John 3:14-21
Jazz Mass 2025
August 31, 2025
William G. Carter
“For God so loved the world that he gave his
only Son, so that everyone who believes in him may not perish but may have
eternal life. Indeed, God did not
send the Son into the world to condemn the world, but in order that the world
might be saved through him. Those
who believe in him are not condemned; but those who do not believe are
condemned already, because they have not believed in the name of the only Son
of God. And this is the judgment,
that the light has come into the world, and people loved darkness rather than
light because their deeds were evil. For
all who do evil hate the light and do not come to the light, so that their
deeds may not be exposed. But
those who do what is true come to the light, so that it may be clearly seen
that their deeds have been done in God.”
In the summer of my seventeenth year, I took some jazz piano lessons from a guy in my hometown. Lenny was a contrast to the saintly woman who started me on major scales and Mozart. He was the real deal, a true-blue half-alive jazz musician. He had retired from the road and was now married to a high school secretary who had health insurance and a retirement plan.
We talked about chords and how to notate them. He hinted at the hidden architecture that structured various tunes. I brought along a collection of Beatles songs to one of our lessons, and he laughed, “Oh son, there’s so much more.” With each lesson, the jazz tradition seemed even more mysterious than I had assumed.
After I fumbled along for a few weeks, one day he pulled out a vinyl LP by Oscar Peterson. Then he said, “Play along!” I was too stunned to know how to begin. Peterson had twenty fingers, all flying in different directions. The music was explosive. Lenny said, “Play!” So, I poked and dabbled, uncertain of what to do. By the time the performance concluded, I knew only one thing: Peterson played a G about halfway through. One note, that’s all I figured out.
Lenny shook his head. “Kid,” he said, “I can teach you how to lay down some cool chords and even do so in rhythm. But if you want to become a musician, you gotta study what you hear, then play it.” I didn’t know it at the time, but that was some of the best advice I ever received.
He wasn’t telling me to play by ear. Playing by ear is a freakish talent given only to a few. And they don’t know what they are doing. That’s different from studying what you hear. No, Lennie wasn’t telling me to play by ear – but to play with my ears, to connect my ears with my fingers, to reflect on what I heard, and thus to learn while doing. Big step to become a jazz musician!
Fast toward, about thirty-eight years later. It was right after Christmas. Our annual jazz Christmas Eve service had gone a little flat. Fortunately, the next year was the fiftieth anniversary of A Charlie Brown Christmas. We knew that music and scheduled it, just as we will play it this Christmas Eve for the 60th anniversary. But wait - when was the jazz mass that Guaraldi wrote? Oh yes – that was also 1965. The idea sparked. How about if we present that for Labor Day 2015, the 50th anniversary of that?
That year, between Christmas and New Year’s, I wrote to the music staff at Grace Cathedral, San Francisco. They didn’t have the manuscripts. “In fact,” said the organist, “we suspect it was never written down.” That proved to be the case. Guaraldi collaborated with choirmaster Barry Minneah to repurpose music out of the Episcopalian hymnal. He took the old chants, gave them some Sausalito harmony and a bossa nova beat. Sounded great, although the choir found it maddening because he never played the music the same way twice.
The music we are hearing today was never printed in ink. Oh, there were words and notes, both well documented. Yet the experience of hearing the music and playing along was approximate. It was imprecise - because it was alive. Internally alive. The only way to access the experience was by listening deeply and playing along. And if you discover there’s a G, or an A, or a Bb, you could write it down, position it as best you can, and keep moving.
That’s how it is with music. As I am fond of saying, written music is a contradiction in terms. By definition, music exists in the air. That’s how we hear it. That’s how we sing it. Notes are only written down to remember what to do with it the next time.
As the great pianist Erroll Garner, a man who never learned to read printed notes, once quipped, “Nobody can hear you read.” They can only hear you play. And then they can tell if your ears are connected with your fingers, or if your ears are connected to your voice, or if your ears are connected to your neighbors. It’s all about listening. In music making, everything else is commentary.
By listening to the Vince Guaraldi music, the insights come. When we chant together the Nicene Creed in a few minutes, we sing a G. That’s all it is, a G. Around it are the identical chords as the song “Skating” in A Charlie Brown Christmas, recorded a few months later. That’s the song when the kids are catching snowflakes on their tongues.
Or there’s “Theme to Grace,” which we just heard. It’s the signature piece from the mass. It strongly resembles Vince’s tune, “Christmas Time is Here,” again recorded a few months later, and sung by some of the same kids who sang in the mass. Here’s the point: if we listen, we learn. And then we can play.
It’s obvious that listening is something a lot of people aren’t doing these days. We can’t become musicians if we don’t listen. I dare say we can’t become human beings if we don’t listen – and listen to one another. And it’s deeply true we cannot become spiritual beings if we don’t listen to Jesus Christ. He’s still speaking.
Hear what he said today? Just one thing we’ve heard him say before. “For God so loved the world that he sent his only Son into the world.” Life is not about perishing. It’s not about condemnation. It’s about flourishing, even in spite of our circumstances. The coming of Christ toward us is God’s gift of love. We have not been abandoned. We have not been neglected. We have not been ignored - because we are loved.
Can you hear that? Can you decipher the tones? Can you write that down once you hear it? Can you connect what you hear with your hands and voices? That’s the skill – and it takes practice.
Of course it takes practice. Nobody arrives fully formed. That’s obvious when you listen to the Guaraldi Mass recording. The choir had been practicing for a year and a half, yet there are still a few moments when the altos and the tenors can’t agree on what or when they should sing. Sometimes Guaraldi’s fingers strain for something that remains out of reach. Or he re-uses a snippet of melody or harmony that he used before. And why not?
The point is all of them were working at it. They are giving it what they have. They are reaching for something that makes the world more beautiful. This is what honors God. Not perfection, which is impossible - but listening, and learning, and practicing together. If you make music with your ears wide open, you deeply engage with those around you. This is a metaphor for the faith that gives us life. And it is a return on the love that God has given to the world.
What if we come up short? Well, here’s what Mike and I were talking about on Thursday afternoon. He called to say, “I’m working on the tunes for the mass. There’s a tricky part in the “Holy Communion Blues.” Do you want me to play that like it is?” I replied, “Mike, why don’t you play it as you hear it? Just give it to the world as a gift because that’s what it is. And that’s what you are. A gift.”
And that’s what all of you are,
too. A gift of love, from the God of love, offered to a world that continues to
be loved. Presbyterians, Roman Catholics, and none of the above. We are
protesting the ugliness that has crept into our world by making something beautiful
together. We are connecting what we’ve heard with all our best efforts to play
together. And God smiles.
(c) William G. Carter. All rights reserved.