Amos 5:14-15, 21-24
25th Jazz Communion
9/4/16
William G. Carter
Seek good and not evil, that you may live;
and so the Lord, the God of hosts, will be with you, just as you have said. Hate evil and
love good, and establish justice in the gate; it may be
that the Lord, the God of hosts, will be gracious to the remnant of Joseph.
I hate, I despise your festivals, and I take no
delight in your solemn assemblies. Even though you offer me your burnt offerings
and grain offerings, I will not accept them; and the offerings of
well-being of your fatted animals I will not look upon. Take away from me
the noise of your songs; I will not listen to the melody of your harps.
But
let justice roll down like waters, and righteousness like an ever-flowing stream.
Four years ago, some of our
Presbybop musicians were with me in Little Rock, Arkansas. The Methodists had invited
us down for worship, a concert, and a seminar. When our chores were concluded,
we put the drummer and the bass player on a plane, and Al and I had a little
time to kill before we caught a later flight.
So I suppose that’s how we came
to drive by Central High School. The school is still there, as it was in 1957.
That was the year that Governor Orval Faubus stood up against the Supreme Court
of the United States, and the centerpiece of his rebellion was Central High
School. The Supreme Court declared it was unconstitutional to separate black
from white into different public high schools.
Faubus said, “I don’t care what
they think. I’m the governor of Arkansas. I’m not going to let nine African
American teenagers into Central High School.” So he ordered the state’s
National Guard to prevent it. News got back to Washington, and President
Eisenhower was slow to react. The law was that people of different skin colors
could study together, but Faubus said, “Not in my state.”
Looking at some of the news
footage of the day, it got pretty ugly. People said terrible things about those
who looked different from themselves. They
were saying that for years before, just as they have whispered it ever since, but
they were pretty blunt about it then. It took the president twenty days to get
around to sending in troops to defend the law. Maybe he was hoping Governor
Faubus would be reasonable.
But most racists have no interest
in being reasonable, especially if their so-called “way of life” is being challenged,
called out, or disturbed. Faubus resisted, just as Florida resisted,
Mississippi resisted, and George Wallace’s Alabama refused. Racism has been the
“original wound” of the United States. This is a country that mostly began as a
nation of European immigrants and outcasts, some of whom got the bright idea
that they could capture, sell, and enslave Africans as a cheap labor source. Even
after slavery was declared illegal in 1865, many African Americans were still
largely treated as if they were less than human.
The weight of all of this fell on
my conscience as I looked upon Central High School in Little Rock.
If we are going to play jazz, we
have to have a talk about race, about justice and race. Jazz music begins as a
musical conversation between the races. Some say it originates in New Orleans,
in the gumbo of French, Spanish, Creole, Black, and White. Others hear the
creativity emerging from New York or Chicago. It’s hard to say specifically,
because the music’s origins are such a mixed stew.
There are certain things we know.
If people are oppressed, they learn to sing the blues. If all they have is a
two string guitar, they can learn to bend the notes to witness to their broken
hearts. If the burdens of life become heavy, there is the human (and perhaps
divine) inspiration to stand up and say, “I count for something,” and that
might break out in an unexpected songs of exuberance. If those in power that
life must lived by a certain script, there is the holy possibility that some
might interpret that script, dance with it, even improvise upon it. And so,
jazz arises. Jazz bubbles up in America about the same time that the Holy
Spirit bubbles up in the Pentecostal revivals of the early 1900’s. It was seen
as illegitimate by those in power, but it has never gone away.
So it is no wonder that jazz
musicians have often spoken or acted prophetically when people were mistreated
for the color of their skin. I offer three brief vignettes:
Billie Holiday, an African
American singer, found a song written by a Jewish teacher who called Lewis
Allan. Allan wrote that song, “Strange Fruit,” after seeing some ghastly
photographs of African Americans being lynched in the South. There was “strange
fruit hanging from the poplar trees.” It became Billie Holiday’s signature
song, her way of speaking up and speaking out. Columbia Records, her recording
company, didn’t want her to record it, fearing that sales would drop,
especially in the South. She recorded it for another label and it sold one million
copies. In 1999, Time Magazine named it the best song of the century. The song told
the truth – and it stood up to evil.
Dave Brubeck put together a jazz quartet
that gained international acclaim. They were big. Columbia Records didn’t want
to release one of their records, fearing it was too “far out.” That album, the
Time Out album featuring “Take Five” became the all-time best selling jazz
record. The quartet was so big that the US State Department sent them around
the world on a peacemaking mission.
But when they came home, some
American concert promoters blanched when they discovered Brubeck had an African
American bass player. In one venue in South Carolina, the promoter demanded
that Eugene Wright, the bass player, play behind a curtain so the white audience
wouldn’t see him. Do you know what Brubeck did? He cancelled the concert at the
last minute, and twenty-two more like it, because if “all of us aren’t going to
play on stage together, none of us are going to play at all.” Imagine the shock
of those concert promoters if they read the fine print and discovered the
prepaid concert fee was nonrefundable.
And then, Charles Mingus, son of
an African American soldier and a white-skinned woman of Chinese, English, and
Swedish descent, among others. “My father was always ashamed of his skin color,”
Mingus once said. Charles himself was light skinned, but growing up in the Watts
neighborhood of Los Angeles, he knew what it was like to be disrespected and
disregarded because of how he looked. He dealt with racism every day of his
life.
So when he heard about Governor
Faubus of Arkansas rejecting the law of the land, refusing to let African
American teenagers into a segregated school, he put together a song to make fun
of him. That’s the song, “Fables of Faubus.” The melody sashays and simpers to
ridicule the governor for his bigotry. Behind it is a lyric that Columbia
Records (once again) refused to let him put on the recording. They knew it
would be terrible for sales. But the year was 1959, the issue was civil rights,
and within a year, Mingus would record the song on another record label with
these words:
Oh, Lord,
don't let 'em shoot us! Oh, Lord, don't
let 'em stab us!
Oh, Lord, don't let 'em tar and feather us!
Oh, Lord, no more swastikas!
Oh, Lord, no more Ku Klux Klan!
Name me someone who's ridiculous, Governor
Faubus!
Why is he so sick and ridiculous? He
won't permit integrated schools.
Then he's a fool . . . [lyrics (c) Charles Mingus]
As a way of standing up to racism, Mingus made fun of it.
So what does this have to do with the scripture lessons we
heard today? Plenty! Psalm 2 says that God looks at the powers, the
principalities, and the politicians of this world, and God laughs. It’s the
only time in the entire Bible where it says God laughs. And the reason God
looks upon them to laugh is because these people think they are so high and
mighty, and they are missing the boat in a hundred different ways. God is “amused
at their presumption” (The Message), but then God comes to set things right.
That’s the definition of justice: it is the judgment of
heaven to establish fairness among all of God’s people. Justice is not voting
for the person who will appoint the judge you happen to like to the Supreme
Court. No, justice is the establishment and maintenance of shalom, of God’s rule
of peace. Justice is the regarding of one another as neighbor, for that person
who is different from you is still created in the image of God.
So along comes the prophet Amos, about eight hundred years
before Jesus. It was a time when the few people who were very, very rich were
getting infinitely richer, and it came at the expense of those who had no
access to the basic gifts of life. Does that sound familiar? Sure it does. Amos
is in our Bible to address the way that human beings keep mistreating other
human beings, all to fill their pockets, feather their beds, and keep clawing
onto their own sense of power.
Amos gives it to us straight: people are forgetting about
God, people are forgetting about one another. They go to worship to sing their
happy songs, then stomp over their neighbors on the way out. So Amos declares, “Don’t
give me your happy songs.” Some go to worship God and make sizable, significant
contributions, ignoring that they have made their money by refusing to pay a
living wage to the very people who make them rich. “Don’t give God that dirty money,”
Amos said.
And then with the voice like a trumpet, Amos says the line
that everybody from Martin Luther King Jr. to Bernie Sanders has repeated, “Let justice roll down like waters, and righteousness like an
ever-flowing stream.” That’s more than poetry. That’s an
invitation for how to live. “Do good and live,” says the prophet. “Hate evil,
love good, establish justice” . . . for that kind of living is the way that the
grace of God becomes real.
So there we stood, in front of Central High School in
Little Rock. It was a quiet fall day. The bell rang, and we watched black and
white students stepped out into the sunshine. I am sure it’s not a perfect
situation for all of them, but because of those who have been courageous enough
to speak up, for those who will step across the invisible lines that still
divide us, there is still the possibility of receiving the grace of God which
is truly a gift intended for everybody. And maybe we don’t have perpetuate the
damage and the divisions. Justice, as someone said, "is a cleansing, surging stream."
Charles Mingus was an imperfect prophet. He was a complicated
soul, he could be difficult, he didn’t make a lot of friends. Years ago, Tony Marino
and I played a couple of concerts here in town with Jimmy Knepper, the great
trombonist who was part of Mingus’ band for a while. He told how Mingus flew
off the handle one day, punched him in the mouth, and knocked out a couple of
his teeth. That’s how he treated one of his friends. He was not an easy man.
But there was this other side of him that was determined to
tell the truth. He often revealed this in his song titles, titles like, “Lord,
Don’t Let Them Drop That Atom Bomb on Me.” “Remember Rockefeller at Attica.” Or
my favorite title, “All The Things You Could Be By Now If Sigmund Freud’s Wife
Was Your Mother.” Even “Fables of Faubus” – he retitled it later to call it “Fables
of Nixon.” He was yearning for something greater than the same old nonsense
that people do to one another, just as we come to the communion table yearning
for something holy and true. We are hungry for the bread of God’s justice.
So here’s one more story. Charles Mingus was diagnosed with
ALS, Lou Gehrig’s disease. The disease devastated him quickly. One day, he
called his son Dorian into his sick room, looked into his face, and said, “You
are no color.”
Dorian thought, “What? I have a white mother and a black
father. Well, he’s not really all black himself…Irish, English, Welsh, Greek,
Swedish, Chinese, Black and German.”
Charles said, “You are no color. That’s the trouble with
the world, that everybody gets caught up in what they are, and where they’ve
come from, and that’s not the point.”
So what is the point? That all of us are the children of
God, and all of us have to work a lot harder at getting along, helping one another
out, and overcoming evil with good. That’s what God’s justice is all about. Let
that justice roll down on us like waters. Let's get drenched.
(c) William G. Carter. All rights reserved.