You have your own conscience, your own intelligence, and you know your own mind.
–Alice Turiyasangitananda Coltrane
A portrait of Alice Coltrane, R. Divya Nair
In this clip, Turiya Coltrane, the grand-daughter of jazz pianist, harpist, and vocalist Alice Coltrane (née McCleod) reflects on her grandmother’s study and interpretation of Hindu philosophy through the gospel of the Detroit churches of her childhood. The Hindu bhajan (devotional) and the African-American spiritual together constitute the formal foundations and thematic touchstones of Alice Coltrane’s ecumenical sound. I may have mentioned that a few weeks ago, I had the great honor of singing her composition, “Om Shanti,” at Blessed are the Peacemakers, the Saturday Free School’s celebration of the philosophy of Robeson, King, and Du Bois, at the historic Mother Bethel AME Church in Philadelphia. I chose the piece because it is an invocation to world peace and a much-needed intervention in the politics of imperialism which thrives on perpetual war, war waged by the few at the grave expense of the many. The earth reels from many centuries of ceaseless destruction as humanity cries out for an end to oppression and a resolution to the degradation of the darker races in the past four-hundred years of white rule. Since then, I have been reading voraciously about her, focusing in particular on her spiritual evolution, namely her turn to Hinduism, the world-historical significance of her interpretation of it, and how it connects with the contributions of her contemporaries, familiars, and interlocutors.
After her husband, the legendary John Coltrane of North Philadelphia, passed on to the next world, Alice immersed herself further in the study of Hindu scripture and Indian classical music forms. She traveled to the city of Chennai in southern India to study with Swami Satchidananda. However, it was John Coltrane who would introduce her to the philosophy, theology, music, and meditation practices of Pan Africa and Pan Asia. John, who was ten years older than Alice when she first met him at age 26, likely encountered these sources during his world tour in the U.S. armed services–an experience which deeply inscribed upon him the evils of war and American imperialism. Coltrane would himself undergo a spiritual awakening in 1957.
Following her husband’s death, Alice fell into a deep tapas, a self-imposed spiritual retreat undertaken by Hindus committed to an intentional path wherein one lives a life of strict mental and physical discipline in order to reach a higher spiritual plane of existence and consciousness. Tapas often yields states of high spiritual vibration characteristic of Alice’s ecstatic compositions. During this period, it is said that Alice made connection with John’s spirit. She strove to continue advancing their common aspiration to create music capable of illuminating the totality of the human experience, the internal struggles of the atman (soul force) in the face of the external strife of humanity’s relation to itself and the physical world–songs of innocence, songs of experience, songs of pain, and songs of bliss. Indeed, her chosen spiritual name Turiyasangitananda roughly translates to the transcendental Lord’s highest song of bliss. In Hindu philosophy, turiya (Sanskrit: तुरीय or English “the fourth”) refers to the fourth dimension of consciousness, underlying waking consciousness, dreaming, and dreamless sleep. The seventh verse of the Mandukya Upanishad, which discourses upon these four states of consciousness which are accessible through the universal syllable Aum or Om, refers to the magnitude of Turiya’s infinity and incalculability in the following terms:
Not inwardly cognitive, nor outwardly cognitive, not both-wise cognitive,
not a cognition-mass, not cognitive, not non-cognitive,
unseen, with which there can be no dealing, ungraspable, having no distinctive mark,
non-thinkable, that cannot be designated, the essence of assurance,
of which is the state of being one with the soul
the cessation of development, tranquil, benign, without a second,
such they think is the fourth. He is the soul (atman). He should be discerned.
The Māṇḍūkya Upaniṣad is the shortest of the Upanisads and is associated with the Atharvaveda, which is chiefly concerned with the practice of everyday life. It is also an affirmation of the soul force underlying all existence and creation. It reflects on the physics of the four-part structure of the sound AUM–A + U + M + “silence,” which not only harnesses the past, present, and future of time, but bends them such that the transcendence of time by the soul force is made possible. The intonation of the Aum sound explains the progression of sound through the universe, tracking its movement from the syllable “a,” which signifies Apti (searching and aspiring), to “u” or Utkarsa (exaltation) to “M” or Miti (Reconstruction) followed by the punctuating silence that separates each intonation. The rhythmic chanting of aum thusrepresents the human will to know in this world and beyond, to be of one’s time and yet, reach beyond it.
As such, it is high time that we recognize the true significance of the commitment to Afro-Asiatic civilization in twentieth-century jazz composition, a realization which once again affirms the intercivilizational unity of Pan Africa and Pan Asia in the struggle against imperialism and European civilization’s ongoing attempts to repress the contributions of the darker races to humanity. It is not a coincidence, for instance, that John and Alice Coltrane, along with Pharaoh Sanders, Don Cherry, Sun Ra, Duke Ellington, Yusuf Lateef, and so many other black composers in the United States, re-imagine the relation of the darker races to one another at a time when W.E.B Du Bois, Martin Luther King Jr., and Paul Robeson were extending their hands in open friendship with revolutionary leaders like Gandhi, Nehru, Nkrumah, and others. They dedicated their life’s work towards establishing an epistemology that saw the civilizations of Africa and Asia in a historical continuum, so as to break free from the chokehold of the Western interpretation of human history.
Alice Turiyasangitananda Coltrane thus participated in the invention of a radically new form of world spiritual music that fundamentally re-interpreted Hinduism–not unlike her contemporaries Don Cherry (e.g: his record “Mahakali”), Pharaoh Sanders (e.g “The Creator has a Master Plan”), and indeed, John Coltrane (e.g “Om”)–in terms of the African-American spiritual tradition and political struggle for freedom, truth, and peace. Her work ought to be considered in dialogue with other Black composers of the period who increasingly turned to Africa and Asia to discover their relation to African-America and broadly, the truth about the origins of humanity and the shape of its future. In the wake of their musical and cosmological experimentations, they left behind a rich body of music characterized by a distinctive Afro-Asiatic sound . What distinguishes their aesthetic practice at this juncture in history is their grounding in the black anti-imperialist political tradition. Prophets and architects of peace, these artists were committed to fulfilling the Creator’s great plan for the advancement of humanity in the twenty-first century.
Alice Coltrane’s songs are hymns to truth, grace, love, and peace. Her oeuvre ought to be studied in light of her deep spiritual longing for what James Baldwin memorably christened the New Jerusalem. In the new galaxies of sound she maps out for the world, in her cosmic distillations of jazz, we see the outlines of all that which remains to be won by humanity in our common quest for a kingdom of heaven on earth.