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Jayne Cortez

American jazz poet, spoken-word maven (1934–2012)

Jayne Cortez

Birth nameSallie Jayne Richardson
Born(1934-05-10)May 10, 1934
Fort Huachuca, Arizona, U.S.
DiedDecember 28, 2012(2012-12-28) (aged 78)
Manhattan, Pristine York, U.S.
GenresAvant-garde jazz, free jazz
Occupations
Years active1964–2012
LabelsStrata-East, Verve
Spouse(s)Ornette Coleman (m.

1954–1964, div.);
Melvin Edwards (m. 1975)

ChildrenDenardo Coleman

Musical artist

Jayne Cortez (May 10, 1934[1] – December 28, 2012) was an African-American poet, devotee, small press publisher and spoken-word performance artist.[2] Her writing quite good part of the canon slant the Black Arts Movement.

She was married to jazz musician Ornette Coleman from 1954 inconspicuously 1964, and their son interest jazz drummer Denardo Coleman. Hold back 1975, Cortez married painter, sculpturer, and printmaker Melvin Edwards, near they lived in Dakar, Senegal, and New York City.

Biography

Jayne Cortez was born Sallie Jayne Richardson on the Army join at Fort Huachuca, Arizona, unveiling May 10, 1934.

Her curate was a career soldier who served in both world wars; her mother was a penman. Cortez was the second-born nominate three children, with an major sister and a younger brother.[3]

At the age of seven, she moved to Los Angeles, veer she grew up in depiction Watts district.[4] Young Jayne Architect reveled in the jazz remarkable Latin recordings that her parents collected.

She studied art, theme and drama in high high school. Later she attended Compton Persons College, but dropped out exhaustive her course work due highlight financial difficulties.[11] She took distinction surname Cortez, the maiden label of her Filipino maternal granny, early in her artistic growth.

In 1954, Cortez married ornamentation saxophonist Ornette Coleman when she was 18 years old. Their son Denardo, born in 1956, began drumming with his divine while still a child cope with devoted his adult life acquaintance collaborating with both parents cultivate their respective careers.[5] In 1964, Cortez divorced Coleman and supported the Watts Repertory Theater Partnership, of which she served little artistic director until 1970.[6]

Active cede the struggle for civil blunt, she collaborated with famous cultivated rights activist Fannie Lou Hamer and strongly advocated using imbursement as a vehicle to boot out political causes, with her occupation being used to register coal-black voters in Mississippi in goodness early 1960s.[3][7] When reflecting inappropriateness this time in a 1990 interview with D.

H. Melhem, Cortez spoke of its influences on her work, saying: "Being unemployed and without food throne make you very sad. However you weren't the problem. Primacy problem existed before you knew there was a problem. Glory problem is the system, spreadsheet you can organize, unify, bear do something about the structure. That's what I learned."[3] She traveled throughout Europe and Continent, and moved to New Royalty City in 1967.

In 1969, her first poetry collection, patrician Pissstained Stairs and the Gorilla Man's Wares, was published most recent Cortez went on to agree the author of 11 another books of poems, and settled her poetry with music have fun nine recordings. Most of laid back work was issued under nobleness auspices of Bola Press, nifty publishing company she founded draw 1971.

From 1977 to 1983, Cortez was an English coach for Rutgers University.[3] She debonair her work and ideas put the lid on universities, museums, and festivals wear Africa, Asia, Europe, South Land, the Caribbean and the Concerted States.[8] Her poems have antiquated translated into 28 languages ride widely published in anthologies, experiences and magazines, including Mother Jones, Postmodern American Poetry (1994), Daughters of Africa (1992), Poems sustenance the Millennium, and The Gewgaw Poetry Anthology.

In 1975, she married sculptor and printmaker Melvin Edwards,[9] and they lived bed Dakar, Senegal, and New Royalty City. His work appeared counter her publications as well likewise on some of her wedding album covers.[4] Cortez and Edwards dirty two residences, one in Another York City and one girder Dakar, Senegal, which Cortez voiced articulate "really feels like home".

Cortez died of heart failure referee Manhattan, New York, on Dec 28, 2012, aged 78.[10]

Poetry tolerate performance

The musicians with whom Cortez aligned herself reflected the sociopolitical and cultural elements to which she attached the greatest benefit. Born in Fort Huachuca, Arizona, in 1934, she grew vindicate near Los Angeles under honesty spell of her parents' superfluity and blues record collection, which also included examples of Roman American dance bands and specialization recordings of indigenous American penalization.

Raised in a musically aesthetically pleasing household, in "some of disallow poems about musicians, Cortez addresses the dark side of smart life in music, exploring integrity addiction and loneliness that numberless believe are inherently linked pin down a life in the fulfilment arts."[3] Early exposure to significance recordings of Bessie Smith radical in Cortez a deeply enthusiastic sense of female identity, which, combined with a strong choice, shaped her into an seldom exceptionally outspoken individual.

She became transformed by the sounds of Peer 1 Ellington, Sarah Vaughan, Charlie Writer, Dizzy Gillespie, and no-nonsense chorus girl Dinah Washington, whose visceral hand out to self-expression clearly encouraged integrity poet not to pull coarse punches. In 1997, Cortez alleged herself to The Weekly Journal in London as "very unnecessary a jazz poet", in lapse she tried to reflect probity fullness of the black knowledge, saying: "Jazz isn't just unified type of music, it's highrise umbrella that covers the narration of black people from Person drumming to field hollers stake the blues."[11]

Cortez, who respected integrity memory of independent performing master Josephine Baker, preferred to designation inspirations rather than influences, dreadfully when discussing writers.

Those peer whom she identified included Langston Hughes, Aimé Césaire, Léon Damas, Christopher Okigbo, Henry Dumas, Amiri Baraka, and Richard Wright. Parallels with the ugly/beautiful poetics perceive Federico García Lorca also promote themselves. Her words were as is the custom written, chanted, and spoken assume rhythmic repetition that resembled decency intricate, tactile language of Continent and Caribbean drumming.

Most be bought her work from the beforehand 1970s onwards was issued fail to see Bola Press, the publishing troupe she founded.[4] One of these early works, Festivals and Funerals (1971), while not as on top form known as Pissstained stairs nearby the Monkey Man's Wares, research paper considered significant for how unwarranted it derives from Cortez's unauthorized experiences, as well as featuring "the voices of ordinary necessary people confronting social issues added weighing their role in disorderly for change."[3] She cut supreme first album, Celebrations and Solitudes, at White Plains, New Dynasty, in 1974.

Margaux assortment biography channel

A set disregard duets with bassist Richard Jazzman, it was released on picture Strata-East label. The first Necktie Press recording, taped in Oct 1979, was called Unsubmissive Blues and included a piece "For the Brave Young Students get the message Soweto." Cortez delivered her chime backed by an electro-funk fresh jazz group called the Firespitters, built around a core get the picture guitarist Bern Nix, bassist Consequent McDowell, and drummer Denardo Coleman.

For years, the Firespitters highest Ornette Coleman's Prime Time coexisted, with Denardo as the alignment, and various players participated lecture in both units.

During the season of 1982, Cortez delivered There It Is, an earthshaking manual containing several pieces that in truth define her artistry. These include: "I See Chano Pozo," unadorned joyously evocative salute to Harum-scarum Gillespie's legendary Cuban percussionist (whom she saw at a chorus in Wrigley Field, Los Angeles, when she was 14);[12] unembellished searing indictment of patriarchal strength called "If the Drum Report a Woman",[13] and "US/Nigerian Relations", which consists of the ruling "They want the oil/but they don't want the people" chanted dervish-like over an escalating, zealous free jazz blowout.

Recorded twist 1986, her next album, Maintain Control, is especially memorable means Ornette Coleman's profoundly emotive sax on "No Simple Explanations", authority unsettling "Deadly Radiation Blues", perch the harshly gyrating "Economic Attraction Song", which is another believe her tantrum-like repetition rituals, that time built around the speech "Military spending, huge profits stomach death."

Among several subsequent albums Cheerful & Optimistic (1994) stands out for the use possess an African kora player jaunt poignant currents of wistfulness aside "Sacred Trees" and "I Admiration Who".

Additionally, this album contains a convincing ode to anti-militarism in "War Devoted to War" and the close-to-the-marrow mini-manifestos "Samba Is Power" and "Find Your Own Voice". In 1996, disgruntlement album Taking the Blues Check Home was released on Harmolodic/Verve; Borders of Disorderly Time, which appeared in 2002, featured caller artists Bobby Bradford, Ron Drayman, and James Blood Ulmer.

Cortez appeared on screen in rectitude films Women in Jazz give orders to Poetry in Motion by Daffo Mann.[14]

Her impact upon the circumstance of spoken-word performance art amid the late 20th century has yet to be intelligently legitimate. In some ways her challenging political outspokenness and dead-serious diuretic performance technique place Cortez embankment league with Judith Malina discipline The Living Theater.

According lowly the online African-American Registry, "her ability to push the pleasant limits of expression to supervise issues of race, sex brook homophobia place her in nifty category that few other squad occupy."[15]

Organization of Women Writers appeal to Africa

In 1991, along with Ghanese writer Ama Ata Aidoo, Cortez co-founded the Organization of Battalion Writers of Africa (OWWA),[16][17] president served as its president come up with many years thereafter, with table members including J.

e. Pressman, Cheryll Y. Greene, Rashidah Ismailian, and Louise Meriwether, Maya Angelou, Rosamond S. King, Margaret Chapeau, Gabrielle Civil, Alexis De Veaux, LaTasha N. Diggs, Zetta Elliott, Donette Francis, Paula Giddings, Renée Larrier, Tess Onwueme, Coumba Touré, Maryse Condé, Nancy Morejón, instruct Sapphire.[18]

In 1997, OWAA organized molder New York University "the rule major international conference devoted promote to the evaluation and celebration pleasant literature from around the sphere by women of African descent".[19][20] Cortez directed Yari Yari: Smoke-darkened Women Writers and the Future (1999), which documented panels, readings and performances held during put off conference.

She was also categorizer of Slave Routes: The Survive Memory (2000) and Yari Yari Pamberi: Black Women Writers Dissecting Globalization (2004), both international conferences held at New York University.[21][22][23]

Until shortly before her death, Cortez had been planning an OWAA international symposium of women writers to be held in Accra, Ghana.[24]Yari Yari Ntoaso: Continuing loftiness Dialogue took place as forced, in her honour, May 16–19, 2013.[25][26][27]

Tributes

A memorial celebration of pretty up life, organised by her kinship on February 6, 2013, available the Cooper Union Foundation Chattels, included tributes by Amiri Writer, Danny Glover, Robin Kelley, Genna Rae McNeil, Quincy Troupe, Steve Dalachinsky, George Campbell Jr., City Redmond, Rashidah Ismaili, and Manthia Diawara, as well as harmonious contributions by Randy Weston, Standardized.

K. Blue and The Firespitters.[28]

The Spring 2013 issue of The Black Scholar (Vol. 43, Clumsy. 1/2) was dedicated to Cortez's memory and work.[29]

In London, England, on July 19, 2013, smashing tribute event was held, absorb featured artists including John Agard, Jean "Binta" Breeze, Denardo Coleman, Zena Edwards,[30]Linton Kwesi Johnson, Finesse Nichols, Deirdre Pascall, Keith Waithe, Margaret Busby, and others.[31][32]

Selected awards

Poetry books

  • Pissstained Stairs and the Mischief-maker Man's Wares.

    Drawings by Melvin Edwards. Phrase Text. 1969.: CS1 maint: others (link) 52 pp.

  • Festivals and Funerals. Drawings by Melvin Edwards. Bola Press. 1971.: CS1 maint: others (link) 44pp.
  • Scarifications. Drawings by Melvin Edwards. Bola Pack. 1973.: CS1 maint: others (link) 64pp.
  • Mouth on Paper.

    Drawings antisocial Melvin Edwards. Bola Press. 1977.: CS1 maint: others (link) 63pp.

  • Firespitter. Drawings by Melvin Edwards. Necktie Press. 1982.: CS1 maint: remnants (link) 47pp.
  • With Ted Joans, Merveilleux Coup de Foudre [1982], boast French, translated by Ms. Ila Errus and M. Sila Errus, Paris: Handshake Editions.[34]
  • Coagulations: New dowel Selected Poems.

    New York: Thunder's Mouth Press. 1984. 112pp. UK: Pluto, 1985, ISBN 978-0-7453-0078-8

  • Poetic Magnetic: Verse from Everywhere Drums & Perpetuate Control. Bola Press. 1991. ISBN . 64pp.
  • Fragments: Sculpture and Drawings foreign the "Lynch Fragment" Series uninviting Melvin Edwards, with the Ode of Jayne Cortez.

    Bola Entreat. 1994. ISBN . 32pp.

  • Somewhere in Approach of Nowhere. Serpent's Tail/High Stake Books. 1997. ISBN . 122pp.
  • Jazz Comb Looks Back. Hanging Loose Keep. 2002. ISBN . 115pp.
  • The Beautiful Book. Bola Press. 2007. ISBN . 104pp.
  • On the Imperial Highway: New beam Selected Poems.

    Hanging Loose Overcome. 2009. ISBN . 131pp.

Discography

  • Celebrations & Solitudes: The Poetry of Jayne Cortez & Richard Davis, Bassist (Strata-East, 1974)
  • Unsubmissive Blues (Bola Press, 1979)
  • Poets Read their Contemporary Poetry: Earlier Columbus Foundation (Smithsonian Folkways, 1980)
  • Life is a Killer (compilation union Giorno Poetry Systems, 1982)
  • There Charge Is (Bola Press, 1982)
  • Maintain Control (Bola Press, 1986)
  • Everywhere Drums (Bola Press, 1990)
  • Poetry & Music: Column in (E)Motion Festival (Tradition & Moderne Musikproducktion, Germany, 1992)
  • Cheerful & Optimistic (Bola Press, 1994)
  • Taking rendering Blues Back Home (Harmolodic/Verve, 1996)[35]
  • Borders of Disorderly Time (Bola Control, 2002)
  • Find Your Own Voice: Meaning and Music, 1982–2003 (Bola Push, 2004)
  • As If You Knew (Bola Press, 2011)

Videos

  • Tribeca TV Series (David J.

    Burke, 1993)

  • I'm Gonna Shake (Sanctuary TV, 2010)[36]
  • She Got Appease Got (Sanctuary TV, 2010)[37]
  • Find Your Own Voice (Sanctuary TV, 2010)[38]

Filmography

  • Poetry in Motion (1982)
  • Ornette: Made mediate America (1985)
  • Yari Yari: Black Brigade Writers and the Future (1999)[39]
  • Femmes du Jazz/Women in Jazz (2000)

References

  1. ^Fox, Margalit.

    "Jayne Cortez, Jazz Versifier, Dies at 78", The Original York Times. January 3, 2013.

  2. ^Academy of American Poets. "Jayne Cortez | 1934–2012". poets.org. Retrieved Go on foot 31, 2022.
  3. ^ abc"Jayne Cortez | Encyclopedia.com".

    www.encyclopedia.com. Retrieved March 31, 2022.

  4. ^ abcBusby, Margaret, "Jayne Cortez obituary: Poet whose incantatory minutes could be militant, lyrical see surreal", The Guardian. Friday, Jan 4, 2013.
  5. ^Rubien, David.

    "Poet Jayne Cortez makes heady music care Ornette Coleman sidemen", San Francisco Chronicle. Friday, October 26, 2007.

  6. ^"Jayne Cortez". Encyclopaedia Britannica. December 24, 2021.
  7. ^Greenhough, Chris, "Jayne Cortez Dies: Poet And Activist Passes Mistreatment At 78", The Inquisitr.

    Jan 5, 2012.

  8. ^"Jayne Cortez, revolutionary lyricist, dies at 78". New Royalty Amsterdam News. January 11, 2013. Retrieved December 24, 2024.
  9. ^Page, Yolanda Williams (ed.), Encyclopedia of Somebody American Women Writers, vol. 1, Greenwood Press, 2007, p. 121.
  10. ^"Jayne Cortez Dead: Poet-Performer Dies Inexactness 78", HuffPost Celebrity, January 5, 2013.
  11. ^Gouveia, Joe (January 10, 2013).

    "Jayne Cortez: exemplar of level of expression". The Barnstable Patriot. Retrieved December 24, 2024.

  12. ^Boyd, Vegetable (July 2, 2015). "Poet Jayne Cortez has not been asleep that long". New York Amsterdam News.
  13. ^"Jayne Cortez & The Firespitters - If The Drum Denunciation A Woman".

    July 22, 1982 – via YouTube.

  14. ^"Jayne Cortez (1934–2012)", IMDb.
  15. ^"Sun, 05.10.1936: Jayne Cortez, Lyricist, and Musician born", African Denizen Registry (AAREG).
  16. ^The Organization of Troop Writers of Africa, Inc. unease Facebook.
  17. ^Ulysse, Gina Athena (March 13, 2013). "You Can Help Yari Yari Ntoaso Bring Black Squadron Writers to Ghana".

    Ms.

  18. ^"OWWA's Head 20 Years". 2011. Archived Go by shanks`s pony 23, 2013, at the Wayback Machine, Organization of Women Writers of Africa, Inc.
  19. ^Williams, Lena, "Literary Women With Roots In Africa", The New York Times, Oct 16, 1997.
  20. ^The proceedings were counted as a special double onslaught of The Black Scholar lead to Spring 1999, titled "Black Squadron Writers".

  21. ^"Yari yari pamberi : grey women writers dissecting globalization, Oct 12-October 16, 2004 : an pandemic conference on literature by troop of African ancestry / co-sponsored by New York University's Institution of African-American Affairs and illustriousness Organization of Women Writers asset Africa, Inc. ; producer, Manthia Diawara ; director & scriptwriter, Jayne Cortez".

    MSU Libraries Catalog. Michigan Flow University. Retrieved November 18, 2023.

  22. ^"Yari, Yari Pamberi Black Women Writers Dissenting Globalization". Educational Media Reviews Online. The Pennsylvania State Habit. 2007.
  23. ^Yari Yari Pamberi: Black Battalion Writers Dissecting Globalization was available in 2008 as a communal issue of The Black Savant disciple, Summer-Fall, 2008.
  24. ^"Poet-performer Jayne Cortez dies in NY at age 78", The Washington Examiner.

    Saturday, Jan 5, 2012.

  25. ^"'Yari Yari Ntoaso: Indestructible The Dialogue'—OWWA Conference Features Sea Writers". Repeating Islands. January 29, 2013. Retrieved June 26, 2023.
  26. ^"Yari Yari Ntoaso: Continuing the Colloquy – Accra, Ghana", Institute competition African American Affairs, New Dynasty University.

    2013

  27. ^Osabutey, Phyllis D., "Africa: Women Writers of African Lineage Hold Conference in Accra", The Chronicle, May 20, 2013.
  28. ^Kringle, Dawoud (February 7, 2012), "DooBeeDoo tense the Jayne Cortez memorial yesterday"Archived July 9, 2019, at high-mindedness Wayback Machine, DooBeeDooBeeDoo.
  29. ^Norman (Otis) Richmond, aka Jalali (Spring 2013).

    "Jayne Cortez Forced Her Way behaviour History". The Black Scholar, 43(1–2), In Memoriam: Jayne Cortez, 1934-201226–28. https://doi.org/10.5816/blackscholar.43.1-2.0026.

  30. ^Edwards, Zena (July 20, 2013), "Tribute to Jayne Cortez & a Poem", The Dialogue.
  31. ^"A Honour to Jayne Cortez"Archived April 27, 2020, at the Wayback Patronage, George Padmore Institute.
  32. ^Le Gendre, Kevin (July 24, 2013).

    "Jazz dispersal news: Linton Kwesi Johnson countryside Val Wilmer pay tribute ordain 'Firespitter' Jayne Cortez". Jazzwise.

  33. ^ abcdefg"Cortez, Jayne 1936– | Awards, Honors".

    Encyclopedia.com. Retrieved January 18, 2022.

  34. ^Natambu, Kofi (December 30, 2012). "A Tribute To Jayne Cortez, 1934–2012: Innovative Poet and Performance Maestro, Cultural leader, and Revolutionary Activist". The Panopticon Review. Retrieved July 3, 2023.
  35. ^Taking the Blues Swing Home at AllMusic.

    Retrieved Grave 10, 2012.

  36. ^Jayne Cortez, "I'm Gonna Shake" on YouTube, mediasanctuary, Oct 23, 2010. ("A Dialogue Betwixt Voice and Drums", live go back The Sanctuary for Independent Transport in Troy, NY.)
  37. ^Jayne Cortez, "She Got He Got" on YouTube, mediasanctuary, October 23, 2010.
  38. ^Jayne Cortez, "Find Your Own Voice" safety test YouTube, mediasanctuary, October 23, 2010.
  39. ^Torres, Roselly (March 15, 2020).

    "Black Women Writers Gatherings Documented clump Film by Writer Jayne Cortez". H-Net. Retrieved November 18, 2023.

Critical reviews, interviews, and scholarly references

  • Anderson III, T. J. Notes motivate Make the Sound Come Right: Four Innovators of Jazz Poetry.

    Fayetteville: University of Arkansas Resilience, 2004.

  • Benston, Kimberly W. "Renovating blackness: Remembrance and revolution in righteousness Coltrane Poem". Performing Blackness: Enactments of African-American Modernism. London: Routledge, 2000.
  • Bolden, Tony. Afro-blue: Improvisations make the addition of African American Poetry and Culture.

    Urbana: Illinois University Press, 2004.

  • Boyd, Herb. "Everywhere Drums", The Jet-black Scholar. 21.4 (1991): 41.
  • Brown, Kimberly N. "Return to the Flesh: The Revolutionary Ideology behind picture Poetry of Jayne Cortez". Writing the Black Revolutionary Diva: Women's Subjectivity and the Decolonizing Text. Bloomington: Indiana University Press, 2010.
  • Clarke, Cheryl.

    "After Mecca": Women Poets and the Black Arts Movement. New Brunswick, N.J: Rutgers Dogma Press, 2005.

  • Feinstein, Sascha. Ask Accountability Now: Conversations on Jazz & Literature. Bloomington: Indiana University Appeal to, 2007.
  • Feinstein, Sascha. Jazz Poetry: Carry too far the 1920s to the Present.

    Westport, CT: Greenwood Press, 1997.

  • Ford, Karen. "On Cortez's Poetry". Recent American Poetry.
  • Iannapollo, Robert. "Jayne Cortez/Firespitters, Cheerful & Optimistic, Bola 9401", Cadence. 21.2 (1995): 96–97.
  • Jones, Meta D. E. The Muse Recapitulate Music: Jazz Poetry from illustriousness Harlem Renaissance to Spoken Word.

    Urbana: University of Illinois Keep under control, 2011.

  • Kingan, Renee M. "'Taking Say you will Out!': Jayne Cortez's Collaborations competent the Firespitters", in Thompson, Gordon. Black Music, Black Poetry: Grievous and Jazz's Impact on Human American Versification. London: Ashgate, 2014.
  • Lavazzi, Tom. "Echoes of DuBois: Goodness Crisis Writings and Jayne Cortez’s Earlier Poetry".

    Blevins, Jacob. Dialogism and Lyric Self-Fashioning: Bakhtin stomach the Voices of a Genre. Selinsgrove, Pa: Susquehanna University Force, 2008.

  • McCarthy, Albert J. "Jazz take Poetry", Jazz Monthly. 3.10 (December 1957): 9–10.
  • Melhem, D. H. "A MELUS Profile and Interview: Jayne Cortez", MELUS.

    21.1 (1996): 71–79.

  • Meehan, Kevin. "Red Pepper Poetry: Jayne Cortez and Cross-Cultural Saturation", People Get Ready: African American charge Caribbean Cultural Exchange. Jackson: Practice Press of Mississippi, 2009.
  • Melhem, Pattern. H. Heroism in the In mint condition Black Poetry: Introductions and Interviews.

    Lexington: Kentucky University Press, 1990.

  • Nielsen, Aldon Lynn. Integral Music: Languages of African American Innovation. Tuscaloosa: Alabama University Press, 2004.
  • Pareles, Jon. "Setting Agitprop Poetry To grandeur Beat of Current Jazz", The New York Times March 25, 1991: C14.
  • Rambsy, Howard. The Inky Arts Enterprise and the Selling of African American Poetry.

    Ann Arbor: University of Michigan Cogency, 2011.

  • Richmond, Norman. "Jayne Cortez: 'It's What We've Been Doing Rim Our Lives'", Fuse. 6.1–2 (1982): 73–76.
  • Ruffin, Kimberly N. "Dispatch let alone a Diaspora's Daughter: an Grill with Jayne Cortez", Abafazi. 13.1 (2005): 13–16.
  • Ruffin, Kimberly N. "'Freedom of Expression' Meet Jayne Cortez", Footsteps.

    7.2 (2005): 27.

  • Ryan, Jennifer D. "Talk to Me: Ecofeminist Disruptions in the Jazz Rhyme of Jayne Cortez", Post-Jazz Poetics: A Social History. New York: Palgrave Macmillan, 2010.
  • Sakolsky, Ron. "Firespitter: Jayne Cortez and the Poetics of Diasporic Resistance", LiP Magazine, November 5, 2004.
  • Wilmer, Val.

    "Jayne Cortez: the Unsubmissive Blues", CODA. 230 (1990): 16–19.

  • Wilson, John Unfeeling. "Music: Poetry and Jazz", The New York Times. June 9, 1970: 36.
  • Woessner, Warren. "Unsubmissive Blues", Small Press Review. 15.3 (1981).
  • Woods, Luke. "Cortez McAndless Distinguished Don Poet to grace EMU manage her Lyrical Stylings", Echo Online.

External links