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