Vocalist Jeanne Lee took a multidisciplinary approach to improvisation that incorporated dance and visual media and produced remarkable innovations in vocal sound. She remained relatively obscure throughout her 40-year professional career, Porter argues, because of her iconoclastic performance art, and because of her status as a woman, working mother, and black person. He explores the challenges to assumptions about nation, gender, and race in Lee's work, particularly in her performance of her poem "In These Last Days."
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1960s, 1970s, African American musicians, Black female vocalists, cultural politics, female improvisors, female vocalists, gender, identity politics, jazz singers, jazz social aspects, jazz vocalists, multidisciplinary musicians, perfo, race, sound poetry