The Bridge is the Journal of Jazz Studies's space for non-traditional forms of jazz scholarship. In the spirit of the 1962 Sonny Rollins album of the same name, we welcome submissions and proposals that explore alternative ways to think about, with, and through jazz, or that address its most urgent issues. We welcome reflections, discussions, provocations, and commemorations, as well as creative and speculative writing, oral histories, photo and sound essays. The Bridge celebrates work that is experiential and experimental, polyrhythmic and polyvocal, collaborative or community focused, interdisciplinary or even undisciplined.

Submissions to The Bridge will be around 1500-5000 words in length (or agreed equivalent for multimedia submissions), and will receive editorial review from the section editor and/or a member of the JJS review board. 

To discuss your submission or submit a proposal, please contact the section editor Dr. Lawrence Davies (lawrence.davies@liverpool.ac.uk)

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An open-access, peer-reviewed online journal published by the Institute of Jazz Studies at Rutgers University-Newark, the Journal of Jazz Studies (JJS) is dedicated to publishing leading-edge research on all aspects and iterations of jazz. The journal welcomes contributions from myriad disciplinary and interdisciplinary perspectives, including but not limited to musicology, ethnomusicology, history, cultural studies, music theory, and criticism. In addition to traditional peer-review research articles, the JJS invites submission of oral histories, photo essays, media reviews, pedagogical essays, creative works (poetry, fiction), and reflections from jazz practitioners and industry professionals. Submitted manuscripts should be accessible to a broad jazz audience.

The JJS has recently undergone a reinvigoration to reflect the diverse and inclusive nature of jazz studies, broadly defined. We seek to expand the journal’s scope to include scholarship that cross-examines a range of issues connecting music, politics, race, class, gender, and other realms of social practice.