resurrection of and hope in Jesus?), compared to other cultural phenomena and musical genres. He alludes to this several times but never really exhibits whether it’s fact; and sometimes such claims are disconnected from the history he tells, except for comments such as, “While [artist] may not have conceded influence from Christianity, it’s clearly still there in the musical motifs he uses.” Which doesn’t really tell me anything about the connection.
On the other hand: I don’t know William Edgar personally, of course, but was glad to see his excitement for jazz shine through the prose. I also enjoy jazz music, and it was interesting to learn more about its history and a little historiography. However, but for a few concepts in the last two chapters, Edgar didn’t really substantiate his claim that the “misery” and “joy” found in jazz reflect the Christian gospel in a way that can be pinpointed or differentiated from other genres. Maybe that’s part of the point, since jazz is largely improvisational in essence, and often unable to be pinned down concretely. But the author doesn’t say that.
Even if the “academic goal” wasn’t really met, this was still a mostly enjoyable and informative book to read. I appreciate the excitement for the topic, the cited resources to look into, and the more-niche recommendations of some musicians and compositions from the truly American genre of music.
On the other hand: I don’t know William Edgar personally, of course, but was glad to see his excitement for jazz shine through the prose. I also enjoy jazz music, and it was interesting to learn more about its history and a little historiography. However, but for a few concepts in the last two chapters, Edgar didn’t really substantiate his claim that the “misery” and “joy” found in jazz reflect the Christian gospel in a way that can be pinpointed or differentiated from other genres. Maybe that’s part of the point, since jazz is largely improvisational in essence, and often unable to be pinned down concretely. But the author doesn’t say that.
Even if the “academic goal” wasn’t really met, this was still a mostly enjoyable and informative book to read. I appreciate the excitement for the topic, the cited resources to look into, and the more-niche recommendations of some musicians and compositions from the truly American genre of music.
January 10, 2023
As a casual fan of jazz, I really enjoyed reading this and learning more about the genre and being introduced to the history of jazz and great artists who I otherwise may never have heard of.
October 4, 2022
What does jazz have to do with Jesus? In A Supreme Love, William Edgar explains how the music of jazz connects with the hope of the Gospel. It is a fascinating read for lovers of jazz, lovers of music, and better understanding how faith and art intersects with the history of our nation.
Jazz and Slavery
From the beginning, we are shown that jazz cannot be separated from slavery. Slavery is a sin. And like all sins, Jesus remains the solution. The importance of heaven is stressed, and we must be reminded that music – like our humanity – is spiritual.
The communicative nature of jazz can be traced back to slavery. Rhythm and beats were used to send messages, and the vocal approach of spirituals had a distinct element of longing and liberation. This is an academic book, but approachable for those who want to read more about jazz music and black history.
Gospel and Blues
What I found most interesting was how you could trace the growth and joyful nature of Gospel music to the Black experience and the Black church. While it was not initially race-specific, Black Gospel music rose to prominence in the 1920s with superstars Thomas Andrew Dorsey and Mahalia Jackson.
The blues were a natural outgrowth of the work songs and “sorrow songs” heard in slave plantations. Freedom and justice are the themes that come from entrenched racism. This book shows how music and movements are intertwined.
Sorrow and Joy
Ragtime is more of a mystery, but it also contributed to the development of jazz. As piano ragtime bands became prominent in New Orleans, a certain style of music emerged from the scene, with pioneers such as Louis Armstrong, Jelly Roll Morten, and Duke Ellington. Jazz would continue to evolve with bepop and cool music.
What I found most moving were the final chapters, which seek to explain how the Christian Gospel message is displayed in jazz. Connections between a jazz performance and congregational worship can be made, and we see the heavy influence of the church in many jazz musicians. Even without explicit mention, the themes of sorrow and joy and the narrative of God’s love resonate deeply. They ring out in worship – if you have ears to hear.
I received a media copy of A Supreme Love and this is my honest review.
Jazz and Slavery
From the beginning, we are shown that jazz cannot be separated from slavery. Slavery is a sin. And like all sins, Jesus remains the solution. The importance of heaven is stressed, and we must be reminded that music – like our humanity – is spiritual.
The communicative nature of jazz can be traced back to slavery. Rhythm and beats were used to send messages, and the vocal approach of spirituals had a distinct element of longing and liberation. This is an academic book, but approachable for those who want to read more about jazz music and black history.
Gospel and Blues
What I found most interesting was how you could trace the growth and joyful nature of Gospel music to the Black experience and the Black church. While it was not initially race-specific, Black Gospel music rose to prominence in the 1920s with superstars Thomas Andrew Dorsey and Mahalia Jackson.
The blues were a natural outgrowth of the work songs and “sorrow songs” heard in slave plantations. Freedom and justice are the themes that come from entrenched racism. This book shows how music and movements are intertwined.
Sorrow and Joy
Ragtime is more of a mystery, but it also contributed to the development of jazz. As piano ragtime bands became prominent in New Orleans, a certain style of music emerged from the scene, with pioneers such as Louis Armstrong, Jelly Roll Morten, and Duke Ellington. Jazz would continue to evolve with bepop and cool music.
What I found most moving were the final chapters, which seek to explain how the Christian Gospel message is displayed in jazz. Connections between a jazz performance and congregational worship can be made, and we see the heavy influence of the church in many jazz musicians. Even without explicit mention, the themes of sorrow and joy and the narrative of God’s love resonate deeply. They ring out in worship – if you have ears to hear.
I received a media copy of A Supreme Love and this is my honest review.
July 19, 2022
Jazz is often viewed as an invention of purely American musical tradition. And like American history, Jazz is full of hope and joy yet also, deep sorrow and lament. Experiencing jazz is experiencing the American tradition, from a historically black prospective.
This book is a technical work about jazz and it’s history, but it’s so much more than that. It’s part history of the black experience in the American experiment and how through the resilience, hope, and sorrow a unique form of music began to be expressed. And this book is about the Gospel: how the Gospel restores the deepest of sinners and is the only hope we have to look forward to, how the Gospel moves people of every nation, tongue, and tribe to freedom, and how the Gospel is our only hope in reconciliation.
If you’ve read any of my other reviews you’d know I often speak against a book trying to do too much. However, in this case Edgar shows how jazz, the Gospel, and the black experience are inseparable in understanding the origins and expressions of jazz. You really couldn’t have this book without a look into black history and without the joyous proclamation of the Gospel. The composition of this book itself mirrors jazz in that it takes you from great sorrow in looking at the horrors of chattel slavery in the context of American history. But the book also takes you to rapturous heights as it takes you to the triumph of the Gospel. I am now convinced that on that day when Jesus shall return there will be a great outbreak jazz music as we celebrate his final victory and reflect on the horrors of the fallen world.
I would recommend this book to anyone who appreciates art, anyone interested in jazz, and anyone who was interested in the black experience.
This book is a technical work about jazz and it’s history, but it’s so much more than that. It’s part history of the black experience in the American experiment and how through the resilience, hope, and sorrow a unique form of music began to be expressed. And this book is about the Gospel: how the Gospel restores the deepest of sinners and is the only hope we have to look forward to, how the Gospel moves people of every nation, tongue, and tribe to freedom, and how the Gospel is our only hope in reconciliation.
If you’ve read any of my other reviews you’d know I often speak against a book trying to do too much. However, in this case Edgar shows how jazz, the Gospel, and the black experience are inseparable in understanding the origins and expressions of jazz. You really couldn’t have this book without a look into black history and without the joyous proclamation of the Gospel. The composition of this book itself mirrors jazz in that it takes you from great sorrow in looking at the horrors of chattel slavery in the context of American history. But the book also takes you to rapturous heights as it takes you to the triumph of the Gospel. I am now convinced that on that day when Jesus shall return there will be a great outbreak jazz music as we celebrate his final victory and reflect on the horrors of the fallen world.
I would recommend this book to anyone who appreciates art, anyone interested in jazz, and anyone who was interested in the black experience.
July 31, 2022
Very much a beginner to jazz music, I was looking forward to reading this work, especially in relation to Christianity and the hope found in the gospel. On this note, I was particularly interested in Edgar’s contention that, “jazz is best understood in light of the gospel. Both the sorrow and the joy found in jazz resonate with the deep pain and the incredible hope that stand at the heart of the Christian faith” (2).
I had a general understanding of the history of jazz prior to reading this work, but Edgar spends much time on this and brings in new information – to me, at least - such as the painful origin of the limbo dance in chapter 1. I wasn’t particularly persuaded by his reference to Nikole Hannah-Jones and the 1619 Project (37). The nature of her claims merits more than just a brief paragraph. However, jazz certainly was born out of an acknowledgement that God is “present, often implicitly, in the life of music of Black people to give strength in time of need” (13). On a related note, the distinction between happiness and joy, particularly as reflected in Christian music, is an important one. Edgar poignantly writes, “One has tried to come directly to the banquet table, and the other has traveled there through the valley of the shadow of death (45).
Edgar’s interweaving of Christian themes with jazz is both enlightening and edifying, especially his point about the blues being a theodicy (91). How are we to understand God’s relationship to our suffering? This is what the singers of the blues were wrestling with.
I was challenged by this book in numerous respects and appreciate Edgar’s wealth of knowledge on this topic.
*Note: I received an advance copy of the text in exchange for my honest review and feedback.
I had a general understanding of the history of jazz prior to reading this work, but Edgar spends much time on this and brings in new information – to me, at least - such as the painful origin of the limbo dance in chapter 1. I wasn’t particularly persuaded by his reference to Nikole Hannah-Jones and the 1619 Project (37). The nature of her claims merits more than just a brief paragraph. However, jazz certainly was born out of an acknowledgement that God is “present, often implicitly, in the life of music of Black people to give strength in time of need” (13). On a related note, the distinction between happiness and joy, particularly as reflected in Christian music, is an important one. Edgar poignantly writes, “One has tried to come directly to the banquet table, and the other has traveled there through the valley of the shadow of death (45).
Edgar’s interweaving of Christian themes with jazz is both enlightening and edifying, especially his point about the blues being a theodicy (91). How are we to understand God’s relationship to our suffering? This is what the singers of the blues were wrestling with.
I was challenged by this book in numerous respects and appreciate Edgar’s wealth of knowledge on this topic.
*Note: I received an advance copy of the text in exchange for my honest review and feedback.
July 21, 2024
As a lifelong jazz musician, as well as a Christian and worship musician, I really wanted to like this book, but the further I got, the more disappointed I became. In a 13 chapter book, the first two-thirds are introductory material, giving historical context. More time is given in the book to the issues of slavery and racial injustice, than to any discussion of jazz or the gospel. As father reviewers have noted, the author’s thesis is poorly developed and supported. Another reviewer noted that it often felt in the final chapters that a fleeting reference to the correlation of jazz and faith at the end of a chapter was all that given.
In addition, the book is poorly edited. Numerous errors, misspellings, and faulty music theory explanations abound, such as the incorrect listing of personnel (the Modern Jazz Quartet, p. 155) or the confusion of John Coltrane’s “Giant Steps” with Ornette Coleman’s “Change of the Century”. (The ebook version mistakenly lists the wrong artist and title, while the printed version corrects the artist, but still is incorrect about the title.) I also found the comparison of free jazz with the highly structured music of Pierre Boulez to be absurd. A better comparison would have been with John Cage. Regardless, it added nothing to the premise of the book. I was also a little taken aback that the “Discography” listed at the back consisted entirely of YouTube links and not to actual albums.
If one is looking for a discussion of jazz and Christian faith, Robert Gelinas’s “Finding the Groove: Composing a Jazz-Shaped Faith” is a vastly superior book.
In addition, the book is poorly edited. Numerous errors, misspellings, and faulty music theory explanations abound, such as the incorrect listing of personnel (the Modern Jazz Quartet, p. 155) or the confusion of John Coltrane’s “Giant Steps” with Ornette Coleman’s “Change of the Century”. (The ebook version mistakenly lists the wrong artist and title, while the printed version corrects the artist, but still is incorrect about the title.) I also found the comparison of free jazz with the highly structured music of Pierre Boulez to be absurd. A better comparison would have been with John Cage. Regardless, it added nothing to the premise of the book. I was also a little taken aback that the “Discography” listed at the back consisted entirely of YouTube links and not to actual albums.
If one is looking for a discussion of jazz and Christian faith, Robert Gelinas’s “Finding the Groove: Composing a Jazz-Shaped Faith” is a vastly superior book.
September 13, 2022
This book is new, just published this summer by IVP Academic. I was looking forward to attending the Detroit Jazz Festival, Labor Day weekend, and wanted to finish it by then but "life" got in the way. When things calmed down, I was able to truly benefit by its rich research and footnotes. William Edgar describes himself as "a jazz musician disguised as a theologian" (see the foreward). In this book he takes us on a tour through the origins of jazz music, its roots in African music brought to the United States by the slaves, then on a lengthy trek through its development through spirituals and the wider landscape. I learned much about the hidden meanings in many gospel songs I've sung for years. And due to the rich footnotes that give links to recordings of various songs and artists, I attended a jazz fest through the years and across many of the brands that developed. It was great to learn more about contemporary jazz and the story of many artists, across the spectrum. Of course not all of them could be included (some of my faves were left out) but it is rich stuff. The thread throughout is how the Good News underlies so much of the music, echoing misery and hope and redemption themes. Sit down with your computer or phone and get ready to digest great musical food!
August 20, 2022
I was surprised that the author spent a good portion of the book talking about racial injustice in America, and linking that with the formation of jazz music as well as the theological implications. Overall, I felt the book was a highly personal view of jazz and the author's favorite jazz musicians. This approach was somewhat repetitious, but reminded me of some recordings I had forgotten and introduced me to some I had not known before, which I appreciate. Does
The second half of the book is notes, indexes and suggest listening with links to recordings. This alone is worth the price of the book!
For those interested in Jazz as Sacred Music, below are some recommendation that the author omits:
Mass in Blue - Will Todd and Vasari Singers
Abe Laboriel and Friends
Lift Him Up - Ron Kenoly (Black Gospel/ Carribbean / Jazz)
The Billl Cantos Project, Rock of Ages, Secret Signature - Brentwood Jazz
Preachin' - Gene Ammons
New York Hymns - Worship Music at Redeemer
Open My Eyes - 6:30 Band (Redeemer)
The second half of the book is notes, indexes and suggest listening with links to recordings. This alone is worth the price of the book!
For those interested in Jazz as Sacred Music, below are some recommendation that the author omits:
Mass in Blue - Will Todd and Vasari Singers
Abe Laboriel and Friends
Lift Him Up - Ron Kenoly (Black Gospel/ Carribbean / Jazz)
The Billl Cantos Project, Rock of Ages, Secret Signature - Brentwood Jazz
Preachin' - Gene Ammons
New York Hymns - Worship Music at Redeemer
Open My Eyes - 6:30 Band (Redeemer)
May 10, 2024
I thought this book was well done, but I did have a few qualms with it. Before I get to those, I thought it was great that Edgar greatly emphasized that Jazz, throughout all of its forms, shows the Gospel in the way that it embodies the phrase, “sorrowful, yet always rejoicing”. The way he did this though I thought could have been more insightful to be honest. While I enjoyed the history of jazz greatly, it seemed that intertwining the Gospel with it sometimes was an afterthought or simply a page at the end of the chapter, instead of the purpose of the book. Even with this, I greatly enjoyed the book. It allowed me to dive deep into two of my great loves, and realize that the Supreme love of Christ can be shown through jazz, whether we know it or not. I
April 21, 2024
Unfortunately, this book was just not very good. There was really only one chapter that fully addressed the title of this book, and that chapter was good. The book is split into three parts and two parts of that book talked about the historical context and didn't even address jazz. I was hoping that this book would be helpful as I prepare to teach jazz to my elementary music classes, but I didn't get much out of it.
August 12, 2024
A swing and a miss. As a Christian and long time jazz fan I should be the perfect audience for this, and I was expecting some profound insights that made me think about jazz and religion in a new and interesting way. Something that found connections between the two. Instead, it was a history of jazz, most of what I knew, and a few tenuous links to Christianity. The back offers a promising list of the qualities of jazz that could have been an interesting link to what it means to be a Christian.
December 10, 2022
A noteworthy survey of the history of jazz, as well as its predecessor genres. Much less theology-focused, but the parallel between the journey from sorrow to hope shared by jazz and the Gospel is harkened back to throughout. Lots and lots of citations to great recordings and performances!
October 11, 2023
A good book and worth reading, but it never delivers on its thesis that jazz is a uniquely Christian art form. The musical examples are very comprehensive, though, and this book could easily serve as an introduction to the genre. Just don't expect much proof for William Edgar's assertions.
November 24, 2023
3.5 stars. I loved the portions of this book that dealt with jazz history and it’s roots in the message of the gospel. However, I did not necessarily feel that the overall thesis was overly convincing or proven to be believable. Though of course, I hope it is.
April 17, 2024
Enlightening
I'm a pastor but my first profession is musician. I studied jazz in Berklee College of Music and this boom was a total inspiration for me in understanding theologically jazz music.
I'm a pastor but my first profession is musician. I studied jazz in Berklee College of Music and this boom was a total inspiration for me in understanding theologically jazz music.
December 13, 2022
This book was a delight through and through- a rich and educational read.
November 3, 2023
My 1st bk by this author. I liked it. Just didn't seem as cohesive as I expected. Can't wait to look up some of the vids/recordings cited
August 16, 2022
This book did not go where I expected it to. It went far more clearly into the history of oppression and racism than I thought it might. That. Makes it a truly important contribution to the jazz literature. It is not deep, but it is broad enough to fill in many blanks. Very good book.
Displaying 1 - 23 of 23 reviews