A respected yet divisive figure who was scorned by the jazz mainstream for most of her life, was one of the most complicated and misunderstood of all 20th-century musicians. In this century‚ however‚ her music has grown in stature‚ and one can now hear echoes of her influence everywhere‚ from ’s juxtaposition of timbres and textures to ’s harp playing to the twisted astral beats of her great-nephew Stephen Ellison, aka. While her late husband ’s discography remains titanic in modern jazz, Alice’s own albums are equally compelling and mysterious, suggesting a musical form that moves away from jazz and into a unique sonic realm that draws on classical Indian instrumentation, atonal modern orchestration, and homemade religious synth music. The adventurous nature and spiritual import of her work continues to resonate through New Age, jazz, and experimental electronic music of all stripes. Alice used a number of names throughout her career, and collectively they chart a path of self-realization.

The names she adopted demarcate radical shifts in her life and her work, serving effectively as chapter headings in the story of how a bebop pianist from Detroit evolved into one of jazz’s singular visionaries, ultimately walking away from public performance to become a guru and beacon of enlightenment for others. Alice McLeod was born on August 27, 1937, in Alabama, though her family soon relocated to the rough east side of Detroit. The two World Wars solidified Detroit’s position as a manufacturing powerhouse and by 1959 it was the industrial center of the country. It had also gained renown as a bebop hot spot and was home to future jazz players like Cecil McBee,, Paul Chambers, Milt Jackson,, Bennie Maupin, and Elvin Jones.

The McLeods were a musical family—Alice’s mother, Anna, played in the church choir, her half brother Ernest Farrow was a prominent jazz bassist, and her sister Marilyn went on to be a songwriter at Motown—and Alice took up piano and organ at a young age. As a teen she accompanied Mt. Olive Baptist Church’s three choirs, and at 16 she was invited to perform with the Lemon Gospel Singers during services at the more ecstatic Church of God in Christ. Berkman’s biography Monument Eternal: The Music of Alice Coltrane, Alice remembers those formative services as “the gospel experience of her life,” an instance of devotional music that gave her teenage self “the experience of unmediated worship at the collective level.” Encouraged by her half brother Farrow, Alice continued to pursue music. She formed her own lounge act, performing gospel and R&B—with touches of blues and bebop—around Detroit. The young McLeod soon became a fixture of the city’s jazz scene and found herself involved with Kenneth “Poncho” Hagood, a scat jazz singer who’d recorded with, Charlie Parker, and.

Jun 16, 2011 Alice Coltrane With Strings. Taken from the album 'World Galaxy' (1972). Find a Alice Coltrane With Strings* - World Galaxy first pressing or reissue. Complete your Alice Coltrane With Strings* collection. Shop Vinyl and CDs.

The young couple were wed and relocated to Paris in the late ’50s. Alice gigged regularly around Paris, befriending other musicians like fellow pianist Bud Powell. In 1960, she gave birth to a daughter, Michelle—the joyousness of which was tempered by Hagood’s burgeoning heroin habit.

It wasn’t long before she returned to Detroit as a single mother, moved back in with her parents, and started picking up gigs to support her daughter. Once again immersed in the bustling Detroit scene, McLeod began to contemplate jazz beyond the dizzying array of chord changes, scales, and standards that were fundamental to the bop era. One album in particular spurred her creative contemplation: John Coltrane’s.

While known to be a junkie early in his career, by 1957 tenor saxophonist John Coltrane had kicked his habit and begun his musical ascent in earnest. He was a sideman for Thelonious Monk and in 1959 appeared on Miles Davis’ modal masterwork,. Coltrane was already an accomplished bandleader, releasing a slew of records from Blue Train (1957) to My Favorite Things (1961).

Firmly established as one of the greatest tenor saxophone players of his generation, he signed an exclusive recording contract with Impulse Records—the brand-new jazz imprint of producer Creed Taylor. Coltrane’s new deal allowed him the creative control and artistic freedom necessary to push jazz’s boundaries and imagine new musical vistas. Africa/Brass was his first album for Impulse and featured a 21-piece ensemble that included the preeminent reedman backed up by the rhythm section of pianist McCoy Tyner and drummer Elvin Jones.

Cuts like “Africa”—an expansive suite augmented by birdcalls and jungle sounds—announce Coltrane as a tireless innovator, using Davis’ modal template as the launching pad for new explorations. Alice went to see John and his new quartet when they played Detroit’s Minor Key club in January of 1962. She didn’t speak to him that night, but an opportunity to play piano in vibraphonist Terry Gibbs’ ensemble brought her to New York City in the summer of 1963, where Gibbs’ group opened for John’s quartet during an extended engagement at Birdland. When her group wasn’t on the bandstand, Alice tried to work up the nerve to talk to the saxophonist. She describes her initial impressions in Berkman’s book: “I had an inner feeling about him. I was connecting with another message that I had perceived as coming through the music.

At Birdland, that same feeling would come back, something that I comprehend was associated with my soul or spirit.” The two musicians barely spoke, though Alice described John’s silence as “loud.” A few days later, still having exchanged very few words, Alice heard him playing a melody behind her. She turned and complimented him on its beautiful theme. He said it was for her.

John and Alice’s relationship began in July of 1963 and they were married in Juarez, Mexico, in 1965. They remained together until his death from liver cancer two years later. Alice gave birth to their three sons: John Jr.,, and Oran. While the couple only began to record together in February 1966, their musical relationship spanned the duration of their romantic relationship, both predicated on mutual inspiration and spiritual elevation. Alice had felt limited by the rigidity and orthodoxy of bebop throughout her career and, as her relationship with John bloomed, she found his influence on her musical explorations to be profound.

The couple used musical innovation as a path toward personal enlightenment: “You heard all kinds of things that would have just been left alone, never a part of your discovery or appreciation,” she said. It’s difficult to gauge the degree to which her approach to the piano changed once she met John, as aside from a few Terry Gibbs albums released in 1963 and 1964, few if any recordings of Alice’s early performances exist.

John Coltrane’s discography from 1963 until 1967 demonstrates a restless urgency to expand every aspect of his horn and his music. Two Impulse albums from 1963 find him exploring ballads and collaborating with and vocalist Johnny Hartman. While some critics see these albums as a response to being labeled “anti-jazz” by DownBeat in the early ’60s, in hindsight they seem to serve as a reset and resting place—a last look back toward jazz history before John and his group forged ahead into an exploration of innovative new sounds. At the end of 1964, Coltrane entered engineer Rudy Van Gelder’s Englewood Cliffs studio in New Jersey with his classic quartet—pianist McCoy Tyner, bassist Jimmy Garrison, and thunderstorm drummer Elvin Jones—to record a four-part suite documenting a spiritual conversion. “This album is a humble offering to Him,” Coltrane wrote in the liner notes to. “An attempt to say ‘THANK YOU GOD’ through our work.” It’s the summation of the quartet’s lyrical, evocative, and dynamic power.

Within that same year the quartet would both expand, with the addition of second saxophonist and second drummer and fray, with Tyner and Jones leaving. “All I could hear was a lot of noise,” Tyner said in one interview. “I didn’t have any feeling for the music.” Starting in 1965, Coltrane embraced fiery free jazz, a sound that sought freedom from meter, chord changes, harmonies, and whatever else had previously defined and codified jazz.

The influence of younger horn players like Sanders, Archie Shepp, and on John is well documented, but very little has been said of the musician who replaced Tyner on the piano bench: Alice Coltrane. Biographies of John Coltrane often reduce his marriage to a relationship between mentor and disciple, with John as the musical guru and Alice as the initiate. “Many of John Coltrane’s fans viewed her as accomplice to the so-called anti-jazz experiments of his final years,” Berkman writes, a sentiment that stemmed from “the controversial role she assumed when she replaced McCoy Tyner as pianist in her husband’s final rhythm section.” (Years later, Alice Coltrane contributed harp to Tyner’s 1972 album Extensions.) Four years before allegedly broke up, thereby earning the scorn of all future generations of rock fans, Alice was accused of breaking up the greatest jazz group of the mid-’60s. But Alice, if anything, was the catalyst for Coltrane’s greatest music, abetting and inspiring his spiritual quest to realize a universal sound. When the couple met in 1963, Coltrane was still working within the framework of modal jazz.

Soon after Alice entered his life, he started to push beyond the conventions of modern jazz, freeing himself from meter and steady tempo, fixed chord changes and melody. A Love Supreme was composed and realized after their relationship began.

Seen in that light, the questing Coltrane albums Ascension, Om, Meditations, and more all stem from this relationship. Without Alice’s own roots in the ecstatic spirit of the Church of God in Christ services and a shared interest in a less dogmatic and more universal understanding of God—to say nothing of their love and devotion to each other—would Coltrane’s own spiritual transformation have occurred?

The Coltranes’ spiritual study did not take place in a vacuum, but amid a broader religious upheaval and restructuring of the ’60s. New forms of Afrocentric spirituality ranged from a renewed interest in Egyptology and the rituals of Santeria to Ron Karenga’s creation of Kwanzaa and the rise of the Nation of Islam. But Alice herself acknowledged that the new couple’s pursuit intensified soon after they came together. “What we did was really begin to reach out and look toward higher experiences in spiritual life and higher knowledge,” she told Berkman. Despite Alice’s history in the church and her subsequent life as a swamini, she still receives little acknowledgment in biographies and jazz history as catalyst for her husband’s spiritual rebirth. Alice herself didn’t do much to correct these accounts.

As the decade rolled along and music—as well as societal roles—became increasingly radicalized and questioned, Coltrane embraced her role as wife and mother. In a 1988 radio interview, she said of her marriage, “I didn’t want to be equal to him. I didn’t have to be equal to him and do what he did. That, I never considered. I don’t think like that. And whatever in the women’s liberation—that’s what they want.

I didn’t want to be equal to him. I wanted to be a wife. To me, as a result of that association, it fully manifested. There was no more question about direction.” Once Alice joined her husband on the bandstand, they toured the world, the music going further and further out, with standards like “My Favorite Things” pushing toward the hour mark.

Not that critics always noted her. In a February 23, 1967, DownBeat review of Live at the Village Vanguard Again!, Alice warrants but a single line in a 15-paragraph review: “Mrs. Coltrane’s piano support is always firm and appropriate, never overbusy or obtrusive.” And then, in May of 1967, John Coltrane complained of abdominal pain that was soon revealed to be liver cancer. By summer, he could no longer eat, and he left his earthly body on July 17, 1967.

In quick succession, Alice suffered the loss of both her husband and her half brother Ernest. Her account of her spiritual awakening between 1968 and 1970 in her self-published tract, Monument Eternal, is harrowing: her weight plunged from 118 to 95 pounds, and her family worried for her well-being. In her telling, her weight loss was not the result of grief and depression but due to extreme austerities undertaken for spiritual advancement.

It leads to detached remembrances, like: “During an excruciating test to withstand heat, my right hand succumbed to a third-degree burn. After watching the flesh fall away and the nails turn black, it was all I could do to wrap the remaining flesh in a linen cloth.” The rainbow-covered booklet makes no mention of her jazz music career, her husband, or her travels to India. Instead, she matter-of-factly details making a doctor recoil in horror at the sight of her blackened flesh, what occurs when one experiences supreme consciousness, the nuances of various astral planes, her ability to hear trees sing, and scaring the family dog with her astral projections. Amid this, her family feared for her sanity: “My relatives became extremely worried about my mental and physical health. Therefore they arranged for my return to their home for ‘care and rest.’” Later she adds: “Communicating with people was found to be like suffering judgment.

In fact, it was almost impossible for me to dwell upon earthly matters, and equally impossible for me to bring the mind down to mundane thoughts and general conversations.” Deep in this quest, Alice assumed control of her husband’s formidable estate and released his first posthumous album in September 1967, Expression. And while DownBeat gave it four stars, Don DeMichael wrote: “Mrs. Coltrane, while sounding somewhat like McCoy Tyner, does not have her predecessor’s physical or musical strength.” She released her first album as leader, A Monastic Trio, the following year. On it, she referred to her husband by her spiritual name for him, Ohnedaruth (“compassion”), and sought to follow his example to create a music that was free, open-ended, and spiritually questing. The album features late-period quartet bandmates Pharoah Sanders, Jimmy Garrison, and Rashied Ali, with Alice on piano as well as a new instrument for her, harp. Alice’s self-taught playing style on harp—ordered for her by her husband, who didn’t live to see its arrival— was full of glissandi and accentuated arpeggios and took cues from another Detroiter, Dorothy Ashby, but Coltrane’s playing was decidedly more abstract.

She compared the piano to a sunrise and the harp to a sunset, marveling at “the subtleness, the quietness, the peacefulness” of the latter instrument. It would figure prominently in her future albums. Such subtlety was lost on critics at the time, with DownBeat’s review of A Monastic Trio labeling Alice’s playing as “a wispy impressionist feeling without urgent substance.” Fans and critics expecting the strength and urgency in her husband’s music were befuddled by Alice’s approach as a bandleader. DownBeat wrote of one album: “It seems incredible that a group so heavily stamped by the late John Coltrane would not be able to pull off an album, but that’s just what happens here.” As more posthumous John Coltrane albums came to market, some featuring Alice’s own harp and string arrangements on top of previously recorded sessions, critics were enraged by the perceived blasphemy.

“Black female musicians have been quintessential others, overlooked because of gender, race and class,” Berkman writes. “Black female musicians rarely transcend difference and obtain the status of artist.” In the context of such overt racism and sexism, Alice’s early solo albums were at odds not only with jazz’s “New Thing”—chaotic free-blowing sessions that roared and shrieked for entire sides of vinyl—but also with late-’60s radicalism and black power. At a time when African American female artists from Abbey Lincoln to were growing more and more politically outspoken, when riots and protests were roiling the inner cities of America, Alice’s music was the diametric opposite of such trends: introspective and contemplative, gentle and impressionistic.

Cecil McBee, a jazz bassist who played with Alice at the turn of the decade, says of her position and approach: “Where we were trying to come from [as free jazz musicians], with the loudness and bombast of our music, she made these statements in a more delicate, graceful, articulate, and uniform way.” She was intentionally making something softer than protest music; she wasn’t demonstrating on the bandstand. In an era when national, racial, and gender identity were highly contentious, Alice Coltrane was aiming for transcendence. The Coltranes’ universalist view, which dates back to A Love Supreme, came into focus for Alice Coltrane in 1969, when she was introduced to a figure who clarified her spiritual path and resolve, Swami Satchidananda. Invited to New York City by film director Conrad Rooks, Satchidananda came to visit in 1967 and began to lecture at the Unitarian Universalist Church in the Upper West Side, soon establishing the first Integral Yoga Institute on West End Avenue. Within a few years, Satchidananda made the spread in Life magazine’s “Year of the Guru” issue and then sold out Carnegie Hall. He later opened the ceremonies at Woodstock.

Alice gravitated to his Eastern philosophy of self-knowledge and became close friends with the Swami. Anticipating a trip to accompany the Swami through India, Alice Coltrane entered the studio in 1970 to record what is arguably the most sumptuous spiritual jazz album of the era, Journey in Satchidananda. The liner notes speak of that upcoming voyage, but the music itself reveals that a stunning internal shift has already occurred, fitting for the cryptic title, in that “Satchidananda” is not an external destination to be journeyed to, but rather a place to be discovered within. Augmented by oud, tamboura, Sanders’ soprano saxophone, and McBee’s bowed bass, Alice’s assured harp playing takes on a Technicolor vibrancy, entwining with Indian overtones to create a divine music that transcends not only the limitations of jazz but of both Eastern and Western music, and anticipates the rise of New Age music at its most resonant. McBee described the sessions to Berkman as intimate: “It was very, very spiritual. The lights would be low and she had incense and there was not much conversation. About what was to be.

The spiritual, emotional, physical statement of the environment, it was just there. You felt it and you just played it.” The month after Satchidananda was released, Alice accompanied the Swami to India for a five-week trip, visiting New Delhi, Ceylon, Rishikesh, and Madras. She brought her harp with her, an exotic sight to most Indians, and also began to learn Hindu devotional hymns. Alice returned from the pilgrimage and recorded her next album, Universal Consciousness, shortly thereafter. It deftly mixes orchestral strings, Indian timbres, harp, and the Wurlitzer organ, an instrument Alice said had been revealed to her in a vision.

It was a music she described as a “Totality concept, which embraces cosmic thought as an emblem of Universal Sound.” And while a fellow devotee of Indian music,, might have set Hindu chants to folk-rock arrangements, Alice saw in them something both avant-garde and transcendent. One won’t mistake her version of “Hare Krishna”—with a harp and orchestral arrangement that could levitate mountains—for what you hear chanted in Union Square. Even DownBeat couldn’t deny its majesty, calling Universal Consciousness a “paragon of the new music. [Alice] emerged as the strongest of Coltrane’s disciples. Her leadership affects everyone, consequently producing a stunningly beautiful result.”. That adoration was short-lived in the press, with her last two albums for Impulse getting dismissive reviews.

Earned two and a half stars, lambasted as “super-saccharine, often corny and terribly repetitive,” while was described as being “not much more than pretty music made up of little more than strung-together arpeggios and glissandi a massive swaying smear.” For Alice’s great-nephew, Flying Lotus, the turbu lent and beautiful Lord of Lords goes far deeper: “For me, that record is the story of John Coltrane’s ascension. It’s her understanding and coping with his death. In particular, ‘,’ that’s a family song. When someone passes, that’s the song we play at the funeral. When my auntie passed, we played that one. When my mom died, we played it for her.”.

In 1976, Alice received a divine message to start an ashram and renounced the secular, beginning her new life clad in the orange robes of the Swamini. And while there were a few more studio albums for Warner Bros., for the most part, her music no longer consisted of original compositions but rather iterations of Indian hymns. Beginning on her first trip to India, Alice began to adapt bhajans—the Indian hymns associated with the Bhakti revival movement of India—to be sung at worship services at the ashram. Her last two Warners albums, and, both released in 1977, comprised such devotional music, and soon after, she no longer performed in public or recorded for a label. A few years later, a series of four albums was self-released on cassette: Turiya Sings (1982), Divine Songs (1987), Infinite Chants (1990), and Glorious Chants (1995). The music within reveals a private universe of cosmic contemplation, the Swamini accompanying herself on electric organ, sometimes with her students chanting along with her.

It’s a disarming music, both solemn and celebratory, haunting yet joyous.

Near the end of his life, John Coltrane decided to buy a harp. The visionary saxophonist and bandleader hoped that having one in his home studio would help him rethink his approach to harmony and texture. The harp he ordered took months to build and wasn’t delivered until after his death, of liver cancer, in July, 1967. It sat in the house in Dix Hills, Long Island, where he and his wife, Alice, were bringing up their young children. If the windows were open, Alice later recalled, a strong breeze would make the strings hum, as though some invisible force were strumming them. Alice and John met in the early sixties in New York City, when she was gigging and he was already a star. She was born in Detroit in 1937, and, like many contemporaries, received her most formative musical education through the church.

She studied the piano, mastering the classical repertoire as well as bebop, and she began touring and recording in her early twenties. She played with John’s ensembles, but by the time of his death she had largely stepped back from music.

Those who knew Alice and John described them as kind, gentle introverts who understood each other on an instinctive level. Though they had both grown up in strict Christian households, in the sixties they began immersing themselves in other faiths. They weren’t the only ones seeking new forms of transcendence in the pages of the Quran, the Bhagavad Gita, and books about Zen Buddhism.

In 1966, the cover of Time famously asked, “Is God Dead?” The seekers thought that maybe people had been taught to look in the wrong place. For black artists, especially, pursuing other systems of belief became a way of rethinking one’s relationship with America. John’s death set Alice adrift. She wouldn’t eat or sleep; she suffered from hallucinations. Though many people around her worried about whether her emaciated frame was the result of devotional fasting or severe depression, she later described this period as transformational, thanks largely to an encounter with the Swami Satchidananda, an Indian religious leader who toured America in the late sixties and appeared at Woodstock, where he opened the festival. In Alice’s mind, Hindu traditions could accommodate the kind of universalist ethos that she and John had imagined at the end of his life.

The Swami’s teachings appealed to Alice’s sense that the Holy Spirit was everywhere, that we were merely the flesh-and-blood manifestations of an infinite life force. Alice taught herself how to play the harp, which can sound wondrous and mystical even in amateur hands. Her style was impressionistic, effervescent. Her notes sparkled and then dissolved in the air around her. What better way to express one’s relationship to the larger world?

In 1968, Alice began releasing albums as a bandleader. During this time, especially in the experimental circles that had grown around her husband, opportunities for women to lead their own ensembles were rare. The music she made was initially criticized as derivative of John’s. In the case of his posthumous album “Infinity” (1972), purists attacked Alice’s decision to dub her own string arrangements over some of his previously unreleased works.

Alice’s music was solemn and heavy, filled with stormy passages that felt like nervous attempts at purification—a struggling kind of transcendence. Like much of the more forward-thinking jazz of this era, it was music that felt in a hurry to get somewhere. Every now and then, though, a glistening sweep of harp would cut through the dirge, sounding the possibility of glory in the wreckage. John’s death was a theme, but so was a desire to surrender her ego, and to offer herself to something greater. In the ten years that followed, she released about a dozen albums on Impulse! And Warner Bros., many of them masterpieces that imagine a meeting point between jazz and psychedelic rock, gospel traditions and Indian devotional music. And then, after the release of “Transfiguration,” in 1978, she seemed to disappear.

In the sleeve notes for “A Monastic Trio” (1968), Alice’s first album as a bandleader, the poet and critic Amiri Baraka called her “one earth bound projection of John’s spirit.” She had no problem with being defined in terms of her husband’s legacy, for some of the most radical music he made was an attempt to translate their private world for the masses. It was the “earth bound” part that she resisted.

On Alice’s album covers, she often wore a look of dreamy preoccupation, and their titles—“World Galaxy,” “Universal Consciousness”—easily aligned her with many of her outer-space-obsessed peers. For artists like Sun Ra or Herbie Hancock, outer-space futurism offered a potent metaphor—a way of illustrating a sense of alienation, and a dream of shuttling someplace where black people might be free.

But Alice was looking elsewhere. In 1972, Alice and her children moved to San Francisco, where she devoted herself to Vedic practice.

She established the Vedantic Center in her home, and, a few years later, moved it, along with her family, to Woodland Hills, a neighborhood of Los Angeles. She took the name Turiyasangitananda—Sanskrit for “the bliss of God’s highest song”—and attracted a diverse congregation of worshippers. (Among her youngest acolytes was her great-nephew Steven Ellison, who now draws on her sense of scale and ambition in his brilliant work as the electronic producer Flying Lotus.) She came to believe that bliss was close at hand—it was inside you. The universe wasn’t a range of options and futures that were light-years away; it was an idea you couldn’t quite grasp, and in the struggle to try to imagine infinity’s sprawl all you could do was just try and align yourself with it. In the early eighties, after the death of her son John, Jr., she bought forty-eight acres in nearby Agoura Hills and built an ashram. “World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda” will be released on Luaka Bop next month, a little more than ten years after her death.

It is the first collection to highlight the music she made during this time. Her children had encouraged her to visit a local music shop to see all the fancy things that the new modular synthesizers could do. While initially reluctant, she became fascinated with the way that these keyboards allowed her to bend or stretch notes at will. She began making her own devotional music, overlaying surging, swelling ambient soundscapes with Sanskrit chants. Residents at the ashram recall Alice waking them up before dawn, so that they could listen to her newest compositions. Many of them, including her children, had never heard her sing. “Ecstatic Music” draws from four cassettes that Alice released between 1982 and 1995 on a tiny local label devoted to Vedic teachings.

The music is astounding. “Om Rama” feels as if you’ve walked into the middle of a daylong ritual—it’s all handclaps, tambourines, and blissful chants chasing after the occasional erratic whoosh of a synthesizer. It stays at a frenzied peak for a few minutes, until a wailing, ascending note sweeps everything away, slowing the song to a stately procession. Through the haze comes Alice’s creaky church organ, which sounds as if it had been transplanted from a gospel record.

On “Rama Rama,” a sitar’s thrum is matched with gentle waves of synthesizer, the kind of juxtaposition between old and new that gives much of this music an uncanny feel. For Alice, synthesizers and organs were simply a new way of humming along with the universe, as she had previously tried to do playing the harp. “Journey to Satchidananda” revisits the melody from one of her masterpieces, “Journey in Satchidananda,” released in 1970. Here the original’s insistent rhythm is unravelled, slowed down to a swirl of chants and tranquil synthesizer tones. Record collecting offers a strange approach to historical thinking: yesterday’s undervalued commodities often become tomorrow’s fetish objects.

No genre, style, or level of professionalism is beyond redemption. Still, the renewal of interest in New Age music is surprising. Some of the most exciting labels today, such as New York’s RVNG Intl. And Los Angeles’s Leaving Records, mix avant-garde dance music with reissues of old meditation or relaxation music. The pianist and zitherist Laraaji, who, following his “discovery” by the producer Brian Eno, released some twenty albums in the eighties, is arguably more popular than ever. (He is also still selling tickets to his famed “laughter meditation” sessions.) Perhaps it’s because we live at a time when notions of wellness and personal care are mainstream that the idea of ambient music with a purpose holds a special appeal.

And a lot of people listen to music as an alternative to organized worship; for years, in the Bay Area, there has been a church devoted to John Coltrane. For some, “Ecstatic Music” will be perfect for zoning out, couched as it is in a religiosity that is welcoming, nonjudgmental. But one of the reasons that albums like this have remained obscure is that they were recorded with a specific pursuit in mind: they were for the ashram, devotional songs for fellow-worshippers. I first encountered this music on a blog specializing in obscure “celestial” music. (I love anything that dares to try to describe the wholeness of the universe, and I’m a sucker for harps.) When I listened to “Rama Katha,” which is included on the vinyl version of this album, I was startled by its quiet and its patience. It was so intimate and honest that I almost felt that I shouldn’t be listening.

I couldn’t tell if its ambient drones were the result of the poor digitization of a hissing cassette or part of the music itself. Alice was backed only by her keyboard, which flickered and whirred from a comfortable distance. Her voice—never the instrument she was famous for—resounded with untroubled confidence. This wasn’t music that was pushing its makers and listeners to a higher plane.

Alice was already there. ♦ This article appears in the print edition of the April 24, 2017, issue, with the headline “Praise Songs.”.

Boomkat Product Review: A magical piece of mosaic which makes up Alice Coltrane’s glorious catalogue, Alice Coltrane With Strings - World Galaxy [1972] is perhaps one of her best known and cherished releases thanks to the wide appeal of her breathtaking reimagining of Rogers-Hammerstein’s evergreen, My Favourite Things and John Coltrane’s A Love Supreme. Alice’s genuinely stellar contribution to the spirited body of ‘70s jazz fusion, World Galaxy is a life-affirming masterwork displaying her virtuoso harp, piano and tambura drenched in symphonic strings and voiced by Swami Satchidananda, who lends wise words to the eponymous Galaxy In Satchidananda, one of three sublime Galaxy pieces, also including the dramatic vision of Galaxy Around Oldumare and the soaring arrangements of Galaxy In Turiya. An essential addition to any record collection! Boomkat Product Review: A magical piece of mosaic which makes up Alice Coltrane’s glorious catalogue, Alice Coltrane With Strings - World Galaxy [1972] is perhaps one of her best known and cherished releases thanks to the wide appeal of her breathtaking reimagining of Rogers-Hammerstein’s evergreen, My Favourite Things and John Coltrane’s A Love Supreme. Alice’s genuinely stellar contribution to the spirited body of ‘70s jazz fusion, World Galaxy is a life-affirming masterwork displaying her virtuoso harp, piano and tambura drenched in symphonic strings and voiced by Swami Satchidananda, who lends wise words to the eponymous Galaxy In Satchidananda, one of three sublime Galaxy pieces, also including the dramatic vision of Galaxy Around Oldumare and the soaring arrangements of Galaxy In Turiya.

An essential addition to any record collection! Payment Security We take the security of our website and of your transactions extremely seriously. We encrypt all traffic involving personal data with industry-standard SSL certificates and we are also PCI compliant - meaning that we follow all current data security standards and undergo weekly scans monitoring our security status. Additionally, we do not store any card details at all, all payments are handled using a system of Tokenisation which is an industry-standard method of secure payment handling. When you place an order with us payment is either handled via your Paypal account or if you choose to pay by credit/debit card we create a 'Token' with your payment details which is stored by the Bank payment gateway.

When you return to make a purchase it basically reactivates the 'Token' so no details need to be entered again and those details are not stored by us. Shipping FAQs Free Shipping: We offer free postage on orders over £50.00 to the UK sent via Royal Mail.* *To qualify for free postage the order must be sent as one package. Therefore, all items must be in stock or you should be happy to wait until all items become available to ship so they can be sent as one package. Downloads and Gift Vouchers do not count towards free shipping. Please note that Pre-Orders do not count towards free shipping as their release dates are liable to fluctuate. Stock Status If your order contains items that have different estimated shipping dates (for example, ‘available to pre-order’, ‘in stock’, ‘available to ship in 1-3 days’) you will be given an option either to wait for everything to become available to ship in one package, or to ship each item as soon as it becomes available.

Stock arrives at the office throughout the day so the stock status of items on the website can change several times a day. Important Note: all items that are not currently displaying as In Stock need to be ordered in from our suppliers and the estimated shipping dates are only an indication of when we expect those items to come into stock. If there are any unforeseen issues with availability we will notify you immediately. Premium Packaging At checkout you are able to select a premium packaging option for a fee of £1.50. We pack all of our orders using appropriate packaging, however when you pick this option we use a wider cruciform offering additional protection if you have a particularly heavy-handed postman. UK and International Shipping Options We offer two services: 1. First Class Royal Mail - for UK and for International orders: The package will be delivered by your national postal service. Royal Mail sets limits on the weight of packages, so if the order becomes too heavy to ship in one package the order will be split into two or more packages. The packages will be marked accordingly, for example, if an order has to be sent over two packages the packages would be labelled ‘1 of 2’ and ‘2 of 2’.

Parcelforce tracked courier service: This comprises a flat box fee for UK (and some European countries), and a sliding scale based on weight for other countries. Parcelforce is a Monday - Friday service. Packages sent via Parcelforce can be tracked here: Parcelforce can only ship to PO boxes in certain countries, details can be found once you have made your country selection at checkout. Once you have added items to your crate you can select your country and choose either to send everything in one package or to ship as soon as the items become available. At this point the total given is a guide to the cost and more shipping configurations are available once you have logged in and proceeded to checkout. At the checkout you will still be able to add or take away items from the crate and change/compare your shipping options. Pre-orders are treated as separate packages to items that are either in stock or available to order.

If pre-orders share the same release date then they can be ordered and shipped together. However pre-order release dates are liable to change, if you have ordered two pre-orders with the same date to ship together and then one release date gets pushed back, we will ship the available pre-order straight away and the second pre-order as soon as it becomes available with no extra shipping charge. If you choose to ship your order across more than one package you can select the Royal Mail service for one package and Parcelforce courier for the other. Exceptions: * if an individual item weighs more than 2kg and you are outside of the UK the package must be sent via courier as Royal Mail sets a 2kg limit on packages.

* Royal Mail covers postage all countries, however Parcelforce is not available in every country. Missing Packages If an order does not arrive, we can issue a replacement package. In the UK we consider a package to be missing after 15 working days. Most international orders are considered missing after 25 working days with the exception of France, South America and Africa - packages to these destinations are considered missing after 60 working days. Before we can issue a replacement, customers must have checked with their local depot/sorting office to see if their package is awaiting pick up. If we think there is an issue with the shipping address, or that packages are being stolen in the post, we reserve the right to refuse future orders to these addresses. Insurance We automatically add an insurance supplement to orders over £30.

Orders between £30 - £49.99 are charged a 60p insurance supplement. Orders over £50 are charged a £3 insurance supplement. Returned Packages If a package is returned to us because of an incomplete address, or because it was not collected from a local depot, we will have to charge you again in order to re-send it. We will get in touch with you before any package is re-sent.

Delivery Times The delivery times below are estimates. A lot depends on the efficiency of your local post service. Royal Mail: UK (inc. Northern Ireland): 1 - 2 working days Western Europe: 3 - 5 working days Eastern Europe: 5 - 12 working days Rest of World: 5 - 10 working days Courier: UK (inc.

Northern Ireland): 1 working day except for highlands of Scotland and parts of Scotland, please get in touch for further information. Western Europe: 2-3 working days for most countries but takes longer shipping to Finland, Greece, Italy, Norway, Portugal and Sweden. Eastern Europe: 3-6 working days for most countries but can take up to 7 days for other countries, please get in touch for further information. Rest of World: 2-7 working days for most countries, please get in touch for further information Please note shipping times can vary within a country depending on the area - for further information please get in touch. Please note that the estimated shipping times above can be affected by circumstances beyond our control such as bad weather, delays at customs, busy times of year etc. Contact Us If you require further information or assistance then please.

Stock Status Physical Products have different types of stock availability, for example: In Stock (Ready to ship) Pre-Order with estimated shipping dates Available to Order (Estimated shipping between 1-3 working days) Available to Order (Estimated shipping between 3-7 working days) Available to Order (Estimated shipping between 7-14 working days) If your order contains items that have different estimated shipping dates you will be given an option either to wait for everything to become available to ship in one package, or to ship each item as soon as it becomes available. Stock arrives at the office throughout the day so the stock status of items on the website can change several times a day. Important Note: all items that are not currently displaying as In Stock need to be ordered in from our suppliers and the estimated shipping dates are only an indication of when we expect those items to come into stock. If there are any unforeseen issues with availability we will notify you immediately. Terms & Conditions TERMS & CONDITIONS OF WEBSITE USE AND SUPPLY PLEASE READ THESE TERMS AND CONDITIONS CAREFULLY BEFORE USING THIS SITE TERMS OF WEBSITE USE This terms of use (together with the documents referred to in it) tells you the terms of use on which you may make use of our website (our site), whether as a guest or a registered user. Use of our site includes but is not limited to accessing, browsing, purchasing from or registering to use our site. Please read these terms of use carefully before you start to use our site, as these will apply to your use of our site. We recommend that you print a copy of this for future reference.

By using our site, you confirm that you accept these terms of use and that you agree to comply with them. If you do not agree to these terms of use, please do not use our site. OTHER APPLICABLE TERMS These terms of use refer to the following additional terms, which also apply to your use of our site: • Our Privacy Policy (www.boomkat.com/privacy), which sets out the terms on which we process any personal data we collect from you, or that you provide to us. By using our site, you consent to such processing and you warrant that all data provided by you is accurate.

• Our Cookie Policy (www.boomkat.com/privacy) which sets out information about the use of cookies on our site. • If you purchase goods or non-physical copies of recordings from our site, our Terms and Conditions of Supply (see below) will apply to the sales. INFORMATION ABOUT US Boomkat.com is a site operated by Boomkat Limited ('We', “Us”, “Our”). We are registered in England and Wales under company number 5725006. Both our registered office address and trading address is at 2nd Floor Swan Building, 20 Swan Street, Manchester, M4 5JM. Our VAT number is GB 693 0821 25, and for Boomkat Digital Limited is GB 884 6350 90 We are a limited company. CHANGES TO THESE TERMS We may revise these terms of use at any time by amending this page. Please check this page from time to time to take notice of any changes we made, as they are binding on you.

CHANGES TO OUR SITE We may update our site from time to time, and may change the content at any time. However, please note that any of the content on our site may be out of date at any given time, and we are under no obligation to update it. We do not guarantee that our site, or any content on it, will be free from errors or omissions. ACCESSING OUR SITE Our site is made available free of charge.

We do not guarantee that our site, or any content on it, will always be available or be uninterrupted. Access to our site is permitted on a temporary basis. We may suspend, withdraw, discontinue or change all or any part of our site without notice.

We will not be liable to you if for any reason our site is unavailable at any time or for any period. You are responsible for making all arrangements necessary for you to have access to our site. You are also responsible for ensuring that all persons who access our site through your internet connection are aware of these terms of use and other applicable terms and conditions, and that they comply with them.

REGISTRATION When purchasing goods from Us or using the Service which is provided by Boomkat Digital Limited (“Digital”) you will be given the option to register by providing us with certain information including a member (user) name, a password and a valid email address ('Registration Data'). If you take up this option you agree to provide accurate Registration Data and to update your Registration Data as necessary to keep it accurate. We and Digital will keep and use your Registration Data in accordance with our Privacy Policy (www.boomkat.com/privacy) which forms part of these Conditions. You agree that you will not allow others to use your username, password and/or account and you are solely responsible for maintaining the confidentiality and security of your account.

You agree to notify Us at contact@boomkat.com immediately of any unauthorised use of your password and/or account. Neither Us nor Digital shall be responsible for any losses arising out of the unauthorised use of your Registration Data and/or account and you agree to indemnify and hold harmless Us, Digital, their officers, partners, parents, subsidiaries, agents, affiliates and/or licensors, as applicable, for any improper, unauthorised or illegal uses of the same. We have the right to disable any user identification code or password, whether chosen by you or allocated by us, at any time, if in our reasonable opinion you have failed to comply with any of the provisions of these terms of use. INTELLECTUAL PROPERTY RIGHTS We are the owner or the licensee of all intellectual property rights in our site, and in the material published on it (with the exception of those relating to the Service which are the property of Digital). Those works are protected by copyright laws and treaties around the world. All such rights are reserved. You may print off one copy, and may download extracts, of any page(s) from our site for your personal use and you may draw the attention of others within your organisation to content posted on our site.

You must not modify the paper or digital copies of any materials you have printed off or downloaded in any way, and you must not use any illustrations, photographs, video or audio sequences or any graphics separately from any accompanying text. Our status (and that of any identified contributors) as the authors of content on our site must always be acknowledged. You must not use any part of the content on our site for commercial purposes without obtaining a licence to do so from us or our licensors. If you print off, copy or download any part of our site in breach of these terms of use, your right to use our site will cease immediately and you must, at our option, return or destroy any copies of the materials you have made.

The Service may be protected under patent law and may be the subject of issued patents and/or pending patent applications. Non-physical copies of recordings may not be reproduced, duplicated, copied, sold, broadcast, downloaded, transmitted, adapted or otherwise exploited for any commercial purpose without the express prior written consent of Digital.

NO RELIANCE ON INFORMATION The content on our site is provided for general information only. It is not intended to amount to advice on which you should rely. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site. Although we make reasonable efforts to update the information on our site, we make no representations, warranties or guarantees, whether express or implied, that the content on our site is accurate, complete or up-to-date.

LIMITATION OF OUR LIABILITY Nothing in these terms of use excludes or limits our liability for death or personal injury arising from our negligence, or our fraud or fraudulent misrepresentation, or any other liability that cannot be excluded or limited by English law. To the extent permitted by law, we exclude all conditions, warranties, representations or other terms which may apply to our site or any content on it, whether express or implied. We will not be liable to any user for any loss or damage, whether in contract, tort (including negligence), breach of statutory duty, or otherwise, even if foreseeable, arising under or in connection with: • use of, or inability to use, our site; or • use of or reliance on any content displayed on our site. If you are a business user, please note that in particular, we will not be liable for: • loss of profits, sales, business, or revenue; • business interruption; • loss of anticipated savings; • loss of business opportunity, goodwill or reputation; or • any indirect or consequential loss or damage.

If you are a consumer user, please note that we only provide our site for domestic and private use. You agree not to use our site for any commercial or business purposes, and we have no liability to you for any loss of profit, loss of business, business interruption, or loss of business opportunity. We will not be liable for any loss or damage caused by a virus, distributed denial-of-service attack, or other technologically harmful material that may infect your computer equipment, computer programs, data or other proprietary material due to your use of our site or to your downloading of any content on it, or on any website linked to it.

Different limitations and exclusions of liability will apply to liability arising as a result of the supply of any goods by use to you, which will be set out in our Terms and Conditions of Supply (set out below). VIRUSES We do not guarantee that our site will be secure or free from bugs or viruses. You are responsible for configuring your information technology, computer programmes and platform in order to access our site.

You should use your own virus protection software. You must not misuse our site by knowingly introducing viruses, trojans, worms, logic bombs or other material which is malicious or technologically harmful. You must not attempt to gain unauthorised access to our site, the server on which our site is stored or any server, computer or database connected to our site. You must not attack our site via a denial-of-service attack or a distributed denial-of service attack.

By breaching this provision, you would commit a criminal offence under the Computer Misuse Act 1990. We will report any such breach to the relevant law enforcement authorities and we will co-operate with those authorities by disclosing your identity to them. In the event of such a breach, your right to use our site will cease immediately. If you wish to make any use of content on our site other than that set out above, please contact us at contact@boomkat.com THIRD PARTY LINKS AND RESOURCES IN OUR SITE Our site may present links to third party websites not owned or operated by Us or Digital. These links are provided for your information only. Neither We nor Digital are responsible for the availability of these sites or their contents. We have no control over the contents of those sites or resources and You agree that neither We nor Digital are responsible nor liable, directly or indirectly, for any damage or loss caused or alleged to be caused by or in connection with your use of or reliance on any content of any such site or goods or services available through any such site.

Installer Modem 3g Inwi Sur Tablette Android. TRADE MARKS 'BOOMKAT' is a Community Trade Mark CONTACT US To contact us, please email contact@boomkat.com TERMS AND CONDITIONS OF SUPPLY 1. ACCEPTANCE OF TERMS AND CONDITIONS By placing an order on our site you accept these terms and conditions ('the Conditions'). Each of Us and Digital (as the case may be) reserve the right to make changes to the Conditions relevant to them at any time and you will be subject to the relevant Conditions as published on the Website at the time you place your order. For the avoidance of doubt in respect of Digital the Conditions applicable below constitute a legal contract between you and Digital governing your use of Digital's online music download sales service ('the Service”). PROVISIONS APPLICABLE TO SALES OF PHYSICAL GOODS BY US 2.

CONTRACT 2.1 Our shopping pages will guide you through the steps you need to take to place an order with us. Our order process allows you to check and amend any errors before submitting your order to us. Please take the time to read and check your order at each page of the order process. 2.2 After you place an order, you will receive an e-mail from us acknowledging that we have received your order. However, please note that this does not mean that your order has been accepted. Our acceptance of your order will take place as described in clause 2.3 2.3 We will confirm our acceptance to you by sending you an e-mail [that confirms that the goods you have ordered (“the Goods”) have been dispatched. The Contract between us will only be formed when we send you the Dispatch Confirmation. 2.4 If we are unable to supply you with the Goods, for example because the Goods are not in stock or no longer available or because we cannot meet your requested delivery date or because of an error in the price on our site as referred to in clause 3, we will inform you of this by e-mail and we will not process your order.

If you have already paid for the Goods, we will refund you the full amount including any delivery costs charged as soon as possible. 3. PRICING & DELIVERY CHARGES 3.1 The prices of goods will be as quoted on our site at the time you submit your order.

We use our best efforts to ensure that the prices of goods are correct at the time when the relevant information was entered onto the system. However please see clause 3.5 for what happens if we discover an error in the price of goods. 3.2 Prices for our goods may change from time to time, but changes will not affect any order you have already placed.

3.3 The price of goods includes VAT (where applicable) at the applicable current rate chargeable in the UK for the time being. 3.4 The price of goods does not include delivery charges. Our delivery charges are as advised to you during the check-out process, before you confirm your order. To check relevant delivery charges and options please add items to your crate, choose the shipping destination and delivery service you would like to use and a shipping cost will be displayed. 3.5 Our site contains a large number of goods. It is always possible that, despite our best efforts, some of the goods on our site may be incorrectly priced. If we discover an error in the price of the Goods we will contact you to inform you of this error and we will give you the option of continuing to purchase the Goods at the correct price or cancelling your order. We will not process your order until we have your instructions.

If we are unable to contact you using the contact details you provided during the order process, we will treat the order as cancelled and notify you in writing. Please note that if the pricing error is obvious and unmistakeable and could have reasonably been recognised by you as a mispricing, we do not have to provide the Goods to you at the incorrect (lower) price. AVAILABILITY All orders are subject to availability. YOUR RIGHT TO CANCEL THE CONTRACT 5.1 You may cancel your contract with us for goods you order at any time up to the end of the seventh working day from the date you receive the ordered goods.

You do not need to give us any reason for cancelling your contract nor will you have to pay any penalty. 5.2 You cannot cancel your contract if the goods you have ordered are newspapers or magazines or if you have taken any audio or video recording or computer software out of the sealed package in which it was delivered to you 5.3 To cancel your contract you must notify us in writing 5.4 If you have received the goods before you cancel your contract then unless, under clause 5.2 you do not have a right to cancel, you must send the goods back to our contact address at your own cost and risk. 5.5 If you cancel your contract but we have already processed the goods for delivery you must not unpack the goods when they are received by you and you must send the goods back to us at our contact address at your own cost and risk as soon as possible. 5.6 On receipt of the returned goods we will refund you the amount charged for the goods in question (excluding delivery charges) within 30 days 6. OUR RIGHT TO CANCEL THE CONTRACT 6.1 We reserve the right to cancel the contract between us if: 6.1.1 we have insufficient stock to deliver the goods you have ordered 6.1.2 we do not deliver to your area; Or 6.1.3 one or more of the goods you ordered was listed at an incorrect price due to a typographical error or an error in the pricing information received by us from our suppliers 6.2 If we cancel your contract we will notify you by email and will credit to your account any sum deducted by us from your credit card or paypal as soon as possible but in any event within 30 days of your order.

We will not be obliged to offer any additional compensation for disappointment suffered. 7 DELIVERY OF GOODS TO YOU 7.1 We will deliver the goods ordered by you to the address you give us for delivery at the time you make your order. 7.2 Delivery will be made as soon as possible after your order is accepted 7.3 You will become the owner of the goods you have ordered when they have been delivered to you. Once goods have been delivered to you they will be held at your own risk and we will not be liable for their loss or destruction. LIABILITY 8.1 If the goods we deliver are not what you ordered or are damaged or defective or the delivery is of an incorrect quantity, we shall have no liability to you unless you notify us in writing at our contact address of the problem within 10 working days of the delivery of the goods in question.

8.2 If you do not receive the goods ordered within 30 days of the date of the Dispatch Confirmation we shall have no liability to you unless you notify us in writing at our contact address. Please do this within 2 weeks after this 30 day period expires.

8.3 If you notify a problem to us under clauses 8.1 or 8.2 above, our only obligation will be, at your option: 1. To make good any shortage or non-delivery; 2. To replace or repair any goods that are damaged or defective; or 3. To refund to you the amount paid by you for the goods in question in whatever way we choose. 8.4 Save as precluded by law, we will not be liable to you for any indirect or consequential loss, damage or expenses (including loss of profits, business or goodwill) howsoever arising out of any problem you notify to us under this condition and we shall have no liability to pay any money to you by way of compensation other than to refund to you the amount paid by you for the goods in question under clause 8.3.3 above. 8.5 You must observe and comply with all applicable regulations and legislation, including obtaining all necessary customs, import or other permits to purchase goods from our site. The importation or exportation of certain of our goods to you may be prohibited by certain national laws.

We make no representation and accept no liability in respect of the export or import of the goods you purchase. 8.6 Notwithstanding the foregoing, nothing in these terms and conditions is intended to limit any rights you might have as a consumer under applicable local law or other statutory rights that may not be excluded nor in any way to exclude or limit our liability to you for any death or personal injury resulting from our negligence. DUTIES AND TAXES If you order goods for delivery overseas from our site you will be responsible for any import duties and taxes.

PROVISIONS APPLICABLE TO THE SERVICE AS OPERATED BY DIGITAL 11. THE SERVICE (a) The Service allows you to listen to Clips (as defined below) and buy non-physical digital sound recordings, artwork and information relating to such sound recordings, and other content (collectively, 'Music Content'). MUSIC CONTENT (a) RIGHTS GRANTED: Upon payment for the Music Content, Digital grant you a non-exclusive, non-transferable right to use the Music Content only for your personal, non-commercial, entertainment use subject to this agreement.

(b) RESTRICTIONS TO RIGHTS GRANTED: The Music Content is owned by Digital, its business partners, affiliates and/or licensors, as applicable. You must comply with all applicable copyright and other laws in your use of the Music Content. Except as set out in clause 11 (a) above you may not or allow others to redistribute, transmit, assign, sell, broadcast, rent, share, lend, modify, adapt, edit, sub-licence or otherwise transfer or use the Music Content. Digital does not grant you any synchronisation, public performance, promotional use, commercial sale, re-sale, reproduction or distribution rights for the Music Content.

You agree to advise Digital promptly of any such unauthorised use(s). USE OF THE SERVICE: (a ) USE OF MUSIC CONTENT: You agree that the content rights holders that license their musical or other content to Digital for use in the Service are intended third-party beneficiaries under these Conditions with the right to enforce the provisions that directly concern their content. You understand that your use of the Music Content is subject to the Usage Rules discussed below.

(b) SOFTWARE: All software made available by Digital on or through the Service is protected by intellectual property laws and your use of it is governed by these conditions as well as any applicable end-user licence agreements. (c) USAGE RULES: Your access to and/or use of any Music Content will be limited by the rules assigned to the Music Content by Digital ('Usage Rules') and described in this section. You may not attempt (or support others' attempts) to circumvent, reverse engineer, decrypt, or otherwise alter or interfere with any Usage Rules or Music Content. Digital reserves the right to modify the Usage Rules at any time and your continued use of the Service after each such modification shall be deemed acceptance of any such modification. A 'Clip' is a portion of a track or promotional music video that you can play (and, if applicable, view) directly from and while you are logged on to the Service on a promotional basis at no cost to you. You may play as many Clips as you like.

You may not attempt (or support others' attempts) to capture, copy, or download a Clip. (d) PRODUCT AVAILABILITY: Technical problems or expiry of Digital's right to make certain Music Content available may at times delay or prevent delivery of purchased Music Content to you. Receipt of your order or request does not guarantee that Digital can supply the selected products to you. Privacy Boomkat are committed to protecting and respecting your privacy. We do not send unsolicited emails to customers, and do not pass on your private details to any third parties. This policy (together with our terms of use: www.boomkat.com/terms) and any other documents referred to on it sets out the basis on which any personal data we collect from you, or that you provide to us, will be processed by us. Please read the following carefully to understand our views and practices regarding your personal data and how we will treat it. By visiting boomkat.com you are accepting and consenting to the practices described in this policy.

For the purpose of the Data Protection Act 1998 (the Act), the data controller is Boomkat Limited of 2nd Floor Swan Building, 20 Swan Street, Manchester, M4 5JM INFORMATION WE MAY COLLECT FROM YOU We may collect and process the following data about you: • Information you give us. You may give us information about you by filling in forms on our site or by corresponding with us by phone, e-mail or otherwise. This includes information you provide when you register to use our site, subscribe to our service, search for a product, place an order on our site, enter a competition, promotion or survey, or when you report a problem with our site. The information you give us may include your name, address, e-mail address and phone number, financial and credit card information, or any other personal description.