What if preachers were as contagiously joyful in their preaching as Louis Armstrong was in his playing and singing? As rich in their sermonic renderings as Sarah Vaughan was in her musical vocals? As honest about heartache as Billie Holiday was every time she sang about the blues of life? As alluringly clear as the angelic voice of Ella Fitzgerald? As tenaciously uninhibited in the action of creating as Duke Ellington? Of course, this is too much to ask of people, even those called by God.
Throughout his thirty-year pastoral ministry, he has also served on various religious and civic committees at the local and national level..
Jones serves as adjunct professor of ethics, preaching and pastoral ministry at Andover Newton Theological School.
He is the author of several best-selling books for those seeking to grow spiritually in an ever-challenging world.
About author(s): Kirk Byron Jones (Author) Kirk Byron Jones holds a doctor of ministry degree from Emory University and a doctor of philosophy degree from Drew University.
Drawing on a deep love of Jazz and enlivening the discussion with insights drawn from the realities of African American preaching, Jones introduces readers to rich and rewarding possibilities for constructing and delivering the sermon.
After discussing the reality and role of each of these elements in jazz, and how they can be important for preaching as well, each chapter concludes with five exercises for applying the Jazz element to preaching preparation and performance.
The key elements include innovation (what one commentator refers to as the experimental disposition of jazz), improvisation, rhythm, call and response, honesty about heartaches, and delight.
No musical background is necessary; all examples are well explained and tied in with preaching.
He explains how one can dramatically improve one\'s preaching through understanding and applying key elements of the musical art form known as jazz.
However, it is not too much to ask this question: Can preaching be enhanced through the metaphor of jazz? Can an understanding of the inner dynamics of jazz--its particular forms, rules, and styles--inform one\'s practice of preaching as well? Can jazz\'s simultaneous structure and spontaneity help preachers better understand their own art? The answer to these questions, says Jones, is an unqualified yes.
What if preachers were as contagiously joyful in their preaching as Louis Armstrong was in his playing and singing? As rich in their sermonic renderings as Sarah Vaughan was in her musical vocals? As honest about heartache as Billie Holiday was every time she sang about the blues of life? As alluringly clear as the angelic voice of Ella Fitzgerald? As tenaciously uninhibited in the action of creating as Duke Ellington? Of course, this is too much to ask of people, even those called by God
