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Zondervan
Finding the Groove: Discovering the Gospel in Jazz
Finding the Groove: Discovering the Gospel in Jazz
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Most American Christians take a classical approach to faith. A classical approach to Christianity is good and valuable; however, it is based on the concept of imitation and many are left desiring something more. The classical perspective engages our minds, but our hearts feel that something is missing. When we understand jazz as more than music, a fresh way of approaching our relationship with God and each other emerges for American Christianity.
This book provides a fresh approach to an old problem with Christianity in America. The body of Christ is divided across racial, economic, and denominational lines. In spite of great strides made because of Christians during the Civil Rights Movement and great efforts put forth by the body of Christ in recent years, enormous divisions prevail between churches and even within congregations. Much of this has to do with the way we approach our faith and the scriptures in America.
Historically, jazz has been key to bringing about unity in the midst of diversity. New Orleans was a city divided and yet united. It was inhabited with slave and free, Creole and colored, American and French. Yet, this was the soil in which jazz took root. And when jazz was applied to music, it united people in a way this country had never seen---people who wouldn't eat in each other's homes were playing in ensembles together or sitting side-by-side enjoying the music. Jazz makes the American motto possible: E Pluribus Unum (From the Many One).
A jazz-based faith allows followers of Christ to experience the oneness that Jesus desires for his people while at the same time recognizing that we all can know God uniquely and individually. This book moves beyond the rhetoric of reconciliation and seeks to give Christians what we need to move beyond the divides of race, class, denomination, and the modern/postmodern debate.
Jazz is more than music: It is the product of a certain set of conditions. And when these conditions converge, jazz emerges. Jazz is improvisation, syncopation, and swing---we have seen these elements applied mostly to music; however, they have also been expressed in art and literature. For example, when Ralph Ellison wrote The Invisible Man, he was writing 'in' jazz and produced one of America's greatest novels. We have yet to fully explore what could be if we applied jazz to Christianity---a faith based upon improvisation rather than imitation. By demonstrating that jazz is more than a musical art form, we will discover an alternative and complimentary approach to Christianity in America.
This book is about the conditions that allow for jazz to exist in our faith---creative tension, ensemble community, finding your voice, and learning to play by ear and soul.
This book provides a fresh approach to an old problem with Christianity in America. The body of Christ is divided across racial, economic, and denominational lines. In spite of great strides made because of Christians during the Civil Rights Movement and great efforts put forth by the body of Christ in recent years, enormous divisions prevail between churches and even within congregations. Much of this has to do with the way we approach our faith and the scriptures in America.
Historically, jazz has been key to bringing about unity in the midst of diversity. New Orleans was a city divided and yet united. It was inhabited with slave and free, Creole and colored, American and French. Yet, this was the soil in which jazz took root. And when jazz was applied to music, it united people in a way this country had never seen---people who wouldn't eat in each other's homes were playing in ensembles together or sitting side-by-side enjoying the music. Jazz makes the American motto possible: E Pluribus Unum (From the Many One).
A jazz-based faith allows followers of Christ to experience the oneness that Jesus desires for his people while at the same time recognizing that we all can know God uniquely and individually. This book moves beyond the rhetoric of reconciliation and seeks to give Christians what we need to move beyond the divides of race, class, denomination, and the modern/postmodern debate.
Jazz is more than music: It is the product of a certain set of conditions. And when these conditions converge, jazz emerges. Jazz is improvisation, syncopation, and swing---we have seen these elements applied mostly to music; however, they have also been expressed in art and literature. For example, when Ralph Ellison wrote The Invisible Man, he was writing 'in' jazz and produced one of America's greatest novels. We have yet to fully explore what could be if we applied jazz to Christianity---a faith based upon improvisation rather than imitation. By demonstrating that jazz is more than a musical art form, we will discover an alternative and complimentary approach to Christianity in America.
This book is about the conditions that allow for jazz to exist in our faith---creative tension, ensemble community, finding your voice, and learning to play by ear and soul.
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