I’ve long been interested in the connections between music and spirituality – however you choose to define it. I don’t pretend to have any spiritual answers, or even any concrete beliefs. However, I do find that in my own experience, it’s impossible for me to separate music from life. Issues and questions I have outside of music inevitably find their expression in my composition or improvisation. In fact, I think music can serve as the perfect laboratory for observing and learning about oneself, and an excellent and worthwhile way to practice living a spiritually-fulfilled life. Through studying and making music, it’s possible to also learn about the creative process, perseverance and discipline, ego and fear, ethics and integrity, collaboration and altruism, and the quest for meaning.
If music were a spiritual university, stage-fright and career-jealousy could be the introductory courses “Ego 101/102”. Your teacher could mark you down a whole letter grade in “Basic Decency in the Contemporary Rock Band” if you didn’t help the drummer pack up after the gig. And your GPA would be based not on how well you play your instrument but on how how pure your relationship to it remained…the day you learned to play like it like a complete beginner, you would graduate.
Anyway, here are few gems I’ve found online – some clips of a few of my favorite musicians sharing their own thoughts on music and spirituality. Hope you find some inspiration in these clips, and feel free to ignore the parts that don’t appeal to you and reinterpret the parts that do. Continue reading →
This is an incredible resource: Herbie Hancock’s entertaining and enlightening Harvard Norton lectures, covering jazz, Buddhism, and wisdom earned from a lifetime in music. I’ll be coming back to these videos for inspiration and guidance throughout my life. Enjoy!
I’m currently reading An Indigenous People’s History of the US by Roxanne Dunbar-Ortiz, and one of the main takeaways is that settler-colonialism is an ongoing process in the US, not a relic from our past. The conflict over the Dakota Access Pipeline (DAPL), which infringes on the sovereignty of Indians in the Standing Rock reservation and threatens their water supply, demonstrates that fact dramatically. And as families all over the country sat down to commemorate a holiday celebrating a fantasy of Pilgrim-Indian collaboration, the world was stunned by the spectacle of non-violent protesters being brutally repressed with tear gas, rubber bullets, dogs, concussion grenades, batons, and water cannons in subzero temperatures. The ideology of Manifest Destiny has to go. The problem is – what to do we do about all of the groundbreaking, masterful works of art that served to justify, celebrate or shape this genocidal ideology?
I’ve loved Appalachian Spring, Aaron Copland’s landmark Pulitzer-Prize winning ballet, for years. It’s an extremely influential and popular piece, and its impact can be felt in popular film scores, classic and modern, from Elmer Bernstein’s To Kill a Mockingbird to Thomas Newman’s Little Women, and especially John Williams’ Lincoln. I was studying and analyzing Appalachian Spring this month when my growing awareness of the #NoDAPL Movement prompted me to think about the piece in a completely different way.
It has been a troubling and depressing week for many of us in the US as we reckon with the results of last Tuesday’s election. It’s made it hard for me to focus on music. And when I do think about music, I find myself taking a step back and contemplating: what exactly is music for? What does it mean to people who are engaged in a struggle simply for existence, dignity, material comfort and self-determination? I think one of the reasons jazz is so powerful because it is an art form that is by definition an act of resistance. It was created by largely self-taught descendants of enslaved Africans on Western instruments (that originated in European classical and marching band ensembles), and these people poured into their foreign tools their entire souls and intellects, often at great personal risk. They forged a unique aesthetic that was at once fiercely modern and virtuosic and thus demanded respect, but also often witty, tragic, sophomoric, romantic, angry, sensual, and vulnerable – in other words fully human. In a society that constantly denies one’s humanity, that in itself is a miraculous and heroic act of anti-colonial liberation through sound. And I think one of the reasons that we as Americans of all races treasure jazz so much is because that the music, at its core, is really a vital source of healing for an embattled and oppressed community. It’s deeply spiritual kind of medicine, created by and for one group of people (with lots of crucial contributions by people of other races) – but its healing spirit is accessible for everyone.
As Amiri Baraka (LeRoi Jones) said, “Negro music is essentially the expression of an attitude, or a collection of attitudes, about the world, and only secondarily an attitude about the way music is made…This music cannot be completely understood (in critical terms) without some attention to the attitudes that produced it.” In that spirit, and given that the attitudes that produced jazz are more relevant than ever right now, I have compiled 5 classic jazz songs of protest and resistance, and a list of many more below that for further listening (though the list is by no means comprehensive.)