Alice Coltrane was a composer, performer, guru, and the widow of John Coltrane. Over the course of her musical life, she synthesized a wide range of musical genres including gospel, rhythm and blues, bebop, free jazz, Indian devotional song, and Western art music. Franya Berkman's book, Monument Eternal: The Music of Alice Coltrane (Wesleyan University Press, 2010), illuminates her music and explores American religious practices in the second half of the twentieth century. The talk by Dr.
As jazz continues to migrate across national, ethnic, and cultural borders, jazz festivals function as physical and symbolic spaces where the dynamics between the vernacular and the cosmopolitan are put into play. In this talk, Dr. Anne C. Dvinge of the University of Copenhagen takes a closer look at jazz festivals, and specifically the Copenhagen Jazz Festival, as manifestations of this double sense of the cosmopolitan and the vernacular, where jazz enters into dialogue with local music cultures.
George Lewis performs with the League of Electronic Musical Urban Robots (LEMUR) at the 3-Legged Dog, New York, May 31, 2007.
My body goes here
Jazz Studies Online: You're from New York. What kept you here when you decided to pursue a career as a jazz musician? What features did the city offer then that others did not? Given that you stayed in New York (or nearby) have your motivations for being here changed?
Blues, Up and Down: From the Mississippi Mud to the Avant-Garde. Olu Dara performs at the Studio Museum in Harlem, April 24, 2007.
William Lowe interviews Olu Dara at the Studio Museum in Harlem, April 24, 2007.
Gwen Ansell discusses the strategies that South African musicians and radio stations used to overcome the apartheid regime's efforts at cultural cleansing by introducing black audiences to jazz, and thus making jazz "the quintessential music of struggle" in that country. Click here for Part II.
South Africa is unusual in that jazz is the center of a lively popular music culture in that country, and not just a niche market. A major part of the South African jazz audience are members of organizations known as stockvels, which are part savings clubs, part music appreciation societies, and part social networking and patronage hubs. Gatherings there typically involve not only listening to jazz records, but improvising dance performances to them.