The soul in Dave Brubeck's jazz

Any jazz fan who has been paying attention at all during the past half century will recognize the quirky 5/4 riff that means the Dave Brubeck Quartet is swinging into its classic "Take Five." But there's another tune the pianist keeps playing that is completely different. "Forty Days" opens with the haunting, chant-like lines that define the most famous piece in his first sacred oratorio, "The Light in the Wilderness."

"Forty days alone in the desert, days and nights of constant prayer, seeking in the wailing wind an answer to despair," sings the chorus, in verses inspired by biblical accounts of the temptations of Jesus. "Forty days of questioning: Why was he there, in the lonely desert? Forty days of fasting and prayer, searching for his destined role. ..."

Through the decades, Brubeck has struggled to talk about the private journey that has defined his faith. In the program booklet for that 1968 cantata, he explained that he was "reared as a Presbyterian by a Christian Scientist mother who attended a Methodist Church." He also stressed that three Jewish teachers shaped his life -- philosopher Irving Goleman, composer Darius Milhaud and Jesus.

"With 'The Light in the Wilderness' we were really trying to get at ... the heart of the New Testament," said Brubeck, decades after the oratorio -- with lyrics by his wife Iola -- reshaped his work as a composer. "We decided that we would try to provide contemporary settings to help people hear what Jesus was saying."

Last weekend, Brubeck came to Washington, D.C., for a White House reception, a Kennedy Center gala and all the other festivities that accompany being selected as one of the five recipients of America's highest annual award for lifetime achievement in the performing arts. The celebration took place on Brubeck's 89th birthday.

The emphasis, of course, was on his life as a jazz superstar.

"It's understandable that nobody really talked about his work in sacred music," said orchestra conductor Russell Gloyd, who is also Brubeck's longtime manager. "The problem with Dave is that he's been around so long that he's done almost everything." The religious side of Brubeck's repertoire is "something that often gets overlooked, which is sad because this music means so much to him," said Gloyd.

Not long after the pianist became famous, the husband-and-wife team wrote a large-scale work called "The New Ambassadors." It contained "They Say I Look Like God," a bluesy Gospel number written for jazz legend Louis Armstrong that combined a Gregorian chant melody with lyrics based on the book of Genesis.

That led to "The Light in the Wilderness," which was followed by two more major religious works, "Truth Has Fallen" and "The Gates of Justice," which drew on passages from the Jewish Torah and speeches by the Rev. Martin Luther King, Jr. Then there was a Spanish-tinged Christmas cantata called "La Fiesta de la Posada," the Easter cantata "Beloved Son" and a series of musical meditations based on "Pange Lingua," a Eucharistic hymn written by St. Thomas Aquinas.

Finally, the Our Sunday Visitor publishing company asked Brubeck to compose a Mass, which was completed in 1979 and given the title, "To Hope! A Celebration." The experience was so overwhelming -- Brubeck said the complete "Our Father" piece came to him in a dream -- that the composer ended up joining the Catholic Church.

The Brubecks are still hard at work. While the other Kennedy Center honorees arrived a day or two early, Gloyd noted that Brubeck was busy squeezing in another performance in a Catholic church -- performing "Canticles of Mary," which blends jazz, Gregorian chants with a new hymn written by the Brubecks.

For centuries, Brubeck once told me, the world's best composers worked to create music that would appeal to audiences in sanctuary pews as well as in elite concert halls. For him, composing a complete Mass was one of the greatest technical challenges of his career because it had to be challenging and simple at the same time.

"I really wanted it to be something that everyday people could perform," he said. "Most of the time, the faith that really matters and really affects people is the faith out in the local churches. The Mass was written for those kinds of people -- not just for professionals. ... What good is religious music if it can't be performed in churches?"

The Lion, the Witch and the Fans

Mrs. Dilber is not one of Charles Dickens' most famous characters.

Still, Ebenezer Scrooge's spunky housekeeper became a favorite of director Paul McCusker and his Radio Theatre (www.RadioTheatre.org) team during its production of "A Christmas Carol." As a tribute, characters named Dilber were written into the Father Gilbert Mysteries and "The Legend of Squanto," while a "Dilberius" appeared in a biblical series.

McCusker also decided to continue this inside joke in his first radio script for "The Lion, the Witch and the Wardrobe," turning a housekeeper named "Mrs. Macready" into yet another "Mrs. Dilber." Douglas Gresham, the stepson of author C.S. Lewis, jumped on this tiny change as soon as he saw the script.

"His logic was simple," recalled McCusker, laughing. "He said that the diehard fans will know that it's supposed to be Mrs. Macready because millions of them know these books cover to cover. Diehard fans will know we changed it and, for them, that will affect everything. Then they'll start calling and writing, wanting us to change the name back to Mrs. Macready. Why go through that?"

It was nearly a decade ago that McCusker began dramatizing "The Chronicles of Narnia," the Oxford don's fantasy series that has sold nearly 100 million copies in the past 55 years. Thus, McCusker has already worked his way through some of the creative and even theological issues faced by movie director Andrew "Shrek" Adamson and the rest of the team that has turned "The Lion, the Witch and the Wardrobe" into a $150 million epic for Walden Media and Walt Disney Studios. Adamson has also worked closely with Gresham, whose mother, American poet Joy Gresham, married Lewis late in life.

Legions of Lewis fans must realize, said McCusker, that turning books into movies requires changes. Today's digital artists can show in mere seconds what, in print, required many paragraphs to explain. Meanwhile, dramatic scenes that Lewis quickly sketched -- such as massive battles involving talking beasts and magical creatures -- will be expanded because this is what modern audiences want to see fleshed out on screen.

"You have to make choices, but you have to make careful choices. If you take a major scene out, or you make a big change in the plot of a book that is this beloved, you are going to hear about it. Just ask Peter Jackson," said McCusker, referring to the director of "The Lord of the Rings" movies.

Gresham, 60, is serving as co-producer of the Narnia project. He stressed that he has, "for 30-odd years," dedicated himself to finding artists and entrepreneurs who share his commitment to faithfully capturing the themes in his stepfather's books.

"It is my ambition to live long enough to see all seven Narnian Chronicles made into feature films," he said, during a recent visit to Washington, D.C.

Because of recent leaps in technology, insiders realized that "now is the time to make this movie," said Gresham. "If you can imagine it today, then we can film it. ... But I don't want people coming out of 'The Lion, the Witch and the Wardrobe' saying, 'Wow, what tremendous special effects.' I want people to look at each other, slightly bemused, and say, 'Where did they find a real centaur to play that role?' "

But Gresham knows that many viewers will dissect the movie's theology, even more than its production values. They will be especially tense when the Christ figure in Narnia, the lion Aslan, offers himself as a sacrifice.

In a lengthy speech after his resurrection, Aslan explains that the evil White Witch "knew the Deep Magic. But if she could have looked a little further back ... she would have known that when a willing victim who had committed no treachery was killed in a traitor's stead, the Table would crack and Death itself would start working backwards."

This is, as Time magazine noted, "Christianity in a kid-lit veil."

"They can change a speech like that a little. They may need to shorten it," stressed McCusker. "If they stay true to the spirit of what was written, people will understand what is happening. ... Lewis has woven the Christian symbolism so tightly into the story that you can't cut it out without changing the story itself. The people who love this book are simply not going to let that happen."

J.K. Rowling, Inkling?

Harry Potter froze in terror as the hellish Dementors rushed to suck out his godfather's soul. But he was not powerless, because he had learned the Patronus Charm for use against the evil ones. So the boy wizard focused on a joyful memory and shouted, "Expecto Patronum!"

Salvation arrived in the form of a dazzling silver animal that defeated the ghouls and then cantered across the surface of a lake to Harry. It was as "bright as a unicorn," but on second glance was not a unicorn. It was a majestic stag that bowed its antlered head in salute and then vanished.

If C.S. Lewis or J.R.R. Tolkien had written this scene in "The Prisoner of Azkaban," literary critics and Christian apologists would know how to break the code, according to John Granger, author of "The Hidden Key to Harry Potter." They would parse the Latin charm and study author J.K. Rowling's delicate use of medieval symbolism.

"The key is that stag, which is often a Christ symbol. But she is not content to make it a stag. It's a stag that looks like a unicorn," said Granger, who teaches Latin and Greek in Port Hadlock, Wash.

"She's saying to the reader, 'A stag may be a reach for you. So I'll have it be a stag that looks like a unicorn, since that has been a universally recognized Christ symbol for ages.' It's almost, 'Let me make this clear for you.' "

But these symbols have eluded most readers who have bought 192 million copies of these novels in 55 languages. (Rowling requested Latin.)

This weekend bookstores are serving up the first 8.5 million copies of the 768-page fifth volume, "Harry Potter and the Order of the Phoenix." The usual suspects will immediately say the usual things. Many Christians will quote Bible verses condemning magic. Academics will call the book a childish confection and analyze it as media myth and pop psychology. Librarians will give thanks that children are reading -- anything.

Granger believes they are missing the obvious: Rowling has baptized her work in medieval Christian symbols and themes that shape and define her tales of good versus evil. Potter's creator, he noted, received a superior education -- with studies in French and classical languages at the University of Exeter -- and has a working knowledge of ancient and medieval literature. She has made no effort to hide her admiration of great writers, especially Jane Austen and Lewis.

Granger has focused on her language and symbolism, in large part because of his similar studies in "Great Books" and ancient languages. He has also attempted to predict how these themes will play out in Rowling's future Potter novels.

"I started reading the Potter books as an Orthodox Christian father who had to explain to his oldest daughter why we don't read such trash," he said. "But once I started turning the pages the University of Chicago side of me kicked in."

Take that climactic scene in "The Prisoner of Azkaban," he said. The Latin "expecto," as used in the Apostles' Creed, is best translated "to look out for" or "to long for expectantly." And "patronus" means guardian, but can also mean "deliverer" or "savior." So Potter cries "I look for a savior" and a stag appears, one that looks mysteriously like a unicorn.

In the Middle Ages, noted Granger, stags were Christ symbols, in part because of the regeneration of their antlers as "living trees." A cross was often pictured in the prongs. Lewis uses a white stag in this manner in "The Chronicles of Narnia." Unicorns were also popular Christ symbols, portraying purity and strength.

Rowling repeatedly links Potter with creatures -- a phoenix, griffins, centaurs, hippogriffs, red lions -- used by centuries of Christian artists.

Her use of alchemy symbolism taps into medieval images of spiritual purification, illumination and perfection.

None of this is accidental, he said. Anyone who cares about Potter-mania must take Rowling more seriously.

"What we are seeing is a religious phenomenon taking place in a profoundly secular, profane culture," said Granger. "J.K. Rowling is pouring living water into a desert. ... She is mounting a head-on attack on a materialistic world that denies the existence of the supernatural and, so far, she is getting away with it."

Mission? Filling hole in Hollywood

Look up "mission" in a dictionary and it's clear why the word makes Hollywood nervous.

A "mission" can be "an aim in life, arising from a conviction or sense of calling." That's nice and secular. But what if "mission" means a group set apart "by a church or other religious organization to make conversions"?

So film insiders flinch when a studio's mission statement proclaims: "Walden Media believes that quality entertainment is inherently educational. We believe that by providing children, parents and educators with a wide range of great entertainment ... we can recapture young imaginations, rekindle curiosity and demonstrate the rewards of knowledge and virtue."

Say what? When a studio starts combining words such as "parents" and "virtue," Hollywood folks assume all its movies will start with a roar from Dr. James Dobson, instead of a lion. Wait, isn't that William "Book of Virtues" Bennett atop the Walden advisory committee?

"Our goal is wholesome, uplifting, family-friendly entertainment that is still competitive in the marketplace," said the Rev. Bob Beltz, director of special media projects for billionaire investor Philip Anschutz. "I'm not going to say that all of our films will be faith-based. But I can say that we hope they will all be faith-friendly. ...

"We want to be a positive influence in Hollywood. But we have to sell tickets to do that."

Take "Holes," for example, which features Louis Sachar's screenplay based on his Newbery-medal winning novel. The movie opened on 2,331 screens last weekend and soared towards $20 million at the box office.

"In a time when mainstream action is rigidly contained within formulas," noted critic Roger Ebert, "maybe there's more freedom to be found in a young people's adventure. 'Holes' jumps the rails, leaves all expectations behind and tells a story that's not funny ha-ha but funny peculiar."

Amen, said Beltz. This story does have a strange, edgy "parable-like feel to it," he said. But it is the movie's serious themes of good and evil, hope and despair, grace and judgment that are catching viewers off guard. Still, while "Holes" contains many religious themes and symbols, it never resorts to preaching. That made it perfect for this new studio.

"When you have a story like that, you don't want to add anything to it or take anything away," he said. "You just want the story to speak for itself."

Millions of American students already know about Stanley Yelnats IV, a good kid who ends up in the wrong place at the right time and is sentenced to dig holes at the hellish Camp Green Lake in West Texas. The lake is dry and the lovely town on the shore is long dead. But there are serpents, scorpions, killer lizards, bitter memories, buried secrets and enough shame to cover everybody. The sins of the fathers are literally being visited upon the sons.

On one level, "Holes" revolves around a gypsy fortuneteller's curse on Stanley's "no-good-dirty-rotten-pig-stealing-great-great-grandfather." But the emotional heart of this multi-generational tale is the divine judgment that hangs over Green Lake. The town's elite once killed an innocent black onion-picker for the crime of falling in love with a white schoolteacher.

The book spells out what the movie acts out: "That all happened 110 years ago. Since then, not one drop of rain has fallen on Green Lake. You make the decision: Whom did God punish?"

In the end the guilty are brought to justice, the innocent go free and the curses are lifted. Stanley and his friends dance as life-giving water pours from the sky onto the parched earth. The big question: Who can make it rain?

Viewers can make up their own minds about that, said educator Michael Flaherty, the president of Walden Media. But if movies are good enough, many will want to dig deeper.

"Many companies that set out to produce family entertainment make the mistake of defining themselves in terms of what they are not going to do," he said. "They say, 'Don't worry. We're not going to have any bad language in our movies.' Or they say, 'Don't worry. Our stories won't have all those bad parts.'

"We think we can do better than that. We think we can make high-quality films and still be true to our mission."