by Paul Klemperer

In its infancy, the music which came to be known as jazz was associated with the earthier, libidinous side of life. In today's parlance, the phrase would be "sex, drugs and rock n' roll." As the music gained wider popularity among listeners of a higher income bracket, it gradually received the sanction of the self-appointed guardians of social morality.

On a parallel track, jazz slowly was accepted as an art form as well as a popular music. Generally speaking, popular music is geared toward entertainment, often as dance music, whereas art music is assumed to address deeper or more refined areas of the soul. In academic circles this was commonly referred to as the difference between "high" and "low" art. For decades, however, jazz confounded this difference, revealing for those listeners whose ears and hearts were open enough to comprehend it that the music transcended such socially defined musical categories.

For this reason jazz has often been described as the most democratic of musics. It is open to all, it can incorporate all manner of musical traditions from around the world, it sets its own limits and then breaks them, moving beyond mundane pigeonholes. Just the other day I tuned the radio to the local classical station, KMFA, only to be pleasantly surprised by Duke Ellington's orchestral work "Harlem," a long-overdue experience.

The transcendent character of jazz is also revealed in the dichotomy between sacred and secular music. It is no longer uncommon to hear jazz used as the vehicle for a sacred text or theme in formal worship. The gospel music tradition has shared a symbiotic relationship with jazz for about a century now, and composers of religious music increasingly tap the jazz reservoir for inspiration.

But there is a more immediate and profound spirituality in jazz that speaks to us even without the mediation of overtly religious themes. Jazz, by nature, is a spiritual music. It expresses the innate joy of the soul, as well as the complexities of the mind, the multiple levels of what it means to be human. In retrospect it is easier for us now to understand how the yearning for freedom and the celebration of life which explodes out of this music was considered shocking and sinful by earlier generations. But it is not the nature of jazz that has changed; rather jazz, as a kind of spiritual mirror, has helped us to better understand and accept ourselves.

With this in mind, it is pleasing to see a growing trend in Austin, the sponsoring of jazz events by local houses of worship. The Unitarian Universalist and Presbyterian churches here have supported various jazz-related shows. The Unitarians have a long and distinguished history of supporting progressive aspects of our culture; it's always a good idea to keep an eye out for their calendar of events.

Another bright spot on the cultural landscape is the Jazz at St. James concert series, now entering its fourth year. The original idea for the series came from Bill Miller, priest at St. James Episcopal Church. For one weekend each year St. James hosts an eclectic set of "jazz showcases, education, and spirituality," culminating in a jazz mass. The community response has been very positive. Last year's series sold out and over 1,000 people attended, with audience members ranging from the young to the old and coming from as far away as La Grange and Marble Falls, according to church administrator Kenny Tennyson.

This year the weekend starts with a Billie Holiday tribute, featuring Pamela Hart, Beth Ullman and Karen Chavis, backed by the Jeff Helmer Quartet, beginning at 8pm. on Friday, November 6. Saturday morning at 10am there will be a free jazz master class with world renowned saxophonist David "Fathead" Newman, open to jazz student-musicians of all ages. Saturday evening at 8pm Mr. Newman will appear in concert with local piano hero James Polk. Also appearing are Leaning House recording artist Fredrick Sanders, and vocalist Pamela Hart.

The weekend concludes with a jazz mass on Sunday, November 8. "Everyone Prays in His Own Language" is the theme, and the music is based on excerpts from several masses written by Duke Ellington. Three masses will be held, at 8am, 10am, and 7pm, and will feature David Newman, as well as Fredrick Sanders, Boyd Vance, Hope Morgan and Margaret Wright. Concert tickets are available at St. James Episcopal Church (3701 East Martin Luther King, Jr. Boulevard), and at the door each evening. For more information, call (512) 926-6339, or visit the St. James web site.