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The 1960s was the era of the , when younger black writers, fired by both Black Nationalism and Marxism, wrote passionately for race solidarity and denounced not only racism but virtually everything white. Many of these writers were poets and a good many jazz poems were written in homage to specific jazz artists, especially saxophonist John Coltrane, who was probably the most popular jazz musician among the black intelligentsia at this time, or in imitation of the flow and spontaneity of jazz. This was probably the last time in American society when a significant portion of young people were still taken by jazz, in part, because it was now an art music with intellectual and spiritual pretensions. Unlike rhythm and blues or 1960s soul music, jazz at this time, seemed a music that took itself seriously, and was not merely a diversion, and jazz was, in good measure, passionately anti-commercial. Poet, playwright, and essayist, former Beat ) was the leader of this school of writing, a long-time jazz aficionado, who began his jazz writing career providing notes for jazz albums. Baraka produced an important study of black music entitled (1963), which is partly about jazz. His collection of essays, (1967), is devoted almost entirely to avant-garde jazz and was instrumental in introducing a young audience to this music. Baraka produced a number of noted jazz poems including “AM/Trak,” a poem for John Coltrane, and “Pres Spoke in a Language,” for saxophonist Lester Young. Other noted Black Arts Movement poets who wrote jazz poetry include , , and (Don L. Lee). Other African American poets of the 1960s and 1970s who were known for writing jazz poetry but were not directly associated with the Black Arts Movement were , and .
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Among the black writers on the scene today, essayist and novelist , poet and fiction writer , and poet are the most associated with jazz, a music whose presence and influence has diminished over the last 35 years, especially among young people. Crouch has written many first-rate essays about jazz and is considered to be the nation’s leading jazz critic; in addition, his novel, (2000), about a young white jazz singer and her African American saxophonist husband, offers the reader an insider’s view not only of the jazz world but of the intricacies of music-making from the point of view of a professional musician. The book, in some ways like , is built around several speeches or speech-acts delivered or performed by various characters, lessons in creative improvisation and creative narrative that suggest music, which intensifies the book’s extraordinary jazz sensibility. Komunyakaa, a Pulitzer Prize winner, has not only written a number of jazz poems but also co-edited with Sascha Feinstein (1991) and (1996). Mackey, an avant gardist, editor of the magazine , and radio DJ, has written a number of jazz poems. Indeed, jazz particularly and music in general is the main inspiration of his writing. He has also written four novels as part of a series about a fictional Los Angeles musical collective called .