Lotus Sutra Buddhist Garden in Parigné l'Evêque

Saddharma-Pundarika or The Lotus of the True Law, translated by H. Kern The Dover Publications, Inc. edition, which served as the source for this video, was first published in 1963, as an unabridged and unaltered republication of the work first published by Clarendon Press, Oxford, 1884, as Volume XXI of "The Sacred Books of the East." A strong improviser whose colorful and spiritual music crosses many boundaries (between world music, free jazz, and folk songs from many countries), Zusaan Kali Fasteau plays soprano, shakuhachi flute, cello, piano, percussion, and quite a few "exotic" instruments such as the ney, kaval, sheng, mizmar, moursin, and the sanza. She spent her early childhood in Paris and New York and studied piano, cello, voice, and flute. After earning a B.A. in anthropology and an M.A. in World Music, she became involved in the free jazz scene of New York and San Francisco in the late '60s. In 1972, Fasteau began a 13-year musical exploration

Saddharma-Pundarika or The Lotus of the True Law, translated by H. Kern The Dover Publications, Inc. edition, which served as the source for this video, was first published in 1963, as an unabridged and unaltered republication of the work first published by Clarendon Press, Oxford, 1884, as Volume XXI of "The Sacred Books of the East." In the mid-'60s, a small group of jazz musicians reacted to sociopolitical turbulence with a yearning for transcendence, embracing various strains of spirituality. John Coltrane's “A Love Supreme” offered a musical salute to the divine, while Albert Ayler had a rugged take on gospel (“Love Cry”). Others turned their focus abroad, with pianist Randy Weston embracing the trance grooves of Morocco's Gnawan people (“Marrakech Blues”) and Alice Coltrane adapting Indian raga (“Journey into Satchidananda”). The movement faded in the ‘70s, but four decades later L.A.'s Kamasi Washington brought it back in response to a consumerist

Saddharma-Pundarika or The Lotus of the True Law, translated by H. Kern The Dover Publications, Inc. edition, which served as the source for this video, was first published in 1963, as an unabridged and unaltered republication of the work first published by Clarendon Press, Oxford, 1884, as Volume XXI of "The Sacred Books of the East." On Albert Ayler's 1963 debut, My Name Is Albert Ayler, the reedy slurs of his “Summertime” announced a fresh new voice on tenor, his sharp tones creating new possibilities for expressing the blues. A year later, when he cut Spiritual Unity with a grooving band, his roiling playing was more authoritative, and the melodies embedded in his long suite “Bells (Live)” show how he used motifs to anchor free-jazz flights. Even when switching to alto on “For John Coltrane,” his potency is unmistakable; after Trane's death, Ayler helped carry the torch for groundbreaking jazz exploration.

Alice Coltrane was an American jazz pianist, organist, harpist, composer, vocalist, and swamini. After establishing herself as a hard bop pianist on the Detroit scene during the late 1950s, she studied with Bud Powell in Paris. She met saxophonist John Coltrane in 1963, and they married in 1965. She was his primary musical collaborator during his final period. Alice issued her solo debut, A Monastic Trio, for Impulse! in 1968 and had released seven albums for the label by 1972 including Ptah, The El Daoud, Journey in Satchidananda, and Universal Consciousness. In 1972, she abandoned secular life and established the Vedanta Center in Los Angeles in 1975. She signed with Warner Bros. and released four albums including Eternity and Transfiguration. Coltrane issued only one more album during her lifetime, 1995's Translinear Light for Verve. She died in 2007.