EBOOK
About
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.
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.
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Reviews
"Once in a while a theologian tips the hand and reveals their passions unrelated to their professional pursuits. Karl Barth wrote on Mozart, and William Edgar, respected theologian at Westminster Theological Seminary, has written A Supreme Love, paying homage to his passion for jazz. A competent practitioner of the art form throughout his life, he puns on Coltrane's A Love Supreme for the title of his book. The result: a mature theologian's thinking that generates a sophisticated and personal account of the historical sweep of jazz history through the lens of a performer who has had a rich life of interacting with luminaries in jazz history. A delightful read for many who would be both theology-inclined readers and lovers of the arts who might not necessarily bring jazz into the conversation. For those who enjoy both passions, this book's for you. May this book always appeal to the intellectually curious, not least to those interested in theology and jazz history."
Johann Buis, musicologist, Wheaton College