REAL GONE
Claim This Podcastby Emmet McKeown
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Podcast Overview
<p>A new podcast about alternative music histories. </p>
Language
🇺🇲
Publishing Since
5/8/2023
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Recent Episodes
October 26, 2025
S02E05 Jazz, Africa & Islam - Part Three: 'Search for a New Land'
The involvement of progressive Jazz musicians with Islam in the 1950s and 60s was shaped by the practices of Sunni Islam and the Black internationalism of several African American Muslim communities formed in the early 20th Century, notably the Islamic Mission of America (1939), the Addeynu Allahe-Universal Arabic Association (1938) and the First Cleveland Mosque (1937). These Sunni organisations emphasised the importance of pride in African ancestry, and their goals of self-reliance, empowerment and spiritual uplift through independent Islamic programs, institutions, and networks appealed to growing numbers of young Black Americans, including outsider Jazz musicians. The full roster of Art Blakey & The Jazz Messengers, pianist Ahmad Jamal, saxophonist Sahib Shihab, McCoy Tyner and many others all converted to Islam during this period. Growing militancy within the American Islamic communities and the wider Civil Rights movement aided the expansion of the Nation of Islam, spearheaded by its charismatic national spokesman Malcolm X. Famous Hard Bop musicians Grant Green and Lee Morgan and soul and blues legend Etta James were all NOI members, producing some of the greatest American music of the 20th Century. The international reach of the American Islamic movements put them on a collision course with the counterrevolutionary efforts of the FBI and CIA during the 1960s, when the Civil Rights Movement had its most profound successes but experienced its greatest tragedies. Books: What The Music Said: Black Popular Music & Black Popular Culture - Mark Anthony Neal Soundtrack to A Movement: African American Islam, Jazz & Black Internationalism - Richard Brent Turner A Love Supreme - Ashley Khan Giant Steps / Cookin' - Kenny Mathieson 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans & The Lost Empire of Cool - James Kaplan Jazz & Justice - Gerald Horne Tracks: The Call - Sahib Shihab Hannibal's Cannibals - Ahmed Abdul-Malik Poinciana - Ahmad Jamal Cease The Bombing / Alone, Together – Grant Green Search for A New Land / Mr Kenyetta - Lee Morgan Anything to Say You're Mine – Etta James EMCK
October 12, 2025
S02E04 Jazz, Africa & Islam - Part Two: 'Scenes In The City'
The demographic shift of The Great Migration during the period following the Civil War was a transformative historical moment for African Americans where they seized the opportunity to forge new cultural identities in the northern cities of the United States like Boston, New York, Philadelphia, and Detroit. Dancehalls and music venues like The Savoy Ballroom in Harlem became important culture centres for new generations of young Black Americans whose lives and urban politics were soundtracked by the revolutionary Bebop Jazz being played in venues like Minton's Playhouse and Monroe's Uptown by musical mavericks like Charlie Parker, Dizzy Gillespie and Max Roach. During a period of monumental social and political change, Hard Bop and its more aggressive, bluesier tones would reflect the harshness of these modern urban environments. Black Jazz artists would introduce aesthetic innovations to re-establish Jazz music's link to Black working class culture, and to stay two steps ahead of the mass market consumerism and appropriation that swept through American culture in the 1950s. Hard Bop was heavily influenced by the music of the Black Church, particularly the gospel stylings which emanated from the Baptist Churches of Chicago. As time progressed, with the traditional Black Church seen as representative of a moderate mainstream class within the Black population, conversion to Islam became an increasingly common component of the new urban identities which emerged in the period following World War II, with Black Muslims adopting what they saw as a modern ideology that offered models of self-determination and solidarity for working class African Americans in the mid-20th Century. Islamic themes of spirituality and universal brotherhood seeped into Jazz music and were most famously represented in the music of John Coltrane and his 1965 masterpiece 'A Love Supreme'. Tracks: Take My Hand, Precious Lord - Thomas Dorsey Filthy McNasty - Horace Silver Quintet Woody N' You - Coleman Hawkins Song of Happiness - McCoy Tyner Tenderly - Lynn Hope Onda Callejara - Ry Cooder Acknowledgement / Pursuance / Psalm - John Coltrane Books: What The Music Said: Black Popular Music & Black Popular Culture - Mark Anthony Neal Soundtrack to A Movement: African American Islam, Jazz & Black Internationalism - Richard Brent Turner A Love Supreme - Ashley Khan Giant Steps / Cookin' - Kenny Mathieson 3 Shades of Blue: Miles Davis, John Coltrane, Bill Evans & The Lost Empire of Cool - James Kaplan Jazz & Justice - Gerald Horne EMCK
July 18, 2025
S02E03 Jazz, Africa & Islam - Part One: 'Uhuru Afrika'
The late 1950s and 60s are associated with Black Americans developing pride in their African heritage, an association that had its roots in the activism of Marcus Garvey and Paul Robeson in earlier decades. At different points during the 20th Century, the domestic Civil Rights struggle was viewed as intertwined with the fate of Africa and anti-colonialism more broadly. During this period Jazz music went through a period of intense 'Africanization' in what could be seen as re-valourization of the African legacy. Music Professor Ingrid Monson writes about how "Afrocentrism and cultural nationalism added to a mass of experiences, memories, and references that make up the psycho-mythological cultural heritage of the African-American community". This Africanization in the social outlook of Black Americans and the influence of American Islamic organisations is reflected in the Jazz music of the time, both in the style and character of the music itself and the religious and political activities of the leading Jazz musicians. Artists such as Art Blakey, Max Roach, Bilal Abdurrahmann, Randy Weston, and John Coltrane chronicled the changing social and political landscape of America during the Civil Rights movement and facilitated a celebration of African and Islamic culture that had not been possible during decades of intense racism, segregation, discrimination, and brutality. Tracks: Art Blakey - 'The Feast' (Holiday for Skins) / 'Cubano Chant' (Drum Suite) / The Freedom Rider Duke Ellington - 'Take The A Train' Randy Weston - 'Kucheza Blues' (Uhuru Afrika) Abdul Abdurrahmann - 'The Night' Ahmed Abdul-Malik - 'Wakida Hena' (Jazz Sounds of Africa) East New York Ensemble of Music - 'Ti-Ti' (At The Helm) EMCK
13 total episodes available
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Frequently asked questions
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- What is REAL GONE?
<p>A new podcast about alternative music histories. </p> - How often does this podcast release new episodes?
This podcast updates bi-weekly.
- Where can I listen to this podcast?
This podcast is available on 7 platforms including Apple Podcasts, Spotify, and more. You can also use the RSS feed directly.
- Does this podcast accept guests?
Yes, this podcast regularly features guests.
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