Tangier occupies a curious role in the American jazz imagination. Compositions named for the city abound – Idrees Sulieman’s “Tangier Blues,” Herbie Mann’s “In Tangier,” Randy Weston’s “Tangier Bay,” Ornette Coleman’s “Interzone Suite,” Carol Robbin’s “Tangier,” Hot Jazz Club “Swing de Tangiers." In the mid-1950s, the eminent jazz critic Albert Murray, then a young captain stationed at the Nouasser air base in Casablanca, delivered a series of lectures (in French) on the meaning of jazz. He stressed that the art form was the creation of the “black American” – l’Américain d’Afrique – adding rather cryptically that “jazz in Africa does not exist, with the exception of Lionel or Armstrong, when they come to Tangier, Casablanca or Marrakesh.” What role does Tangier play in the black internationalist imaginary? How did American jazz programming on Radio Tanger differ from French and Spanish jazz diplomacy? Tangier was home to a bevy of radio stations — Radio Tanger International, Radio Africa, Radio Maghreb, Radio Pan-America – broadcasting in Arabic, English, French and Spanish. Concerned about growing Soviet influence in the city, the US had set up a Voice of America relay station in 1949. Tangier’s airwaves transmitted a range of cultural and ideological messages. (Radio Africa, for instance, was founded by the notorious Jacques Trémoulet, who ran Vichy’s radio propaganda during the war and after being sentenced to death in absentia in 1946, fled France to Francoist Spain – where he founded Radio Intercontinental Madrid – and then continued to Tangier.) Radio Tanger and Radio Africa both had jazz programs, led by French radio hosts. How did Moroccan nationalists respond to colonial radio?