Jazz Is A Spirit - Exploring The Spiritual Process of Jazz Artist - Terry Lyne Carrington - IAJE 2003 Panel Proposal

Why?

I got the idea of making my current CD about the spirit of jazz after a conversation with Dianne Reeves about Abbey Lincoln’s declaration at a panel discussion that jazz is a spirit. This phrase and concept never left me. After titling my CD the same name, I decided to take it one step further and do some research to see how other musicians felt about the this idea. I began a series of interviews, starting with Herbie Hancock, Mike Stern, Wallace Roney, Kirk Whalum, and John Pattitucci. My idea is to talk with people of different faiths or religious backgrounds in order to share their outlook on this personal subject and to see where they may be some common ground between them.

As a kid playing jazz, I constantly heard people referring to certain artist’ music as being spiritual. (i.e. John Coltrane, Pharoah Sanders, McCoy Tyner, …) I understood this on an intellectual level, but could not relate this to my own playing. Sometimes I even felt that it was a “catch all” category to say that someone’s music was spiritual. If someone said that about a player, I wanted to say, “What does that mean?” especially since a lot of jazz is without words. I came to understand this as simply how it affected the listener. But I wanted to be spiritual in my life and in my music too. I felt somewhat left out of “the club.” So, thus started my search for my own spiritual identification. During my quest for deeper faith and higher spiritual understanding I have read various books that refer to something I have heard described as “new age” religion or lumped into the category of metaphysics. Though, I believe in a universal truth that is the foundation of many philosophies, I respect and admire the convictions of others on a more defined path. Without all of these steps I would not have arrived here at the place of trying to put these two aspects of spirituality and music together. In trying to find the commonality of these two realms, with the help of my friends and colleagues, I feel that we can ask some interesting questions and explore an area that is not always considered important. But we do know how important the spiritual aspect is to art. It could not exist in the way we know it without the navigation of something greater than ourselves.

Jazz has brought to the forefront many incredible personalities and flavors. The style and charisma of jazz musicians has always been very important. It’s not that we all dress in the same style or use the same slang (thought most “jazzers” say “cats”) or even agree on the same “cats,” but we have common ground that the umbrella of creative jazz has provided. I attest this to the spirit of the music. It reaches down and touches our soul and brings forth a joy that wells up from the depth of our being. Our evil ways are halted, if only briefly, and our lame attitudes change, if only momentarily. The hardest man is softened while listening to, experiencing or testifying about jazz. Our dark cloud seizes to cast a shadow while in the light of jazz. The spirit of the music is that powerful to all that it touches and the artists who perform it are in tune to something that is very difficult to put into words. It is considered, by many, a spiritual process. Artists are constantly trying to access this place within. It is my interest to find out more about their spiritual beliefs and how it relates to their artistry. Exploring this further would be what this panel discussion is about.

What?

This panel will explore different ideas regarding how one’s spirituality is integrated with one’s artistry as a jazz musician or composer. These are questions I will ask:

When improvising, do you consciously think about your connection with a higher power or is it always there naturally without any conscious thought?

Do you believe that the musical talent is “God given” or a “gift” and if so is gratitude or praise a part of your expression? How does this differ from sacred music artist? And is it harder to express this playing jazz opposed to sacred music? Does this spiritual realm explain talent that may be considered “natural?”

Do you feel that you can identify a person who plays with regard to the spiritual realm opposed to one who may not?

I personally feel that even the person that does not believe they are spiritual can not avoid spirituality because of it’s connection with nature (at least in Eastern based philosophies), and human beings cannot disconnect from nature. So there is a spiritual level of connection with all things that share life. Could we make a similar analogy in music? Could “gifted” artist be tapping into this spiritual pool without awareness?

When you write a piece of music, do you consciously think about a higher spirit or message? If so, how does it affect your interpretation of this piece? Do spiritually conscious artist have a responsibility to promote spiritual consciousness?

In the book, The Power of Now, Eckardt Tolle speaks about a consciousness of the moment, of the now, that I sometimes reach while playing music, one of the only times my mind is not interrupting me with thoughts. Similarly, states achieved through meditation evoke this sense of awareness as well. Is this more “non active” consciousness less powerful or less responsible than a more “active” kind of consciousness?

As history has shown us and how today’s events continue to show us, no matter how hard people may try to separate them, religion and politics are intertwined. So, I feel it is no coincidence that some of our noted politically conscious artists are spiritually conscious as well and vice versa. How do you see politics affecting spirituality in your own music or in the whole community? Can they really be separate?

In many cultures, spirituality directly affects the music, whereas melodies or rhythms are played for and identifiable in relation to certain Gods. Most people agree that the birth of jazz was influenced by both African music and European music. Was the spirituality aspect lost or watered down in this merger? Would jazz have had the same universal appeal if there had of been more of the Africa spiritual influence?

I have heard the advice (which I do not prescribe to); two subjects to stay away from when meeting someone are religion and politics. Can it be detrimental at all to get too far into an artist’s spiritual beliefs? May it affect our opinion of the artist whether we agree or disagree with them? Jazz is a universal language and can act as a global ambassador in bringing people together. For this sake, is there an argument for it and its image to be neutral to religion and politics?

Who?

For this panel, it would be important to have people of different religious backgrounds or philosophies. Of course I have a wish list and could reach out to all of the people listed below, but am not sure the reality of schedules and logistics this far in advance.

Dianne Reeves – has many thoughts on this subject and articulates them well, extensive religious background and knowledge
John Pattitucci – Spiritually based artist
Randy Weston – lived and studied spirituality and music in West Africa.
Rodney Jones – latest CD, Soul Manifesto, talks about his spiritual philosophy
Me’Shell Ndege Ocello – noted for her blend of religion and politics, respected in the jazz community, knowledgeable and articulate in jazz culture
Robin Eubanks – Buddhist philosophy evident in his music
Michelle Rosewoman – incorporates Santeria in her music
Bob Sadin – composer
Others - Danillo Perez, Abe Laboriel, Kirk Whalum, Bill Summers, Buster Williams, Rachel Z.

Other panel title possibilities:

Jazz Is A Spirit: Exploring Where Spirituality Meets Creativity
Jazz Is A Spirit: Exploring how Spirituality Effects the Creative Process
Jazz Is A Spirit: Exploring how Spirituality Effects Creativity
Jazz Is A Spirit: Exploring how Spirituality Effects the Creative Process of Jazz Artist
Jazz Is A Spirit: Exploring the Spirituality of Jazz Artists
*Jazz Is A Spirit: Exploring how Spirituality Effects the Creativity of Jazz Artist
*Jazz Is A Spirit: Exploring how Spirituality Effects (Our) Artistry
Jazz Is A Spirit: How Spirituality Effects the Creativity of Jazz Artist

40-word description: Jazz artists are in tune to something that is very difficult to put into words. We will talk with artists of different religious backgrounds to find out more about their spiritual beliefs and how it relates to their artistry.

Terri Lyne Carrington Biography

Drummer, composer, producer and clinician, Terri Lyne Carrington, developed a reputation as a child prodigy, jamming with jazz veterans. At 11, she received a full scholarship to Berklee College of Music and in 1983 began working in New York with Clark Terry, Stan Getz and Cassandra Wilson. In 1989, she became the drummer for the "Arsenio Hall Show” and later for the “Vibe” show in 1997. Her debut CD, "Real Life Story," was nominated for a Grammy Award, though Terri is most noted for touring and recording with Herbie Hancock and Wayne Shorter. Her current CD, “Jazz Is A Spirit” has been released on the ACT Music label.