IVTHREE COLLABORATIVE PILLARS

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IV THREE COLLABORATIVE PILLARS
V.4 (Th March 26) Archie Shepp The Magic of
Ju-JuAlbert Ayler Universal Indians
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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 C
liffs, NJ April 26, 1967 The Magic of Ju-Ju
1836You're What This Day Is All
About 0152Shazam 0444Sorry bout
that 1010
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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 fe
tish (Lat facere, object having supernatural
powers)can be anything from an elephants 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.
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000 Shepp talking drs pc.
620 first hi-hats come in
638 all drums (snares etc.) come in
805 bass comes in 1729 other reeds co
me in for finale 1836 fade out
Ekkehard Jost Blocks of sound
hounted
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Albert Ayler tsDonald Ayler tpCall
Cobbs harpsichordAlan Silva bMilford
Graves d recorded at the Capitol Studios, New
York City August 31, 1967 Love Cry 35
3Ghosts 246Omega 315Dancing
Flowers 219Bells 308Love
Flower 331Zion Hill 607Universal
Indians 948
(Liner notes A.A., relating to John Coltranes
Meditations, with Pharoah Sanders) The father,
son, and holy ghost. What Coltrane was talking
about theremaybe 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.
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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 '1 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 S
ERIOUS 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
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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 hadlike in New
Orleans jazzand 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
werent playing, we were listening to each other.
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