Author: Jerome Sharpe

[Jazz, Artistic Practice and Spirituality] 

Introduction 

Music has long been recognised as a powerful medium of expression, capable of evoking deep emotions and transcending cultural and temporal boundaries. Jazz has become a genre played by many musicians that display a profound expression of cultural identity, personal emotion, and, significantly, spirituality; spirituality that encompasses a broad spectrum of experiences and beliefs; that connect individuals to something greater than themselves, whether it be a higher power, the universe, or their own inner depths. 

Emerging in the early 20th century within African American communities, jazz has grown into a global phenomenon, celebrated for its improvisational nature and emotional depth. The relationship between spirituality and music in the context of jazz is especially rich, offering insights into how artistic practice can serve as a conduit for spiritual exploration and expression. 

History Of Jazz 

The roots of jazz are deeply intertwined with African American traditions, which include elements of gospel and blues. These genres were born out of the African American experience, often touching on themes of suffering, resilience, hope, and a longing for freedom, earning the name ‘music of resilience’ (2022) or ‘movement art’ (p. 40, 2016). These elements of spiritual expression were central to the music of enslaved Africans in America, serving both as a means of coping with hardship and as a tool for emancipation. 

The blues, a precursor to jazz, was characterised by its expressive vocals and melancholic melodies. It was a direct reflection of the African American experience, often dealing with themes of love, loss, and hardship. Gospel music, with its roots in black churches, emphasised communal participation and spiritual enrichment. These musical traditions laid the groundwork for the development of jazz, infusing it with a deep sense of spirituality and emotional resonance. 

As jazz evolved, it retained these spiritual elements. The improvisational aspect of jazz, which allows musicians to express their innermost thoughts and feelings spontaneously, can be seen as a form of spiritual practice. This improvisation is akin to a spiritual journey, where the musician navigates through uncharted territories of creativity and emotion, often resulting in moments of profound insight and connection. 

Jazz and Spirituality 

Jazz and spirituality intertwine profoundly, revealing a rich tapestry of cultural, emotional, and philosophical connections. Many jazz artists carry these connections to their artistic practices, and deep connection to one’s instrument can help guide musicians during improvisation to express themselves freely in a state of flow.

Musicians infuse their performances with spiritual significance, transforming music into a medium for transcendent experiences, communal solidarity, and personal reflection. By examining the symbiotic relationship between jazz and spirituality, we uncover the genre’s ability to evoke profound human emotions and connect listeners to broader metaphysical concepts. Two artists whose spirituality is especially interwoven are Alice Coltrane and Pharoah Sanders.

Alice Coltrane’s legacy is often obscured by the shadow of her iconic husband, John Coltrane, however the depths of spirituality that Alice came to know are next to none. Religion played an enormous role in both her life and work ‘…the importance of spirituality of the individual being and diversity in praising God, would permeate her life and music until her death'(p. 76, 2010). After the death of her soul mate, she devoted much of her time to isolation, studying eastern philosophies under Hindu Yogis and reading scriptures. Themes of grief, growth and love ooze out of her work from this period, especially on records like ‘Ptah, the El Daoud’ or ‘Journey In Satchidananda’.

‘Kirtan: Turiya Sings’ is a collection of nine tracks comprised of Coltrane singing in Sanskrit whilst a Wurlitzer organ. Upon first listen, it quite quickly becomes clear that this is music with a higher purpose. Coltrane’s spectacular vocals are consistently the high points of this record, speaking volumes as this was her first release with her vocal takes the fore. This becomes especially evident in tracks like “Krishna Krishna” and “Hara Siva,” where her voice carries a meditative, almost transcendent quality that elevates the spiritual essence of the album. The minimalist arrangement, centered around the Wurlitzer organ, creates a serene backdrop that allows Coltrane’s voice to shine and convey a sense of devotion and peace. This album not only showcases her vocal prowess but also her deep spiritual commitment.

Pharoah Sanders is renowned for his meditative offerings to free jazz, especially in his 1977 album ‘Pharoah’ and his contributions to the 2021 project ‘Promises’. Sanders has also become a master of timbre and will go down as one of the most guttural saxophonists in all of jazz, with works like ‘You’ve Got To Have Freedom’, ‘Black Unity,’ and ‘The Creator Has a Master Plan’ showcasing his deep spiritual and musical intensity thanks to his multiphonic technique. His work embodies a deep sense of spiritual quest and the pursuit of transcendence through music.

Artist Practice, Improvisation and Healing 

Many jazz musicians view their art as a form of spiritual practice. The act of improvisation can be seen as a meditative process that requires deep concentration, presence, and a connection to something greater than oneself. Musicians often describe moments of transcendence while playing, where they feel a sense of unity with their fellow musicians and the audience. This state, sometimes referred to as being “in the zone” or experiencing “flow,” is akin to the spiritual experiences described in various religious traditions, ‘there is a sense of something bigger than the musicians that is outside of them, but that they can access.'(2023). 

Andre 3000 followed in the footsteps of spiritual jazz with his new album ‘New Blue Sun’ and is often seen in public parks or laundromats practicing his flute. In an interview, Andre 3000 described how stepping improvisation was both a way of seeking inner peace and facing the expectations of changing styles drastically after a long career in hip-hop. This shift allowed him to be confident in his expression once he reached a state of flow, ultimately improving his mental well-being and creating a deeper connection to himself and the other musicians who were part of the process. His public performances demonstrate how spirituality and artistic practice can intersect in daily life, creating opportunities for personal growth and communal connection.

The improvisational nature of jazz makes it particularly effective in therapeutic settings, as it allows for flexibility and adaptability in addressing individual needs. It can provide a sense of comfort and solace, offering an emotional outlet for those dealing with trauma or grief. The expressive and cathartic qualities of jazz make it a powerful medium for processing complex emotions and finding inner peace. This therapeutic potential highlights the deep connection between jazz, spirituality, and healing. Jazz has also been used as a tool for healing, both physically and emotionally. Music therapy, which often incorporates jazz elements, has been shown to reduce stress, alleviate pain, and improve overall well-being.  

Conclusion 

The relationship between spirituality and jazz in artistic practice is profound and multifaceted. Jazz, with its roots in African American spiritual traditions, has always been more than just a musical form; it is a means of exploring and expressing the deepest aspects of the human condition. Through its improvisational nature, jazz allows musicians to engage in a form of musical transcendence, where they can enter states of flow and connect with the collective unconscious. 

The works of iconic jazz musicians like Alice Coltrane and Pharaoh Sanders exemplify how jazz can serve as a medium for spiritual exploration and expression. Contemporary artists, like Andre 3000, continue to draw on these traditions, incorporating elements of spirituality into their performances and compositions. Jazz festivals and communal performances further highlight the genre’s ability to foster spiritual communion and collective celebration. 

In conclusion, jazz is a powerful medium for spiritual expression, offering a unique pathway for individuals to connect with themselves, each other, and the transcendent. As the genre continues to evolve, its spiritual essence remains a vital and enduring aspect, reflecting the timeless and universal quest for meaning and connection through music. 

References

https://www.npr.org/2023/11/14/1212661071/andre-3000-album

Brown L. (2010). John Coltrane and Black America’s Quest for Freedom: Spirituality and the Music. United States: Oxford University Press, USA.

Edgar W. (2022). A Supreme Love: The Music of Jazz and the Hope of the Gospel. United Kingdom: InterVarsity Press.

Rabaka R. (2016). Civil Rights Music: The Soundtracks of the Civil Rights Movement. United States: Lexington Books.

Reynolds, N. (2023). Charting the Spiritual Experience in Jazz. Religions. 14. 842. https://doi.org/10.3390/rel14070842

working as a group

Overall, I would say that working with the group has been quite successful. Going into this project I wanted to try and pursue a different sound than what I am used to. I already found Kit, Tal and Mouses work intriguing and wanted to know what it would be like to work and bounce ideas around with them. We had lots of great discussions in class about the topics and themes we would like to explore, including folk lore, spring equinox, changing seasons linking to changing frequencies and the act of broadcasting itself. These conversations have proved very useful as they led us to a great concept that we could draw lots of inspiration from. Mouse has been a great group leader and she has been very organised, creating google docs for us to share ideas and other elements we had recorded.

To be quite frank, I have been busy working on other, more time restrictive projects throughout this unit and therefore have been unable to give this project the level of attention and time that I would have liked to. However, I am happy with the work that I have produced, it compliments the pieces that the others in the group have made. The work as a whole sounds unified, showing that we all had similar visions of where we wanted the project to go. I think this is because of the strong concept we created for ourselves to fall back on if we were ever unsure where to take our pieces.

individual piece

As I have mentioned in some blog posts, my production process has changed a lot in recent months. Previously, I was using digital synths and DAWs on my laptop, which I felt quite restrictive. I criticised every note and its placement, as it could be edited at any moment, nothing was permanent. Now that I use more analogue equipment, I take a much more relaxed approach. I feel a sense of freedom when recording and allow for my mind and work to ebb and flow, adding up to, what I think to be a healthier practice. I prefer the tactile, physical nature of hardware and it adds a deeper level of connection to my works. The more improvisational style I have found works well in this context as it parallels the unexpected nature of tuning through the radio frequencies.

This piece was made with my Arturia Minibrute 2 running through a chain that included looper, pitch shift, delay, reverb and EQ pedals. I started off making an extended version using the whole text to get the overarching tone right, then I shortened the piece down to fit into the four minute slot that we each had on the broadcast. A field recording of a blustering wind is played at the beginning, paired with a droning synthesiser loop as to communicate the cold isolation that comes with the winter months. I made the decision to focus more on textural and harmonic elements in this piece rather than focusing on melody, as I thought that it would help to convey the barrenness of winter. As the drone grows and the winds die down, footsteps can be heard, signifying the resilience of human life. This leads us into bird songs that were captured by mouse are which suggest the beginning of spring.

I wanted to have the track slowly build throughout, similar to the feeling of wanting winter to come to an end. but I had no intention of having a release for this building tension because in nature the movements are subtle and often times go unnoticed, which is what I wanted to reflect in my work. The analogue textures are heightened when heard back through the radio. The transmission adds a layer of distortion which I think help to gel the vocal and instrumental tracks.

set up/ themes

The set up for recording involved three laptops and two radios. One laptop was transmitting our instrumental work, the second transmitting the text. The third radio was transmitting additional sound effects onto a different frequency that was tuned to throughout the piece, bringing in a layer of interference and other broadcasts. The two radios were then recorded with a H5 to create the final piece. The radios were placed in a way that gave a full panned stereo effect. This method was used to utilise the unique properties of radio to their full capability. Having transmission as a large part of the piece, it allowed us to welcome interference and other broadcasts.

Although I am very pleased with our work, I definitely would have liked to utilise the tuning if radio more frequently than we did, but we can lean into this idea more if we have the chance to performance live for radio.