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Edgar Eugene Summerlin (b Sept 1, 1928, Marianna, FL; d. Oct 10, 2006, Rhinebeck, NY) was an American composer, jazz saxophonist, and music educator, known for pioneering liturgical jazz, avant-garde jazz, and free jazz. ==Professional career== While a graduate student at the University of North Texas College of Music, Summerlin, in 1959, composed ''Requiem for Mary Jo,'' which is widely believed to be one of the first significant uses of jazz in a liturgical service.〔John Coltrane’s ''A Love Supreme'' is held as one of the first manifestations of spirituality in jazz; Summerlin preceded that landmark album with a number of sacred jazz compositions in 1959.〕 He and his wife, Mary Elizabeth (''nee'' Bouknight), had a daughter, Mary Jo (b. April 2, 1958, Denton), who died of heart disease at age nine months on January 27, 1959, in Denton. He performed ''Requiem for Mary Jo'' May 20, 1959, during a service in the chapel at the Perkins School of Theology, Southern Methodist University.〔Lavietes, Stuart. ("Edgar Summerlin, 78, Composer Who Brought Jazz to Church" ). ''The New York Times''. Oct. 24, 2006. Retrieved 2013-03-26.〕 Bill Slack, Jr., Assistant Pastor of the First Methodist Church of Denton, who had visited the Summerlins while Mary Jo was near death in the hospital, had encouraged Summerlin to compose ''Requiem.'' Dr. Roger Ellwood Ortmayer (1916–1984), then of the Perkins School, commissioned the work.〔"Experimental Jazz Service Well Received at Premier", ''Denton Record-Chronicle'', May 21, 1959〕 That same year, still studying and teaching at North Texas, Summerlin recorded his debut LP, Liturgical Jazz, on which "Requiem for Mary Jo," was the heartbreaking centerpiece. Saturday night, February 13, 1960, NBC's ''World Wide 60'' (hosted by Chet Huntley) visited Denton to air the story of Ed Summerlin's liturgical jazz (national broadcast, NBC, Friday, February 19, 1960).〔"Jazz Church Service, NBC Tells Story of Ed Summerlin", ''Denton Record-Chronicle'', February 21, 1960〕 Summerlin's grieving and spiritual creativity inspired him to compose other liturgical jazz pieces, including * ''Episcopal Evensong'' * ''Jazz Vespers Service''〔Simosko, Vladimir; Tepperman, Barry (1971, 1996). ("His Musical Biography" ). ''Eric Dolphy: A Musical Biography and Discography''. Cambridge, MA: Da Capo Press. p. 69. ISBN 0-306-80524-3.〕 * ''Liturgy of the Holy Spirit''〔Heckman, Don. ("Edgar Summerlin, 78; Musician Wrote Jazz-Based Liturgical Works" ). ''Los Angeles Times''. Oct 13, 2006. Retrieved 2013-03-25.〕 Summerlin Music Co. (1965), piano-vocal score, 13 pgs As the sixties progressed, Summerlin gradually established himself as an ''avant-garde'' tenor saxophonist, composer and arranger. At the same time, his well-publicized prime time television debut was followed by several Sunday morning appearances throughout the 1960s on the long-running CBS series, ''Look Up and Live'',〔〔("TV Programs for the Week of December 4-10" ). ''The Palm Beach Post''. December 4, 1960.〕〔("Sunday TV Programs" ). ''The St. Petersburg Evening Independent''. January 28, 1962. Retrieved 2013-04-07.〕〔("The Celebrations" ). WorldCat. Retrieved 2013-04-01.〕 collaborating with musicians such as Freddie Hubbard,〔Feather, Leonard.(Liner notes for ''Hub Cap'' ). Blogspot. Retrieved 2013-04-01. "Freddie was featured on the Look Up and Live CBS telecasts with Summerlin, whose jazz-oriented writing for a Methodist Sunday church service created a sensation in 1959."〕 Eric Dolphy, Don Ellis, Slide Hampton, and Ron Carter,〔 as well as choreographer Anna Sokolow.〔 During this decade, Summerlin also scored two feature films, the little-known 1963 Bay of Pigs-inspired drama, ''We Shall Return'' (which, coincidentally, featured the first and only original screenplay by oft-adapted novelist Pat Frank) and the even lesser known 1967 film ''Ciao'' (written and directed by the earlier film's editor, David Tucker),〔Feather, Leonard; Gitler, Ira (1976). ("Summerlin, Edgar" ). ''The Encyclopedia of Jazz of the Seventies''. New York Press: Horizon Press. p. 319. Retrieved 2013-04-15.〕〔("1967 Films" ). ''Bianco e Nero''. Volume 29. 1968. Retrieved 2013-04-15.〕 which, after becoming the only U.S. feature film to be entered in that year's Venice Film Festival,〔〔Special to The New York Times. ("No U.S. Film Entered for Top Venice Prize" ). ''The New York Times''. August 13, 1967. Retrieved 2013-04-15.〕 failed to find a distributor and quickly disappeared from view. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ed Summerlin」の詳細全文を読む スポンサード リンク
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