Sermon copyright (c) 2024 Dan Harper. As delivered to First Parish in Cohasset. As usual, the sermon as delivered contained substantial improvisation.
For the reading this morning, we heard a poem [“Inward Music” by Everett Hoagland, 2014] that retold a story that happened to a fellow named Tom Stites. Tom Stites is a journalist, now retired, who served on the editorial staffs of the New York Times, the Chicago Tribune, and the Kansas City Times. At the end of his career, Stites served as the president of The Banyan Project, a nonprofit devoted to starting new news outlets in so-called news deserts. Stites has described himself as a journalist who has “a passion for strengthening journalism, democracy and justice.”
Stites started his career editing a small magazine called “Jazz” that was (not surprisingly) devoted to coverage of jazz. So Tom Stites’s career path led from jazz, to strengthening democracy. You might keep that in mind while I talk with you about what Stites thought about Freddie Green, about the leadership style of jazz guitarist Freddie Green, and how Freddie Green might serve as a model for leadership in our currently polarized democracy.
Freddie Green played in Count Basie’s big band for fifty years, from 1937 until Green’s death in 1987. Count Basie’s big band was one of the most important jazz ensembles in the world through the mid-twentieth century. To better tell you about Freddie Green’s leadership style, let me describe what Count Basie’s big band looked like.
Let’s take for a representative example an online video of Basie’s big band performing the tune “Corner Pocket” in Stockholm in 1962. At stage right, Basie himself sat behind his concert grand piano, which was about eight feet long. The bassist, playing an upright bass, stood in curve of the piano, and the drummer sat on an elevated platform behind the bassist and to his left. Then to the drummer’s left sat the horn players: four trumpets in the back, another trumpet and two trombones in the middle rank, and then five saxophones — alto, tenor, and baritone — along the front. When a horn player took a solo, he would step out front and center and stand in the spotlight while he played.
And right in the middle of everything sat Freddie Green — right in front of the drummer and next to the middle rank of horns. He sat there playing his big acoustic archtop guitar, occasionally glancing at Count Basie at the piano. It’s hard to hear Green’s playing on this video, but given where he sat, every other band member would have been able to hear him.
As I sat there watching this online video, I asked myself, who kept this ensemble together? Who kept the rhythm going? Who transmitted the subtle harmonic shifts to everyone else? Count Basie, the ostensible band leader, sat at his piano at stage right. But the speed of sound is relatively slow, so if you’re way over on stage right, the musicians playing way over on stage left would have sounded as though they’re playing about a quarter of a beat behind you; which makes it hard to keep everyone in time. Nor did Basie do what many band leaders do, and conduct with his hands or a baton — his hands were busy on the piano.
Here’s what I think happened: Count Basie was playing the piano, setting the tempo, and sketching out the basic harmony. The drummer echoed Basie’s rhythm, mostly on his high hats (those little double cymbals that drummers operate with a foot pedal). The bass player rooted the most important notes of the harmony. But it was Freddie Green, sitting right there in the middle, who really picked up both the rhythm and harmony from Count Basie and communicates it to the dozen or so horn players. Count Basie was the band leader, but Freddie Green, sitting in the center, was the one who everyone together, was the one whom they called the heartbeat of the band.
Jazz is one of the most democratic of all musical forms. Theoretically, anyone in a jazz band can take a solo; thus there is equal opportunity for everyone in the band, depending solely on their individual abilities and talents. But unlike other guitarists of the swing era — Charlie Christian, for example — Freddie Green almost never took a solo. He found a different role for himself, the musically satisfying role of ensuring that all the other players stayed together. This is the other way in which jazz is one of the most democratic of musical forms — anyone can take a solo, yet at the same time musicians can choose to devote themselves solely to supporting the whole ensemble. Jazz balances individual achievement with the needs of the whole, coming down neither on the side of hyper-individualism nor faceless collectivism. This balance is exactly what we hope for in a democracy.
So far, I’ve mostly been talking about the mechanics of jazz, and by analogy about the mechanics of democracy. Now let me speak with you about the spiritual dimension to all of this.
In this morning’s reading, the poet has his fictional narrator ask himself, “What [or] who guides my riffs on the / arrangements life plays out for me? How do I harmonize with / my own Higher Power?” Part of the poet’s answer lies in the title to the poem, “Inward Music.” You can think of this inward music as a literal phenomenon, or as a metaphor for something else. But it is this inward music, which we may not consciously hear, but which keeps us in time and in tune with a greater purpose. It is this inward music that connects us with something larger and better than our individual selves.
The Transcendentalist philosopher Henry David Thoreau famously wrote: “If a man does not keep pace with his companions, perhaps it is because he hears a different drummer. Let him step to the music which he hears, however measured or far away.” Thoreau wrote this passage in 1854, a decade before the Civil War, at a time when our democracy was facing perhaps the greatest threat to democracy we have yet faced, when we as a country faced up to the immorality of race-based chattel slavery. Although Thoreau’s image of the different drummer is often interpreted today to support a philosophy of hyper-individualism, in fact Thoreau was saying that in his time too many people did not listen to the inward music that comes from something larger than ourselves. Too many people in Thoreau’s day allowed chattel slavery to continue. By so doing they ignored the call of humanity, of ethics, of a love greater than individual gain. That is, the supporters of slavery listened to their own desire for personal gain, rather than an inward music which demanded an end to slavery.
This brings us back to the problem of leadership. It is dangerous to allow leadership to remain solely in the hands of the soloists who stand in the spotlight. If the only leaders are those soloists, we can get into trouble if they stop listening to the inward music, and instead start playing solely out of a desire for personal achievement, for personal recognition. The soloists may be the most prominent leaders in a big band, but it’s the musicians like Freddie Green who keep the band going through the changes in the soloists.
You can see where I’m going with this. Think about American democracy today as being a little like Count Basie’s big band. American democracy does in fact need the kind of leaders who can serve as soloists, using their unique talents to inspire and move the rest of us. But American democracy also need many more leaders who keep us working in harmony with each other. That is, we need leaders who help remind us of the inward music that holds everything together. Right now, American democracy has plenty of people who want to be soloists. There are many in our current crop of politicians who want to be soloists. They want to be the person who gets out in front of the rest of the band, with the spotlight shining on them, while they show off their chops. It’s not just politicians, it’s also a great many ordinary people who want to be the one who has the spotlight shining on them. We have plenty of soloists; now e need the leaders who will keep us all together.
Freddie Green’s leadership role in Count Basie’s band can serve as an analogy for other human institutions. Groups of humans do seem to need a few people as visible leaders, the people out in the spotlight. Just as important are those people who keep everything going without stepping out into the spotlight. Just so, Freddie Green connected the members of Count Basie’s band together, first by listening to those around him. The first step is always listening. Then based on what he heard, Green helped everyone else stay together by spinning out rhythms and harmonies the others could easily follow. The soloists are important, but it’s the rhythm section that really keeps the band together.
Why is it that in today’s American society we have so many soloists, and so few people in the rhythm section? Perhaps we of the American public are at fault. We, the American public, pay most attention to the handful of leaders, especially the most prominent elected leaders — the U.S. president, Supreme Court justices, congresspeople, and so on. But the president is only person, and as such can only do so much; far more important than the person of the president are cabinet members, aides, researchers, advisors, diplomats, civil servants, bureaucrats, and others who serve in the executive branch. Many of these people continue from one administration to the next, which is actually a good thing. Not only would it be too disruptive to bring in hundreds of new civil servants every four to eight years, but if we did so the rule of law and the stability of the country would be at risk.
Celebrity culture and social media have trained us to see the few people who live in the spotlight. We admire Taylor Swift, but ignore the other musicians she plays with, ignore the fashion designers and producers and technicians who make her performances possible. We forget that the person in the spotlight is merely one miniscule part of a vast interconnected web of humanity.
Yet it seems to have always been like this. The medieval Persian poet Jalal al-Din Muhammad Rumi took notice of this same phenomenon. In ghazal 1195, Rumi wrote about how we humans forget to listen to the inward music. A popular translation of this ghazal puts it this way: “We rarely hear the inward music, / but we’re all dancing to it nevertheless” [Coleman Barks, The Essential Rumi, p. 106] But I prefer a more literal translation, which goes like this: “In every heart there is a different note and rhythm, all stamping feet outwardly, the musicians hidden like a secret.” [trans. A.J. Arberry, Mystical Poems of Rumi, p. 168] We are all individuals, yes. We all have our own notes and rhythms. And it is the “musicians hidden like a secret” who keep us connected. They may be hidden in plain sight, but it is those hidden musicians who tie us all together, we maintain our essential interconnection. Those hidden musicians — whatever Rumi means by that — they are the cosmic version of Freddie Green. Just as Freddie Green was the heartbeat of Count Basie’s band, those cosmic musicians are the heartbeat of humanity. From that musical heartbeat arises the concert of all being.
We have to listen to that which transcends our individual selves; listen to that music which is larger than our limited individual beings. We can hear this universal music inwardly, not through our ears, but through our souls, whatever we might mean by the words “souls.” And whatever we might mean by “universal music.” Perhaps it would be better to say that we hear this vast connective power, not as music, not through our physical ears, but as something we sense with our intuition. We can somehow feel it when we are moving in rhythm with that which is larger than our selves. And then when we are not moving in that cosmic rhythm, life feels discordant and unpleasant.
Like the young Tom Stites in the reading, maybe we could criticize the cosmic band leader for failing to sufficiently amplify the cosmic rhythm guitarist. Because it is actually quite difficult to listen to the cosmic musicians who are supposed to keep us in harmony and in rhythm. We are constantly distracted by the demands of daily life. This is the struggle our leaders face. They are supposed to stay in harmony with the universe, but how can you listen for that inward music when you are distracted by all the day-to-day tasks that simply must get done? This is true of all of us. How can we stay in harmony with the universe, when we are constantly distracted by the demands of our jobs, our families, our volunteer responsibilities, all the endless tasks that somehow seem to fill our days, leaving little time to listen?
Yet we must try. We must remind ourselves constantly that there is something larger than our individual lives. We can remain part of the universal wholeness, if we would but listen: listen to the heartbeat of humanity; listen to one another.
