What We Talk about When We Talk about Live Smooth Jazz: Sonic Suburbanization, Multipurpose Places of Assembly, and Collective Memory in Regional Cleveland

Abstract Writing about jazz often emphasizes urbanity and focuses on a geographically bounded scene. This can obscure what people do with jazz to affirm community across distances, in the context of Black suburbanization. Likewise, the construction of jazz as an art music oriented around a canonical past does not allow a full understanding of what musicians do with commercial culture to construct community in the present. In this article, I present the notion of sonic suburbanization to foreground the ways Black people exert agency through musicking, claiming suburban space and affirming community across urban and suburban lines. This is live performance that is “both/and”: Both suburban and urban; both community and commercial. Based on ethnographic fieldwork in Cleveland, this research focuses on the ways live smooth jazz performers invoke multiple musical histories while congregating heterogeneous Black identities across boundaries. To demonstrate the crossovers of live smooth jazz, I begin by outlining the idea of sonic suburbanization. I then note the proximity of Black music genres in a context of racial segregation. Despite suburbanization's role in dislocating Black geographic cohesion, live musical performance continues to affirm a crossover Black community through interposing an array of sensibilities. Finally, I point to the conceptual schemas of musicians in the scene who foreground continuity with jazz, pop, and gospel. Live smooth jazz performers take pride in rhetorical effectiveness and genre versatility as part of connecting to the audience. Although some scholars attend to smooth jazz outside “real jazz,” musicians in the scene view smooth jazz as real jazz.