V THREE COLLABORATIVE PILLARS

1. V THREE COLLABORATIVE PILLARS V.4 (Mo March 24) Archie Shepp: The Magic of Ju-JuAlbert Ayler: Universal Indians

2. Closed Spaces — Open Spaces • Open Spaces • transcend given spaces(Sirone: „one octave higher“) via • variation of spaces (e.g. scale/chord types: ToM lists, example: chromatic chord {c, c#, d} with 23 (!) 3rd ext.) • extending spaces (Folia #3: beginning) • negation of the space limits (Monk: C/D) • suspending structures/rules (Evans: dialog) • exchanging roles of parameters (tuning...) • creating empty spaces (#7 CD: 5:26) • etc. • Closed Spaces • populate given spaces such as • tonalities/cadences/modulation • consonances/dissonances • 32 song/ blues scheme • sonata scheme...global forms • conductor‘s baton • a-1, a-2, a-1, 2, 3, 4... • etc. trance Collaborative principle for open space creation/negotiation: Be constantly aware of the musicians‘ positions in those spaces in order toenable them to unfold with a maximal relief and collaborative presence.

3. Archie Shepp tsMartin Banks tp, flhMichael Zwerin tp, tbReggie Workman bBeaver Harris dNorman Connors dEd Blackwell rhythm logsFrank Charles talking dDennis Charles pc recorded at the Van Gelder Studio, Englewood Cliffs, NJ April 26, 1967 The Magic of Ju-Ju 18:36You're What This Day Is All About 01:52Shazam 04:44Sorry `bout that 10:10

4. Juju is an aura or other magical property, usually having to do with spirits or luck, which is bound to a specific object; it is also a term for the object. Juju also refers to the spirits and ghosts in West African folklore as a general name. The object that contains the juju, or fetish(Lat: facere, object having supernatural powers)can be anything from an elephant’s head to an extinguisher. One of the most popular juju objects in West Africa, for example, is a monkey's hand. In general, juju can only be created by a witch doctor; few exceptions exist. Juju can be summoned by a witch doctor for several purposes. Good juju can cure ailments of mind and body; anything from fractured limbs to a headache can be corrected. Bad juju is used to exact revenge, soothe jealousy, and cause misfortune. Contrary to common belief, voodoo is not related to juju, despite the linguistic and spiritual similarities.

5. A ju-ju house (1873)

6. Juju: a message from mozambique (1972) Father Is Back King Sunny Ade: Juju (1982) Sunny Ti De Ariya

7. 2.14 sec 0:00 Shepp + talking drs + pc. 6:20 first hi-hats come in 6:38 all drums (snares etc.) come in 8:05 bass comes in 17:29 other reeds come in for finale 18:36 fade out Ekkehard Jost: “Blocks of sound“ hounted

8. Albert Ayler tsDonald Ayler tpCall Cobbs harpsichordAlan Silva bMilford Graves d recorded at the Capitol Studios, New York CityAugust 31, 1967 Love Cry 3:53Ghosts 2:46Omega 3:15Dancing Flowers 2:19Bells 3:08Love Flower 3:31Zion Hill 6:07Universal Indians 9:48 Albert Ayler 1936-1970 (Liner notes: A.A., relating to John Coltrane‘s Meditations, with Pharoah Sanders) „The father, son, and holy ghost. What Coltrane was talking about there—maybe it was a biblical term: he was the father, Pharoah was the son, and I was the holy ghost. And only he could tell me things like that.

9. Ted Joans, the Illinois-born poet and sometime trumpet player, described the experience of hearing the saxophonist for the first time.He was sitting at the bar in a Copenhagen jazz club, waiting for Ayler and his group - trumpeter Don Cherry, bassist Gary Peacock,drummer Sunny Murray - to start playing. Beside him, the New Orleans clarinettist Albert Nicholas was discussing the merits of various reeds with two young local musicians: ‘I turned to say something to Albert Nicholas, and then like an unheard of explosion of sound, they started. Their sound was so different, so rare and raw, like screaming the word „FUCK“ in Saint Patrick's Cathedral on crowded Easter Sunday. Albert Nicholas's hands trembled, causing his beer to spill. The two grey boys turned white as clean sheets on a wedding bed. Then all of a sudden, their faces were fire-engine red and wet. The entire house was shook up. The loud sound didn't let up. It went on and on, growing more powerful as it built up. It was like a giant tidal wave of frightening music. It completely overwhelmed everybody. Some of the Danes responded with their rude whistling, others shouted at the musicians to shut up. I sat shocked, stoned and amazed by what I was witnessing. Their music was unlike anything that I had heard before.‘2 Valerie Wilmer: The Story of the New Jazz AS SERIOUS AS YOUR LIFEp.95 (2 cited from Ted Jonas‘ article in CODA magazine August 1971) A.A. used the hardest plastic reeds: Fibrecane No. 4

10. From an Downbeat interview 11/17/1966:(...)(...) There was also Sidney Bechet. I was crazy about him. His tone was unbelievable. It helped me a lot to learn that a man could get that kind of tone. It was hypnotizing--the strength of it, the strength of the vibrato. For me, he represented the true spirit, the full force of life, that many of the older musicians had—like in New Orleans jazz—and which many musicians today don't have. I hope to bring that spirit back into the music we're playing.(...)You have to purify and crystallize your sound in order to hypnotize. I asked the brothers how they would advise people to listen to their music."One way not to," Don said, "is to focus on the notes and stuff like that. Instead, try to move your imagination toward the sound. It's a matter of following the sound.“"You have to relate sound to sound inside the music," Albert said. "I mean you have to try to listen to everything together.“"Follow the sound," Don repeated, "the pitches, the colors. You have to watch them move." "It's really free, spiritual music, not just free music. And as for playing it, other musicians worry about what they're playing. But we're listening to each other. Many of the others are not playing together, and so they produce noise. It's screaming, it's neo-avant-garde music. But we are trying to rejuvenate that old New Orleans feeling that music can be played collectively and with free form. Each person finds his own form.(...)On Spritual Unity, we weren‘t playing, we were listening to each other.

11. Derwish dance