Abraham Ninan

Dr. Abe works at the intersection of jazz fusion, visual art, and narrative nonfiction.

The work is expansive by design, giving artists, history, and genre the space they deserve. When the page runs wide or the type runs large, it is intention, not excess. This is king-size treatment offered as homage. There is no grandstanding here at all. It is what it is.

New readers are encouraged to begin here:

Chet Baker: Cool Jazz, Cold Shadows

From there, the core reading path continues through:

The Jazz of Chaos: Order Within

Mingus Unleashed

Miles Davis: Igniting Jazz Innovation, Style, and Swagger

Jazz: A Century Long Odyssey of Sound and Space

These works form the conceptual spine of a larger body of writing on jazz history, identity, innovation, and cultural force.

Before the next sonic blast or chromatic earthquake drops, Abe pauses to say a sincere thank you — to the readers who have traveled through more than 6,500 pages, to those who have helped move 1,000+ copies into the world, and to everyone riding the wavelength. You are not just an audience. You are part of the session.

Abe’s voice cuts sharp and alive. Think Hunter S. Thompson’s edge colliding with Basquiat’s raw electricity and Pollock-scale motion. Myth, music, and criticism move together with purpose.

Through his New York–based label Road Scholar Music and his Getty Images Chromatic Exposures portfolio, his work spans sound, image, and text, reaching readers and listeners across 15+ countries — including the United States, Japan, the United Kingdom, Canada, Germany, Australia, Brazil, India, Mexico, Italy, Spain, France, the Netherlands, Sweden, and South Africa.

He holds a PhD in Business and Creative Industries, with fellowships at Purdue University and Queensland University of Technology, executive education from Harvard Kennedy, Oxford (Saïd Business School and Blavatnik School of Government), Stanford, Yale, Wharton, and Sciences Po (Paris) and formal training from Berklee College of Music, alongside professional credentials from the World Bank, IMF, and IBM. His work bridges scholarship and culture across the United States, the United Kingdom, Europe, Australia, and Asia.

Many readers encounter this work first on Kindle, then choose print editions for deeper study. Context matters. Professional, informed reviews matter.

This work is not made to please everyone. If it speaks to you, take it. If it does not, leave it. Pricing is set at the bare minimum required to remain viable. Jazz has never been small or timid, and neither is serious writing about it. Uninformed non-appreciation of art, artists, or genre — along with tightwad criticism — can be kept to yourselves. I do not care.

Ink Feedback Hub is where the layers, sparks, and underlying logic are broken down. Search “Road Scholar Music” on Google and hit the button at the bottom of the page. Reviewers: this is your map.

If this work hits your frequency, step in, stay with the groove, and take it home with you.