Lazaro Vega

Chicago's emerging jazz musicians bow to the past to tell their own stories http://www.suntimes.com/entertainment/musi...-jazz04.article February 4, 2007 BY JOHN LITWEILER Ever since Louis Armstrong first dazzled South Side crowds in the 1920s, outstanding, original musicians have grown to artistic maturity in the fertile soil of Chicago's jazz community. Today, a remarkable new crop of players is sprouting up from the underground here in the 21st century. But right away, I should warn you: They swing, but they play free jazz. That is, they improvise freely (oh, no!), outside chord changes (shocking!), and sometimes they're even arhythmic or atonal (the horror!). Sometimes their music is fierce, with exhilarated honks and explosions. More often, it's intense, very tight group explorations, often lyrical or abstract or even charming. Since they're the free-jazz weeds in Chicago's mainstream-jazz garden, we'll call them the Wild Onions. They're bold, often vivid players who have their own stories to tell and their own ways to tell them. Most of them are not among our most visible players, for they seldom play in the fashionable parts of town. While you can hear them often at the famous Velvet Lounge, and sometimes in the Loop (at Gallery 37, for instance), they're usually heard at well-hidden spots scattered around the North Side. True, a few Wild Onions -- for instance, trumpeter Corey Wilkes, multi-saxist Dave Rempis, and drummers Isaiah Spencer and Mike Reed -- are already noted musicians because they've been absorbed into long-established bands. The rest, including some of the best, are only beginning to become well known. "I haven't seen such a healthy, cooperative, stimulating scene since the early AACM. The communal, creative aspect is really working," says longtime critic Larry Kart, author of Jazz in Search of Itself. Certainly Chicago's Association for the Advancement of Creative Musicians, founded on the South Side in 1965, set a precedent for this new generation's cooperative works. Moreover, these younger artists are using the expressive innovations of the first AACM composers and improvisers to discover their own voices. Most of all, close listening and responsiveness -- musicians used to call it "quick ears" -- often result in what Kart calls "genuine compositional thinking," a feeling for creating structured music together that recalls some of the first AACM ensembles. Chicago: city on the edge A bit of history is in order. While later AACM generations created colorful fusions of new freedoms with mainstream traditions or African influences, the radical, roaring excitement of this music was reinvented during the 1980s and '90s by North Siders like Ken Vandermark and especially Hal Russell's N-R-G Ensemble. Less renowned but calmer, the 1990s music of Rob Mazurek's and Guillermo Gregorio's groups were immediate stylistic precedents for these 21st-century developments. "Chicago has always been on the edge of something that's new. This city can't help but rub off on you," says Mike Reed, originally an "inside" drummer who first ventured "outside," with crisp, urgent accenting, early in this century. "I began playing with [AACM saxman] David Boykin. His composing is very detailed, and its demands were what made me play free." In 2001, Reed enlisted Josh Berman to help present weekly Sunday-night sets at an inconspicuous Belmont Avenue bar, The Hungry Brain: "I wanted to bring people together. Initially we just asked our friends to come out. After six months, people just came. It's important that we're still there every week." "At one time it was hard to get a gig," says Berman. "We were just figuring our stuff out, and one gig every three months is not going to make you into a good player. The Hungry Brain kind of solidified the scene." Berman has blossomed into a beautifully melodic artist with fine, subtle rhythmic poise. It's especially pertinent that he names swing cornetists Bobby Hackett, Ruby Braff and Rex Stewart among his influences. "What opened it up for me was learning all these really old tunes and how they work, and relating it to this new music." Learning from history Wild Onions tend to know their musical ancestry, including not only free jazz, but also bop, swing and early jazz. Berman is on two Delmark CDs with tenor saxman Keefe Jackson, another artist with an especially fine sense of spacing and accenting phrases, as he develops lines that curve and dip above the rhythms. He's another who cites swing saxophonists and the first AACM generation among his major influences. Jackson played jazz, klezmer and Latin music in Arkansas and Maine and "I visited Chicago before I moved here in 2001. It seemed like it would be easy to meet other musicians and get something going." The scene expanded. Dave Rempis appeared, playing saxophones, especially alto, with eager, breathless intensity like that of the AACM's Anthony Braxton. Already, since 1998, Rempis had been noted for his playing in the Vandermark Five. Matt Bauder, on tenor sax, began exploring Braxton's more minimalist ideas. Women began to emerge, including alto saxist Matana Roberts and trumpeter Jaime Branch. Roberts is a daring melodic and dramatic artist who mingles history, autobiography and music in her grand, ongoing "Mississippi Moonchile" multimedia concerts. Yet another saxophonist, Aram Shelton, plays alto with a singing sound and a wonderful way of developing juicy phrases into full-blown solos. Like most of the others, Shelton composes his own music. They were joined by superb new rhythm section players. To name a few, Jason Roebke, Anton Hatwich and Jason Ajemian proved to be powerful bassists, while drummers Tim Daisy and the complex Frank Rosaly motivate ensembles with their interplay. Jason Adasiewicz adds ringing sounds and melodic sparkle to several groups with his vibes. This list of Wild Onions is far from comprehensive. And a number of older free musicians play with these younger folks, while new people keep popping up like weeds. In clubland Where do they all play? Senior saxman Ken Vandermark began presenting them weekly at a well-hidden Bucktown bar, The Hideout, and Dave Rempis began presenting them at Elastic, a second-floor performance space above a Chinese restaurant north of Logan Square. A few nights each week, they're at the Velvet Lounge, owned by the major saxophonist Fred Anderson: "Fred's club is a very strong model for what we're trying to do," says Rempis. Since so many players appeared regularly at Elastic, The Hideout and the Brain, last year the producers formed the Umbrella Music cooperative, to coordinate events. Underground jazz is an international community, too. Inevitably, some, like saxophonists Aram Shelton, Matana Roberts and Matt Bauder, eventually left Chicago to study or seek their fortunes. But they return often to perform with their pals. Meanwhile, those pals make occasional tours of the U.S. and Europe, and recordings are beginning to appear on the 482 Music, Okka-Disk and Delmark labels. Adasiewicz articulates what many of the others say about this city's 21st century new music scene: "What's keeping me here is more than the free jazz scene. I've always loved the city. I don't want to leave Chicago. I have everybody I want to play with right here. We hang out together, we like to see each other play. It's a family, it's totally a family." John Litweiler is a Chicago jazz critic and author. Where to hear the new sounds 10 p.m. Wednesdays: The Hideout, 1354 W. Wabansia, (773) 227-4433. 10 p.m. Thursdays: Elastic, 2830 N. Milwaukee, (773) 772-3616, above the Friendship Chinese Restaurant. 10 p.m. Sundays: The Hungry Brain, 2319 W. Belmont, (773) 935-2118. See schedules for these three places at umbrellamusic.org. In the spring, Umbrella Music also will produce twice-monthly concerts at Gallery 37, at 66 E. Randolph, (773) 744-8295. Also, the Velvet Lounge, at 67 E. Cermak, (312) 791-9050, offers new jazz six nights a week, including Isaiah Spencer's jam sessions at 9 p.m. Sundays. See the schedule at velvetlounge.net.

Nice. Thanks for sharing those. I believe Earl Cross is playing a cornet in those photos.

I have that on lp....

Begin forwarded message: From: Gerry Hemingway <gh@gerryhemingway.com> To: Gerry Hemingway <gh@gerryhemingway.com> Subject: BassDrumBone & Brew double bill at St Peter's, NYC - Sunday @ 7 SUNDAY, Feb 4th, 7pm @ St. Peters Church in NYC Triple bill with Brew, BassDrumBone and Reggie Workman ensemble Hello everyone, I know this coming Sunday evening will be a ritual for some of you that will be hard to pass upbut this concert should not be missed. It is a triple bill and the opening to a very interesting festival produced by bassist Reggie Workman. I will be performing in two ongoing projects the first beginning at 7 pm.... BREW Reggie Workman-bass, Miya Masaoka-koto/electronics, Gerry Hemingway-drums/sampling and at 8pm, BassDrumBone will present new compositions BASSDRUMBONE Mark Helias-bass, Ray Anderson-trombone, Gerry Hemingway-drums The program by BassDrumBone will premiere all new works by all three members of the trio. These new compositions were created with support from Chamber Music America's New Works: Creation and Presentation Program, funded though the generosity of the Doris Duke Charitable Foundation. BassDrumBone is celebrating its 30th year as a collective trio this year (2007)!!!!! more info Sculptured Sounds Music Festival Saint Peter's Church 619 Lexington Ave. @ E.54th Sun., Feb. 4, 2007 7pm For more info and reservations, please call (212) 642-5277

Yet Braxton's ideas.....

Dan, I already went. Clem's points are well taken. Just trying to discuss what's it all about, Alfie. There are many musicians who have said there's no clarity in implied comparisons between image, words, music. It is a frustrating endeavour to describe music in words, to communicate how music sounds without going academic or into specific musical language, which itself falls short in replicating on paper the way jazz sounds. Lockjaw Davis transcriptions anyone? Jazz on the radio is the answer, yet tens of thousands more people would have read one jazz article written in the Grand Rapids Press, for instance, than would tune in to the area's classical and jazz radio station over the course of an entire week. And the station is doing well with 40,000 listeners a week. More people read than listen. Jazz writing needs to be taken in its entire scope not just one person at one magazine with one audience in their imagination. The sophistication of marketing predicates limits on a single source of information, which is why the marketing models don't do well with jazz, per se, because the jazz audience is more a mind than a social or economic strata or even gender strata. You'll see magazines dedicated to jazz seeing a primarily male, middle age audience. Yet there are many, many women who listen to jazz on the radio, I'm hear to tell you. Lawd lawd a mighty, Hello Betty: Yes, Ray Charles singing "Come Rain Or Come Shine" IS romantic, innit? Humm? What does "Fathead" mean? I'm sorry, time to read the weather. "Cold showers in the forecast for...." In answer to the rhetorical -- by the way wasn't it W.B. who described Young's sound as "feathery"? -- if Young is "wheaty" than Ben is "meaty." Of course for a clearer "real" answer of the comparison I'd trust Budd Johnson over W.B. or, as WB not doubt intended, hear them both for oneself and "you make the call."

Yes, I dig it, though haven't listened in years.

Clem: "it was his J-O-B, baby. how many others would have liked to do that for a living but found the doors closed at The New Yorker as a result? it's like with Giddins-- sure he did some good things. gimme 30 years w/o having to worry abt $$$-- give it to anyone--- they damn well BETTER have at least a few hits." Still working on THAT. There aren't too many writers of his generation that the masses read who had the ability to cover concerts by Cecil, the AACM and other far flung musical styles as well as the unique figures of the 1920's and up without going into the whole "is it jazz?" side street. And his opinions changed on some of the more challenging forms of jazz as he became more familiar with them. W.B.'s value as one of the first writers to be encountered on such a widely read level who at least understood the individual nature of creativity served as a gateway to the music. That is hard to demean even if it arose from the worn paths of hackdom. Combining journalism with such a personal writing style is about impossible to get past the editorial class with their fetish for style book rules. It's up to the listener, then, to dig into the depths you're describing. W.B. in my experience was not a harmful start. As a writer his ability to paint with words was tight. The unforced metaphore on a journalistic deadline is a skill to envy. So, who kicked/kicks his ass?

I don't know, Clem: "Even his feet looked sad" is about it with Pee Wee Russell. Describing an Anthony Braxton performance as sounding like he was trying to push a piano through an empty room while everyone upstairs was sleeping was an effective way in. His range of coverage was great for a general interest column (as opposed to academic). He was an imagist which is more about writing than music yet he made it work with the subject. Red Allen's face DID look like a pepper. So Phil Woods hated him. Because Balleitt turned me on to so many classic jazz artists....W.B. is a first person witness to jazz in the music's capital. One has to deal with what he wrote, the profiles and first person accounts of concerts, as primary source material. Build from there, but thanks for his years of service to the music.

Black History Month Jazz Retrospecitves. Jazz From Blue Lake is heard Monday through Friday, 10 p.m. to 3 a.m. est via www.bluelake.org February 2007 1 James P. Johnson, piano/composer 2 Willie “The Lion” Smith, piano 5 Fats Waller, piano/composer/bandleader 6 Earl Hines, piano/bandleader 7 Duke Ellington, piano/bandleader/composer 8 Live From Blue Lake with Phil DeGreg, Paul Keller, Tim Froncek then later Thelonious Monk, piano/bandleader/composer 9 Cecil Taylor, piano/bandleader 12 Sonny Stitt, tenor and alto saxophones 13 Buck Hill, tenor saxophone 14 The Deep Blue Organ Trio 15 Kirk Lightsey, piano 16 Henry Threadgill, saxophone/flute/bandleader 19 David Murray, tenor saxophone/bass clarinet 20 Nancy Wilson, voice 21 Tadd Dameron, piano/arranger/bandleader 22 Nina Simone, piano/voice 23 Rex Stewart, trumpet 26 James Moody, tenor saxophone/flute 27 Dexter Gordon, tenor saxophone 28 Ben Webster, tenor saxophone

Just played the entire second suite on the air.

Delmark's re-issue of Eddie "Cleanhead" Vinson's "Kidney Stew Is Fine" (a 1968 Black and Blue session) features T-Bone Walker with Jay McShann, Hal Singer in a great program (liner notes by Bob Porter). DD-631. Excerent.

http://www.jazzrecordsinc.com/

pm sent

Been playing it on the radio and have featured the first suite as well as Baker piano solo so far. Will play more this Wednesday at midnight "Out On Blue Lake."

Frank Foster's Live Minority lp on "Philly Jazz" ?

[32] For all of the different creative areas in world creativity must be viewed in terms of the composite hierarchy (culture) that determines what role a given individual can function in - with regards to the composite actualness of a given manifestation (or ceremony). It is not a question of musicians performing while the majority of people - after paying their tickets - experience the performance. The meta-realness of world creativity functions as an integral part of how life itself is understood/felt. In other words the vibrational alignment that determines the nature of how given culture groups relate to the 'is', also dictates the natural affinity reality that gives meaning as to how the total hierarchy of creative dynamics is to be utilized in a given ceremony. With this in mind, a given ceremonial occasion would have musicians functioning in accordance to the vibrational and physical universe principles which defined the nature of the occasion - the dancers would also function in relationship to these same coordinates, as well as the 'moment-actualness' of the music being created - the scripters would have already created masks or other ornaments relevant to the occasion, in accordance to the ritual that underlines the ceremony, etc., etc. (In other words, a multitude of factors are at work in a given creative manifestation in world creativity.) Moreover, the composite lining of world creativity is manifested from a principle unification factor, embracing both ritual and symbolic meaning. The end result of creativity from this type of alignment can be viewed on many different levels. For the projectional thrust of world creativity moves towards the unification of culture, and the actualness of ceremony, as designed through the annals of world culture, moves towards 'maintaining the community'. The nature of this interrelationship is outside of anything present day western culture has been able to come up with. Only by examining the essence realness of world creativity can western culture establish basis for perceiving what is really happening with this subject. Thus it is when the totalness of a given creative thrust is experienced that we are better able to have basis for attempting to understand world culture. For the realness of creativity from the world group encompasses [33] more factors than what we have come to realize. There are many other considerations in world creativity that must also be dealt with if we are to have even an elementary grasp of given creative flows. For while the realness of any particular creative manifestation in world music utilizes many different levels - either in terms of essence factor or what a given physical universe event is at any given moment - it should be remembered that the very arena which defined the events of a particular creative manifestation are also directly related to the meta-reality of the culture itself. In other words, the form of a particular creativity actuality is also part of the ritual of that creativity. But where this idea can be seen utilized later in contemporary German functional composition concepts (the technique of Klangfarben's melody can be looked at in relationship to this most basic African idea) the major differences in the use of this technique relates to the spiritual-essence factor in world creativity. The nature then of African creativity in its normal flow dictates a more profound understanding of the concept of form. If improvisation is the most universal element to be found in world culture, it would also be to our advantage if this consideration were refocused on and better understood. I say this because, in this time zone, there seems to be some disagreement as to (1) the underlying essence-factor which determines how we have come to view improvisation, (2) and the functional nature underlying how improvisation has to be utilized before it is valid. There are many factors in African music that must be understood if we are to have a more realistic view of what is implied in the concept of 'composite-aesthetic' creativity. The most basic of these factors would be the understanding of form and the underlying tools which have always been properties in a given creative actualization in world music. I have already stated that a given manifestation of African music utilizes a composite identity on a level I believe to be the most sophisticated that is documented in this period. But it is also necessary to reiterate that all of this activity (in a given creative manifestation) - that being, the use of particular elements (i.e., mask - [34] headdress) and the use of certain rhythms for certain occasions - can be looked at in relation to the form of the creativity (I do not mean, however, to imply that this is the only use of form). If this is true then what we have is an extended understanding of form - and this is only the first level. My reasons for attempting to understand what constitutes form in African music (world music) is to hopefully gain a better understanding of what is really happening in in world creativity. For, if my previous observations are meaningful on any level, there is another level of world creativity that is of even more importance. That level would be the significance of the concept of form in the world music aesthetic. I have already stated that the basic underlying vibrational thrust in world music can be viewed as activity which moves towards ritual. But what does this mean? Well, it is my opinion that the consideration of form as ritual completes the total meta-reality cycle that dictates how a person participates in a composite creative manifestation (as far as what that participation really means). Form viewed as ritual can be understood not only as functional unification in the creative act but also in regards to what it means for the society. Ritual then is the alignment which serves to keep the participating individuals in accord with the meta-reality of the culture as well as a factor that substantiates the essence factor of the culture itself. Form as ritual is also the most important factor in the stablizing of a given culture's relationship to its spiritual essence foundation. With this understood, the implications of a 'composite-aesthetic' reality can become clear; and if my understanding is correct., the functionalism which dictates how world creativity is perceived (from the people - or culture groups themselves) can be looked at as an example of the highest form of creative alignment. For the totalness of a vibrational approach - encompassing the elements used in a particular manifestation - is also the form. Thus, a given creative manifestation in world music is a profound example of a living, breathing culture, rather [35] than a factor that can be separated and studied by itself. The end result of this phenomenon is that world creativity sustains the agreed reality of its culture's lining in extended spiritual terms. It is necessary to search even further into the functional reality of world music if we are to understand the vibrational position of each participant in the actual creative process. For the factors that determine the composite reality of a given form in the world group is also manifested in the individual reality of the participating musicians, dancers, etc., in that same form. In other words, while all of the factors which determine a given reality of form are operative throughout the total gamut of creativity in world culture - the nature of what this phenomenon means embraces other factors as well (that being, with regards to the participating individual - while he or she is functioning in the creative act). It would be to our advantage if these factors are examined on as many levels as possible. The consideration that most interests me is the reality of the creative person with respect to how a given form is executed. In other words, I have already written that any given form dictates the nature of what elements it is to utilize - as well as how that utilization is to take place. But since the functional realness of form in in world culture is not constructed on any one-dimensional empirical system, we are forced to examine what this utilization means. This is so because there is another factor that must be looked at - a factor whose importance carried multi-complexual implications with regards to the question of form in world creativity. In other words, to deal with the realness of form in world creativity would also imply some understanding of the consideration we call 'improvisation'. We are thus forced to examine what this consideration really means, for the actualness of improvisation permeates every level of world creativity and how it is manifested - regardless of form or time period. The realness of improvisation is the single most apparent factor that separates how world creativity is perceived, as compared to western art music (at least in physical universe [36] terms). Thus an examination of improvisation could help establish some criterior for the whole of the book (affecting how creativity is perceived on every level regardless of culture or category). Moreover, an investigation of this subject can also help establish the nature of how functionalism is perceived in world creativity - either with regards to the actualness of a given functional alignment, or the meta-implications underlying what that alignment means - in both actual or conceptual terms (even applying to documentation). Improvisation - as it is 'ised' in the world group aesthetic - has to do with the ability to function in a given context in accordance to each individuals own vibrational flow. In the functional context of African creativity where the form is ritual - each individual while utilizing the language content of the occasion, is in the position of interpreting the nature of what that given reality means subjectively, objectively (or bi-jectively). The totalness of this relationship can be viewed as individuals creating in 'actual time' from a composite essence alignment that also affirms the meta-reality of the culture in the 'doing' (creating). The realness of this condition thus affects the individual, communal and spiritual well-being of the culture. This then is the actual 'isness' of improvisation as conceived and offered to us from the progressional continuance of world culture - as opposed to present day concepts which view this subject as an end in itself (or as a factor that promotes a kind of freedom alien to its base aesthetic). It is important that this factor is understood if we are to view the realness of world creativity as a potential transformational tool. This is so because there are now attempts in this time zone from certain circles in western culture (i.e., the Post-Cage School or the emerging improvisational movements) to declare that improvisation is a form that can function only in certain contexts (and any other use of this consideration constitutes another functional approach) - but this is not true. The actualness of improvisation, as it has been defined through the progressional continuance of world culture, transcends any one approach or application. I am writing of a discipline that really [37] shows the proper relationship between given functional approaches and aesthetic agreements, as well as a consideration that reveals the functional dynamics related to its own utilization. Moreover, I am not focusing on the consideration of improvisation and its relationship to functionalism in world creativity as a means to declare innovation. Rather, the use of improvisation can be traced to culture groups thousands of years before the Christian era. It would be more realistic to view the use of improvisation in world creativity as the culmination of what has been learned/experienced throughout the progressional actualness of life on this planet (and beyond - relating to the realness of the 'is' - or original knowledge, etc.) rather than the product of isolated innovation - as the word is now used in this time zone. This information is important to understand, because the realness of improvisation promises to be the next sourcetransfer factor in the western documentation cycle. It should also be noted that the utilization of improvisation in world creativity was dynamic - extending throughout the total spectrum of creativity. There are as many different forms of improvisations as there are cultures (not to mention that every culture necessarily found many other ways to deal with this consideration in their own way of being creative). Add to this the natural realignment of functional process that takes place in the course of time and one might have some understanding of the dynamic realness of improvisation and how it has been utilized in the composite thrust continuum of world culture. Any attempt to negate this most obvious fact is ridiculous for the progressional use of improvisation is documented for all to see (yet we will probably have to deal with this very subject in the next time cycle). I believe the study of world culture is very important especially in this time zone. We, as earth people, are in the position where great tasks await us in practically every area. The importance of the historical progressions leading to this time zone can shed light on how we can develop in the future. This section of my book is [38] primarily concerned with re-establishing the underlying principles which define the personification of the world group aesthetic - nothing more. The real research has yet to be completed, for without doubt, there is much more for us to learn about world creativity. --- Credits: Timo Hoyer: TAW xeroxes Andreas Egger: Scanning and OCR FF: Proofing of OCR

From Franz Fuchs via Anthony_BRAXTON@yahoogroups.com: I did the proofing of the OCR of this excerpt as conscientously as possible. For example, "affinity alignment" and its alternate spelling "affinity-alignment" occur exactly as in the original text. Except for two passages ("trying" p. 6, "stabilizing" p. 34) I didn't correct typographical errors. The brackets of "dynamics" on page 6 are probably another typo, but I'm not sure. To make this citable, I included page numbers between square brackets. Other versions (jpegs, html) of the text will follow. Many thanks to Mr. Braxton for allowing this digitization! Length of the excerpt: ca. 12 000 words --- Anthony Braxton: Tri-Axium Writings Vol. 1 I. Underlying Philosophical Bases (Level One) WORLD MUSIC [1] If we are ever to awaken to the realness of creativity as a life giving factor, then the seriousness of this subject must be re-examined from every viewpoint and context. For the most basic understanding of creativity perpetuated in this time zone seeks to accent the entertainment or spectical value of a given projection, rather than what that same projection might mean in its cosmic vibrational sense (as pertaining to either its mystical, spiritual or positive functional value). In other words, the present reality of western information dynamics is geared to focus more on the surface of a given focus, as opposed to 'what is most true' about that focus, and this phenomenon has come to profoundly distort our perception of everything - including creativity. The end result of this cultural attitude sheds light on the times we now live in, for, to many people, the meta-reality of a given creative projection is a subject not worthy of serious thought. And, as the progressional expansion of technology continues to reshape every aspect of our lives, this gradual unconcern about composite information (and/or philosophical content) that is now taking place in our culture will pose even greater complexities for generations to come. Every day the realness of creativity becomes less and less clear - and this is true on many different levels. On the physical universe level this phenomenon could be understood by dealing with the rapidity surrounding the progressional shifting of information by the controlling forces dictating western culture. Every week there is a new spectical on display, and all of us are constantly bombarded with what music to buy, what art is 'in' - what fashions are correct - what music is the best, etc., etc. In the time zone of a given year many of us would be shocked to discover how many specticals we have gone through - either with regards to creativity; or more important, how the controlling forces of American culture would have us perceive creativity. We are constan tly forced to keep up with both the changing social jargon [2] related to how given creative thrusts are perceived as well as the effect of what that jargon helps create in vibrationaltory terms - with regards to actual physical universe life. It does not matter whether the spectical involves 'op-art' or the emergence of what is now called 'funky' music, because in the final analysis the thrust continuum of creativity is constantly changing, and it would be to our advantage to have some understanding of what this means. The realness of the changes taking place in creativity must be viewed from many different viewpoints because in this subject we are not discussing a mono-dimensional thrust projection, but rather a multi-dynamic continuance that touches on every aspect of life on this planet - regardless of culture. Moreover it would not be correct to simply imply that all of the changes reshaping creativity in this time zone are based on manipulation from big business, because while this is true for some areas of creativity, it certainly does not apply to the composite thrust of world culture. Instead we are talking of a subject much too complex to generalize, and much too diverse to lump together. The composite actualness of creativity transcends any single category. This is a subject related to the realness of life itself, for the seeds underlying what a given creative projection really is touches on more areas then many of us might imagine. The scope of creativity is not limited to either the doing or experiencing of a given creative thrust, rather the totalness of given thrust sheds light on the culture itself - both in terms of what that culture is and also in terms of what that culture could be (with the implications having to do with 'what that culture was and what is what'). The dynamic realness of creativity is a subject too important to ignore any longer, for our ability to participate in the next time cycle is directly related to what knowledge we secure in this cycle - and nothing is more important than the vibrational and cosmic forces surrounding the creativity that permeates this planet (for now). Nor have I meant to imply that only certain creative thrusts are significant, as opposed to the composite actualness of creativity, because this is not what I [3] believe. Many of the separations we have made between various strains of creativity are alien to the real actualness of this subject. In other words, there is no real separation between what we have come to call dance, music, sculpture or art in the real sense of what these projections are. Nor, in the cosmic sense of the word, is there any separation between any of the various cultural and racial thrust projections that exist on this planet - having to do with either creativity or any other consideration. All of these categories have to do with many other factors and it is the purpose of this book to begin laying basis to deal with the composite actualness of earth creativity. To investigate the realness of earth creativity is to recognize the dynamic realness of culture on this planet. For the implications of this subject cannot be restricted to any one area - in other words, every cultural thrust is related to a cross-section of creative thrusts. From AIpine Mountain music in Switzerland to Salsa music from Cuba, what we see is the spectrum of how creativity is manifested on this planet, and what we also see is the ingenuity and imagination of the composite whole of humanity. I am not writing of a consideration relevant to only one time zone but rather a subject manifested in every cycle of recorded history. The progressional thrust of earth creativity parallels progressional continuity of earth culture, and this is important to remember. So many forms have been developed and lost that it would be practically impossible to trace every projection to its original beginning. To understand and view the composite actualness of earth creativity is to transcend both the consideration of time, as well as the superficial boundaries that all of us at some point have erected. For the dynamic continuum of earth creativity is not dependent on one area of the planet, or one racial or cultural group - but rather, everyone and every culture group has helped bring us to the junction we are in at present. Thus to experience the realness of earth creativity is to be open to the dynamic implications of what this subject means - both in actual terms as well as cosmic terms. It is important to understand that creativity represents a vibrational [4] picture of what a given culture thrust means in cosmic terms. That is, it is no more possible to change a person's (or culture's) basic creative vibrational thrust, then it is to change one's fingerprints. In other words, the thrust continuum of creativity can tell us much about the progressional actualness of earth culture as well as the vibrational implications of principle thrust alignments. This information is essential if we are to establish some basis for transformation, for it is my belief that the challenge of the next cycle is directly related to what we are able to understand about the composite realness of earth knowledge - regardless of time zone. The investigation of world creativity is also related to what this means, for the seeds underlying how given cultures move - in physical universe or vibrational terms - sheds light on every aspect of that culture (whether we are referring to either a culture's vibration or spiritual reality). It is necessary to examine the total vibrational arena that underlines how we have come to view creativity if we are to arrive at some basis for dealing with the uniqueness of this subject. For the creativity happening in this time zone did not simply come from nowhere but rather is the progressional extension of what happened before it. To examine the essence implications of creativity would imply that some effort is put forth to establish the widest possible context for examination. For to deal with the realness of this subject would imply some awareness of the progressional expansion of given vibrational projections, as well as some understanding of the basis which solidified what those projections are. With a composite perspective we are able to view the dynamic implications surrounding how given creative thrusts expand as well as how that expansion has affected the present realness of earth culture. The information we gain from this viewpoint can better prepare us to deal with the underlying philosophical and vibrational factors that dictate the nature and actualness of this subject. For the philosophical consideration defines both the significance of what a given projection is, as well as what the inherent potential of that projection could be if extended. Thus for [5] the purpose of investigation - everything, in terms of meaning, is relative to its philosophical or vibrational basis, because this factor functions as 'center'. For investigational purposes I have found it necessary to dismantle many of the considerations related to how we have come to view creativity. This is so because there is a need to re-examine every aspect of this subject in a new light -both for what it could mean with regards to the present actualness of culture (what is happening at present) as well as for what this type of investigation could mean towards further expansion. The seriousness of creativity demands this type of investigation, if we are to truly have some awareness of our real position on the planet in this cycle. For if many of the problems we are dealing with in this time zone directly relate to the inability of western culture to provide the proper ethical and spiritual dictates necessary for culture, then the restoration of creativity can be viewed as the first step towards re-establishing positive change. Moreover, if the realness of the present time zone exceeds the limitations of any one given culture, then the actualness of creativity can also give us some insight into what this state means with regards to both functional change and vibrational change. Whatever, the dynamics of creativity is a subject that must be dealt with on some level, for there are many questions related to this subject that could directly shed light on the progressional expansion of earth culture as well as those vibrational factors that underline how physical universe change (i.e.transition and/or transformation) is actualized. The progressional actualness of a given creative thrust could give us insight into the question of spirituality as well as culture - and in its ultimate state this information should reveal something about the realness of existence (whatever level). The seriousness of the time period we are living in seems to imply that some of these questions be examined. And while I do not pretend my awareness is so advanced that I am qualified to deal with this subject, at the same time - a collected viewpoint concerning creativity and its related meta-reality implications must come from a dynamic spectrum of quarters: including both philosophers, scien- [6] tists and yes, creative people. My attempts to comment on the composite realness of creativity is offered in the same spirit of positive investigation that characterizes those who are t[r]ying to understand anything. This section of the book is concerned with viewing the meta-reality of world creativity - both as a means to draw new light on this subject, and also as a necessary route for re-examining creativity in this time zone. However, the dynamic realness of this subject must be approached very sensitively, for the actualness of world creativity does not necessarily correspond to the thrust alignment of western language - that is, the vibrational significance of world creativity, in its most basic state, transcends the parameters of western language as an accurate descriptive tool. Thus if this section is to be of any value - and related to true information - I am forced to be as careful in my use of language as possible. Because the actualness of a given word might mean one thing in the west, but when applied universally mean something else entirely. In short, there are reasons why given languages can't comment on certain factors outside of its natural affinity projection and this must be respected. I have chosen to write on the underlying philosophical and vibrational realness of world creativity only as a means to establish basis for observation. Moreover, because of the nature of this subject, I am forced to also utilize separation as a tool for showing the distinguishing features of world creativity - as opposed to lumping this consideration with aesthetics that aren't compatible. For the multi-complexual implications of this subject necessitates some level of separation as a means to comment on the (dynamics) of given culture groups. This is true for unique particulars subject matter as well as for the structure of this inquiry. By world music in this section of the book, I am referring to the creativity 'ised' from all of the world's cultures with the exception of western art music and creative music from the black aesthetic - which was also 'ised' in America - (both of these thrusts are discussed separately in the next section of this book) . It is not the purpose of this book to deal with any particular group as a means to totally understand what that group [7] is about. That is the purpose of historians, anthropologists or musicologists - I am interested in looking at world creativity as a means to draw light on certain inherent factors regarding the meta and functional realness of the creative process that has always been apparent to the world group. My reasons for taking this approach is to establish basis for understanding world creativity and how given culture groups function from this information. The limitations of western language as an accurate descriptive tool for inquiring into world creativity can become apparent by dealing with the essence foundation underlying how world creativity is perceived. For the nature of creativity in world terms is perceived quite differently from that of western culture - especially in this time period. Perhaps the most distinguishing factor manifested in world creativity is the unification of all aspects of postulation to the degree that the creative process and the very reality of the culture group are intertwined. In other words, not only is the creative process indistinguishable as a separate entity in the world group's viewpoint, but in many cases the creative process is not even looked at in terms of being a creative process. In other words, the idea of creativity is not even dealt with by many culture groups from the world community. It is difficult then to make systematic references or relationships on world creativity as a means to establish one criteria for investigation - because the study of world creativity is not only about creativity. In 1968 I had an opportunity to meet a young African flutist whose musical ability impressed me enormously. The meeting I was to have with this musician helped me to view the uniqueness of world creativity as a factor perceived quite differently from western creativity, and as a consideration that reflected on the dynamic implications of culture in ways very new to me. The basis of our meeting had to do with me asking the African musician whether or not he was a professional musician, for I was quite impressed with his musical ability and would have liked to experience more of his work in performances if possible. His reply was that he was not a professional musician and [8] I was quite surprised to hear that this musician was not a professional (musician) - in the sense of how the word is used in the west - for I found his musical ability to be on the highest level with regards to both invention (creativity) and discipline (technique). Moreover I do not mean to imply that his response to my question required an understanding of complicated concepts or advanced algebra, because in fact the simplicity of his viewpoint would really be the factor that accented my interest. For I was not prepared for this young musician's response (to my question), and the basis of our conversation would make a deep impression on my total understanding of creativity. His response was simply that when he was growing up he always wanted to play the flute - so he played the flute. The idea of becoming a professional musician had no meaning to him because in his country not only would there be no one to play for - and make a living from - as such, but also in his tribe everyone played the flute as well as he did - if not better. He went on to say that it was only in coming to Europe where he began to see other considerations concerning creativity - as a professional spectical factor, and while he grew to understand this viewpoint it was outside of his basic vibrational and historical alignment with creativity. For me, this meant in his tribe there was no such thing as creativity separated from the culture to the degree it became an entity unto itself. Thus to deal with world creativity is to understand what this alignment really means. For if creativity as an actualization is not dealt with by the world group, then what does this imply - and how is it perceived? To understand these questions is to deal with establishing some criteria for viewing the realness of this subject. I say this because whether or not the young African saw himself as potentially being a professional flutist is not the point. The fact he played the flute is what I am focusing on. To deal with the realness of world creativity is to be confronted with the dynamic scope of how it is manifested. And while the surface particulars of a given culture group differs - in terms of identity alignment - every culture utilizes in its own way the total dynamic spectrum of [9] creativity. In other words the projectional realness of music, dance, sculpture, theatre, etc. is an integral part of the basic creative arena of world creativity - but it goes even deeper then that. The fact is, all of these various projections (i.e., dance, music, etc.) were actualized in the progressional continuum of world culture and as such are not merely adaptations or recent developments, but factors conceived from the basic thrust expansion of world creativity. Moreover, the surface realness underlying how a given projection is viewed cannot be separated from the composite meta-reality of its culture group. That being, to deal with world creativity is not to analyze the surface actualness of a given creative projection but rather to understand the vibrational and cultural base which actualized it. The realness of this approach can help us understand both the uniqueness of a given culture group as well as the concept of 'affinity alignment'. Our attention must be directed to the essence foundation of world culture - not necessarily with regards to any particular function or group - as a means to observe the nature of this concept. For obviously the progressional development of Scottish bagpipe music is different from that of Pigmy music - yet the essence foundation of world creativity can be viewed as reflecting one essential attitude - or affinity alignment (and this is especially true for non-western cultures - because the underlying vibrational and philosophical realness of western creativity - and culture - in many ways represents its own separate affinity balance). The essence realness of a given projection in world culture terms must finally be viewed in its composite context. For the particulars of a given focus in this context share a common vibrational affinity denominator - and this is true for the whole of world culture - with the one exception being western culture, and in particular western art music. This difference can especially be understood if the concept of affinity alignment is viewed as related to the 'reality of principle information' and/or affinity dynamics in world terms (i.e., the concept of race in particular) - yet I have not presented this concept as a means to proclaim any notions of superiority or inferiority because this is not my belief (nor does this route of investigation really interest me - not [10] to mention the basic vibrational categories I am referring to do not necessarily break down into our present concepts concerning 'race' in any real sense, because this concept is only one criteria among many others of equal importance). [Figures 1 & 2] [11] To examine the essence foundation of world creativity is to be made aware of the relationship of this subject to how given culture groups perceive of life. This relationship is the 'stuff' that solidifies the realness of world creativity as a composite affinity thrust, for I am writing of an attitude that transcends both regional and tribal considerations - commenting instead on a particular way of perceiving things. To understand the affinity alignment of world culture is to observe the nature of this relationship, for there are many aspects of this question that can be commented on. The most basic of which is that creativity 'ised' from the world consideration can be looked at as a ritualization of the total understanding of its given culture group (with regards to that group's affinity and vibrational alignment to either spiritual or cosmic matters). In other words, creativity in this context functions in the position of re-enforcing the essence foundation of its culture group's meta-reality position, and this is done by the nature of its relationship to essence - through ritualism. Moreover, in every case, creativity 'ised' from the composite affinity alignment of world creativity can be viewed as functional as opposed to an aspect conceived only for viewing. By functional I mean 'conceived to be about something', affecting both the actualness of particular situations (in the natural life thrust of a given community) as well as a factor attached to the vibrational lining - and thus secrets and science - of its culture as well. Thus I am writing of a consideration which means nothing in itself but is instead a manifestation (i.e., ritualization or affirmation) of the basic life force (essence foundation) of its culture group. The problem for this section then is to find a way to communicate about this basic life force without talking about 'a given life force' - for in focusing on world creativity we are touching on a subject much too complex for any one level of investigation. The realness of viewing totality as a fact can present many problems for the western analytical position, for this observation context is outside of the basic affinity alignment of western functionalism (i.e., science). Yet this is exactly what must happen if we are to deal with the realness of world creativity. Because any attempt to [12] isolate a given aspect of world culture will invariably lead to some type of distortion - because the meta-reality underlying how this consideration (i.e., creativity) is viewed has nothing to do with separation as perceived in the annals of western thought. To deal with the actualness of a given creative projection from the world's community is to have some awareness of that projection's 'real' purpose. To examine the particulars underlining the composite realness of world culture is to take into account the spectrum of earth creativity in all of its various strains. For when I wrote that there is a difference in how given culture groups manifest their creativity, we should understand what this means with regards to an actual creative projection. Because in the final analysis, a given creative projection from world culture might relate to many factors not normally associated with creativity in the west - and this is important. The clearest example of the multi-implicational realness of creativity could be found viewing the progressional realness of Indian creativity, where certain sounds imply a multitude of considerations - having to do with what we call music as well as the total life experience. In short, where the western interpretation of the Pythagorean junction had to do with the search for acoustically correct intervals as a means to view the universe in one-dimensional systematic terms; the Indian mantra on the other hand dealt not only with the science of a given sound in functional terms but also with the total meta-reality of that sound - with regards to both its physical and aesthetic position in Indian culture. Nor is this total understanding of sound by Indian culture unique in world culture terms, for this example corresponds directly to the nature of affinity alignment in world culture. My point is that the meta reality of world culture must be viewed in dynamic terms, for a given creative manifestation is not limited to one strata but rather has multi-complexual implications. This can be better understood by dealing with the consideration of functionalism, for the composite thrust of world culture - no matter what culture group - has long insisted that a given aspect has much wider implications than [13] merely the empirical science which defined how it worked. To deal with the realness of creativity as a healing factor is but one example of the multi-complexual position of given creative strains in world culture. The use of certain creative projections for given parts of the day (or night) has long characterized the meta-reality of creativity from the world group - and the realness of what this use implies should not be taken lightly. To really understand the meta-reality implications of world creativity is to be aware that creativity is not separated from the realness of the culture itself. The nature of its affinity alignment can be viewed with regards to the realness of functionalism as well as aesthetics. We are thus viewing a relationship that transcends basic categories, for the progressional continuance of world creativity does not have a real separation between its creativity and science, or its creativity and religion - or its creativity and its community. To deal with the meta-reality of world creativity is then to examine the nature of this relationship as a means to better understand the multi-complexual implications of what creativity really is - or can be. [Figure 3] [14] [Figures 4 + 5] [15] [Figure 6] In actual terms it is possible to view the solidification of dynastic Egypt as a basic point to begin examining the particulars of world methodology - and/or meta-reality high purpose. For to view the solidification - of the Nile Valley Mystery System - that being, the emergence of a composite information and spiritual system for culture dynamics - is to begin understanding the reality nature and spiritual purpose of creativity - as viewed in world culture terms. Creativity in that context was viewed as a discipline not separate from composite spiritual dynamics - having to do with what forces it activated and/or participated in, and this information was dynamically intertwined throughout the whole of Egyptian culture. Hopefully the next cycle will see attempts to re-understand this phenomenon, for the African Nile Valley Mystery System information complex (and spiritual platform) remains one of the more amazing information blockages in this time cycle. Sooner or later this information must assume its rightful place in world information dynamics - especially since its tenets and focus spectrum have provided the foundation for present day western culture dynamics. It is important that the reality particulars of creativity are viewed with respect to its greater implications. [16] One needs only to lightly examine the composite thrust of world culture and immediately certain relationships are revealed concerning the multi-dynamic realness of world creativity. Moreover I am not simply referring to one aspect of creativity, but rather the composite solidification of this subject - whether we are discussing painting, music, dance, etc. - for all of these areas functioned as one basic thrust alignment with regards to culture. In the consideration that we refer to as astrology, the very realness of a given sound (note) has definite implications engulfing the totalness of how existence is viewed - even to the point of how birth and death are viewed. The significance of this one area of composite aesthetic gives insight and awareness that western culture has not even begun to deal with. It cannot be lightly dismissed that a person, depending on his or her birthdate, is born into a vibrational realm that in the world position is not only understood but also prepared for. To understand this consideration is to have some idea of the multi-complexual realness of world creativity as a dynamic factor permeating the whole of its given culture group. We are thus dealing with a consideration that engulfs the total spectrum of perceived existence, as well as a consideration that has maintained both concern and awareness about composite life matters - even extending to one's entry into this planet. For the realness of what we call astrology is a multi-dynamic consideration in itself, having to do with the solidification of information that can be used in a positive way to deal with the actualness of life on a spectrum of levels. The dynamic realness of this consideration is most profound - but this is only the beginning. For however the science realness of astrology was arrived at, it was not the result of a mono-dimensional probe, but instead the natural result of a basic affinity thrust that relates to the whole of its given culture. I am commenting on a vibrational thrust projection that can be viewed as a synthesis between empirical flows - in terms of perception of events on the planet and the functional science that grew from that perception - and aesthetic vibrational flows - having to do with the realness of both affinity alignment (and the affinity insight principle) as well as spiritualism. To view the dynamic [17] actualization of astrology and its utilization from world culture is to have some understanding of the multicomplexual factors that determine how given projections are conceived through world culture. Because if the actualness of world culture can be viewed with regards to the concept of affinity-alignment, then a given culture's utilization of creativity can better be understood by viewing the linkage implications underlining its perception nature. This is so because the creative process is not viewed as a separate factor from the total life of the culture in world music terms. The linkage implications of a given actualization in world culture only outlines the dynamic realness of what that actualization really is - in its total sense - and in doing so, gives the correct definition to both the creative process and the realness of its culture. Nor have I meant to over-emphasize the actualness of astrology as a multi-dynamic example of creative linkage, because this is only one example among many. The concept of music for meditation - where through sound a person is able to deal with certain realizations concerning his or her life - is an integral part of the multi-dynamic implications surrounding how the meta-reality of world creativity is perceived. This then is another example of what we are dealing with in trying to understand the underlying vibrational and philosophical realness of world creativity. One of the most basic factors that serves to distort the actualness of this subject is present day misinformation and prejudice. It is important to understand that the composite realness of world creativity is viewed as primitive by western culture (primitive in the sense that when measured against the western philosophical and creative position, world creativity is somehow lacking or even retarded). We have been led to believe that when compared to the music of Iannis Xenakis for example - who purportedly has evolved structural techniques with architecture - Pigmy music is less advanced. Any attempt to deal with the realness of world creativity would necessitate that some effort is made to deal with this attitude. For if the dynamic realness of this subject can be checked in practically every library in the country then it must be [18] assumed that the disregard for world creativity by western culture is based on something other than the actual music. Without doubt, the strongest factor that has served to distort the subject of world creativity is the realness of cultural racism as well as misdocumentation. The disregard of world creativity can be directly linked to how Europeans have come to see themselves and what this viewpoint has necessitated in terms of functional position. The many notions concerning white superiority in this time zone are directly connected to how the expansion of western culture has come to be viewed by white people - that being: the rise of western civilization and the progressional decline of non-western civilization (as a controlling force) can be viewed as sufficient basis to proclaim an inherent superiority of the white race. Thus whether applied to creativity or anything else, western culture has come to view outside initiations in a somewhat distorted manner (and yet to write this without also commenting that the natural affinity make-up of every culture and racial group can be viewed in this same manner would be grossly unfair). The fact is, every cultural and racial group seems to have problems experiencing outside initiations. My reasons for focusing on western culture in this section has only to do with the dynamics of this time period - which is to say, no matter how prejudiced given culture groups are, or can be, only western culture is in the economic and political position to influence how the composite progressional continuance of information is to be perceived and transmitted - that is, on any real influential level, for even the realness of creativity is affected by the political realities of a given time zone. It is this semantical and vibrational subjugating of world creativity that is actually transmitted when most people speak of what they have come to call 'primitive' music. However, we are slowly coming to a period where the realness of this subject must again be dealt with; for now, more than ever, there is a need for having a sound understanding of world creativity. This is because the actualness of the next cycle will necessitate that creativity play an important role - either with regards to particulars or real transformation. Before this can happen [19] there are many factors that must be re-clarified, because the natural thrust progression of western culture has been detrimental to the realness of creativity - outside of its ability to function with regards to economics and spectical. The study of world creativity can only help put the the totalness of this subject in better focus - which is to say, a more realistic and accurate appraisal of world creativity could help everyone view the creative process in its purest sense (what it really is - or could be). The study of world creativity is a necessary factor that must be dealt with because of a multitude of reasons. For I believe there are basic vibrational laws that dictate how creativity is to function in any culture - and the basic underlying 'stuff' of these laws has nothing to do with the dynamic particulars concerning how a given form functions in itself (i.e., whether a form is more or less when compared to other forms). The distortions surrounding how world creativity is understood in this time zone are directly related to the flaws which permeate western culture - in its progressional and functional sense. I do not mean to imply there is a conscious attempt to manipulate how world creativity is understood from any given wing of western culture, nor have I meant to imply that there is a concerted conspiracy in the west to undermine world creativity because this is not what I believe. Rather, the vibrational lack of respect of world creativity that exists in present day western culture is related to what I call the collected forces of western culture - that is, the compilation of many different factors taking place in western culture seeks to promote a special type of affinity alignment (and this alignment is not conducive to experiencing world creativity among other things). Certainly I have not meant to imply that any particular form of creativity is better than any other form - because this has nothing to do with anything - my point instead is this: if there are universal laws having to do with what creativity is actually about, then any attempt to negate those laws would risk establishing important flaws in the actual aesthetic lining of that given culture group. It is not a question of one culture being more advanced than another culture as much as [20] what is the end result of this deviation if any. The study of world creativity can supply the proper basis to deal with the realness of what is happening in this time zone. By examining the thrust continuum of this subject, it is possible that we might better understand what creativity really is, for the realness of world creativity transcends any one time period. This subject corresponds to the progressional continuum of our total beingness on earth (yet I do not mean to imply that creativity is about earth). The study of world creativity can shed light on the whole of creativity both with regards to the past, present, and future. If cultural racism is the motivating factor that has provided impetus for the distortions surrounding how world creativity is presently perceived, then the effect of this phenomenon cannot be separated from the reinterpretations which have historically underlined what this subject really means. For many contributions from world culture have simply not been acknowledged or recognized - even though the science that supports western culture would not be possible without these contributions - and in most cases the composite actualness of this phenomenon is distorted only as a means to apply gradualism. Nor have I meant to imply that only certain aspects of world creativity are distorted, because this is not necessarily true. In actual fact, the misdocumentation that surrounds how world creativity is understood in this time period extends from both given particulars to the essence realness underlying the meta and vibrational foundation of this subject (and without a proper understanding of the essence foundation of world culture, it is impossible to deal with the realness of its creativity) . The extent of this misdocumentation cannot be separated from any real attempt to deal with world creativity - for the distortions that surround this subject permeate every level of available information in this period. Given this situation, it remains for our generation to initiate the reconstruction of both the history of world creativity and what the true nature of the vibrational and philosophical (and functional) implications of this subject really imply. Only by having a clear (and correct) idea of world [21] creativity will we have basis for establishing what role creativity today can have for future generations. [Figure 7] The study of world creativity must be approached both in its composite realness AND individual brilliance, because all of this information is essential if we are to have some real basis for perceiving the dynamic scope of this subject. With regards to investigation it is necessary to examine the actualness of this subject in both composite and separate terms. For the composite realness of world creativity can help us better see the dynamics of this subject in broad universal terms (while separate investigation of given focuses can give us some idea of the particulars related to how these universal considerations were actualized on the physical universe level). For example, the realness of African creativity has much to offer this period in time if it can be reassessed with regards to what is happening with the music, rather then the people analyzing the music. A more accurate understanding of African creativity could give profound insight about the realness of composite creative music today in America, regardless of level, because of position of black creativity in western culture. This is so because the vibrational realness of black creativity [22] has not really changed in terms of affinity-alignment and/ or affinity dynamics. Any real attempt to understand the significance of American creativity would imply that the affinity-alignment implications of black creativity be dealt with on many different levels. It is also clear that the study of world creativity cannot be undertaken in conventional terms, for the 'particular reality' surrounding the state of various culture groups vary depending on what time zone is being examined (and it must be remembered that the time perimeter encasing this subject can be traced back thousands of years before the Christian era). Moreover, in the case of African creativity there are many other variables that must be dealt with as well, for the thrust continuum of African creativity cannot be separated from how the systematic destruction of black culture was achieved and maintained. For the time zone which saw the decline of black civilization was also the same period that saw the functional and meta-reality of African creativity subjected to 'vibrationaltransfer' (another way of saying this is 'stolen'). Given the present situation in Africa it will be extremely difficult to piece together the historical references related to how this dissolution was brought about in a complete sense - for in dealing with Africa, we are talking of a continent that has experienced a succession of wars on a time scale that boggles the mind. Historians - who are only too aware of the progression surrounding the decline of black civilization - have been able to use the succession of transitions in Africa as a means to redefine what actually happened (i.e., in the use of racially motivated speculation without basis). The end result of this situation is that the historical community would have us believe black Africa has never developed advanced cultures (or creativity) - and this position, while interesting, has nothing to do with the truth. It is not the purpose of this book to detail the factors that dictated the historical progressions surrounding African civilization, because this is a task for more qualified writers (i.e., Chancellor Williams or writers like Yosef Ben Jochannon). But as the real truth about [23] this subject slowly emerges, it will be possible to gain some idea of the essence foundation that dictated how African creativity was to be understood and utilized. This information will better enable us to deal with the actualness of world creativity - regardless of culture. Because whatever we learn about the essence realness of African creativity should also shed light on the resultant physical universe state that world creativity is now in. For while the systematic distortion of African culture pertains to only one community of world culture, it would be a great mistake to assume that only Africa will suffer in the long run from distorted interpretations. The realness of world creativity is directly related to our ability to gain true information with regards to all of the various culture groups that make it up. For the basis of the distortions surrounding the realness of African creativity cannot be separated from the thrust expansion of composite world creativity - and this is important, because the reality of cultural documentation effects the composite implications of world creativity. In other words, western historians would have us believe that the many different tribal groups in Africa today can be viewed as proof that (1) there was never a unified African aesthetic (center) and as such, there was never an 'advanced' African culture, (2) the creativity 'ised' from these various tribal communities has never changed (and as such doesn't expand), and (3) the essence foundation underlying how given tribal groups see their activity has no relation to any kind of principal African viewpoint (or no value in the search for a unified aesthetic). The seriousness of these charges cannot be lightly dismissed for the net effect of this viewpoint seeks to undermine the progressional spread (and expansion) of world culture. Only in this time period have specialists begun to objectively examine the realness of African civilization (and for the most part this is because of the work of black historians who are dealing with the challenge of this most important area) . Rather than pointing out surface differences in world creativity as a means for dis-unification, historians and musicologists could better serve humanity by using these [24] differences to trace back to the underlying source that 'ised' the world aesthetic in its pure sense. For with the destruction of the historical records, and the natural limitations of oral history, it is possible honest research in world creativity could prove most valuable in helping to recover information on particular culture groups (this would not only pertain to the progressional-continuance of African creativity, but to every projection that has experienced blockage regardless of level). Whatever, the work being done in Africa and India towards tracing the historical and progressional development of given culture groups, represents a new field of research - in many cases the solidification of this kind of research has been developing for the last fifty years and some - and there will be much relevant information for us to deal with in the coming cycles. We are now in a time period where there is a need for true information about world culture - regardless of racial or vibrational category. For example, only recently have we been able to learn about the realness of early Chinese creativity - or Dogon culture. Slowly, but surely, it is becoming increasingly clear that all notions of cultural superiority or national superiority must be re-examined, for the composite realness of world creativity has no room for prejudice. In this period, the notion of western creativity being superior to other cultures is finally shown to be only a cultural tool for suppression, and this must be understood, for not only is creativity not about being superior in that sense, but every culture is a superior example of its own natural thrust alignment. There are really no examples of developments in creativity, with the possible exception of the emergence of electronic music, that cannot be traced back to the composite dynamics of world culture. Everyone has had a hand in making earth creativity what it is in this period because the multitude of forms utilized on this planet are all interrelated. Whatever, the realness of world creativity is included in this book because of several reasons - (1) to better establish groundwork for the expansion of this series of books, (2) to rectify one of the most suppressed areas of our present day information scan - with regard to supplying motivation to help establish a total musical environment based on [25] respect for all of the creativity on this planet, (3) to use what we are able to understand about world creativity as a factor to assist in decoding what options are available to the creative person today, (4) and finally to establish the realness that world creativity is related to the next transformation cycle. [Figure 8] [26] [Figure 9] To examine the realness of world creativity in positive terms is to approach this subject in a universal context. What is the point of examining the meta-reality of world creativity unless that examination relates to the total scheme of what creativity is about in both cosmic and functional terms? In itself this type of research means very little unless we are enlightened to move towards a universal love of all various forms of creativity. This is what I am interested in. For too long the study of world creativity has been used as a political or ethnic tool at the expense of the actual creativity. The end result of this mis-use of eth[n]o-musicology (and history) has helped to make this period in time very interesting - for what we do not know, rather than what we know. The composite realness of world creativity has nothing to do with the attitude many people have brought to this subject, and as such we are all losing. For if the significance and realness of a given culture group is distorted, what is the end effect of that distortion? It must be understood that not only are we the effects of what we do not know, but our ignorance about multi-information also will determine how we flow (involving what options we will have in the future). In short, we are slowly coming to the junction where we cannot afford the luxury of not dealing with what we could know. For a better understanding of [27] earth creativity can help us on many different levels. There is no aesthetic or vibrational flow happening on this planet that we can afford to not know about. Because if a given projection is indeed related to a multitude of factors it would be to our advantage to understand what this means - both with regards to the multitude of information that corresponds to what each projection really signifies, as well as what information means with regards to the spiritual factor related to how it is approached. As we move towards the next transformation, we cannot afford to disregard the realness of world culture. [Figure 10] There are many reasons for writing about the underlying philosophical questions that determine how creativity is to be perceived. For the meta-reality of a given projection transcends any one aspect of creativity and, in fact, permeates the realness of existence. Moreover, the science of a given aesthetic is directly related to the meta-reality base of its aesthetic. Thus any attempt to deal with the functional actualness of a given projection would also reveal some aspect of what world creativity really is. In other words, the underlying philosophical arena of a given thrust alignment determines the aesthetic and functional realness of its given projections. It is important to understand what this means, for at present [28] there is much misinformation surrounding how many avenues of world creativity are perceived. For example, the inability of the western methodological and vibrational alignment to properly deal with the meta-realness of world creativity can be clearly viewed in the many analysis which have been made on African music that are completely outside of the 'base-aesthetic' consideration of African culture. For example, the reducing of African music to scales without a clear understanding of what that scale means on a vibrational-spiritual level; or the research practiced on African rhythm which ignored that rhythms place on the vibrational-ritual level of African culture (where a given rhythm gets its significance) but instead focused only on how that rhythm works in one-dimensional terms in the music. All of these factors might be of interest of western analysis, but this type of activity should not be confused with African music. Not to mention that because of the limitations of language it is probably impossible to write on what a given element really means in the actual sense of what is happening in a given creative functionalism - as it happens in that moment. For all of these meanings are connected to factors that are much more profound than a physical universe sound (or appearance) being executed in a given time zone. [Figure 11] [29] My point is this: the progressional actualness of a given creative manifestation transends the particulars of any one empirical criteria and as such the whole subject of musicology has to be dealt with very delicately. For while I do not mean to negate an entire area of research - certainly many important factors have emerged in musicology - it is essential to maintain an overview about the spectrum of extended creativity. For the base of any real inquiry into a given thrust alignment must respect the affinity alignment of that thrust if it is to be meaningful. With few exceptions (i.e., Allen Lomax) this is never done - especially if the form under scrutiny is of or related to black culture. Moreover, I am not saying that empirical investigation in itself is not useful - because this would not be a true statement either. Instead, I have focused on the spirit factor underlining how western culture deals with the study of world creativity, as a means to say that we know very little about this subject. We know very little about the realness of world creativity because the criterion that substantiates how western culture perceives phenomenon is not universal. It is understood that the concepts and tools of a given culture group are perceived in accordance with how that group sees itself. If this is true, then not only should certain allowances be made when a given culture group attempts understanding another culture group, but the vibrational implications of 'affinitytransfer' must also be dealt with. This is especially true if we are to understand the realness of world creativity. For the factors which underline how the composite thrust of western culture sees itself is directly in accordance to its own alignment - with regards to what it views as rational. Yet this same alignment, when formented into functional and intellectual concepts, can serve as a factor for misinformation when applied to certain sectors of the world's community - especially again, African music. This is so because the western affinity to what it would call 'logical' can become a strait jacket for comprehending world creativity (or culture). Thus, it comes as no surprise that many western historians have little or no respect for many areas of world creativity. Concepts like 'advanced' [30] or 'retarded' have nothing to do with world culture's basic vibrational thrust alignment (or at least these concepts are viewed in completely different terms from western observation) - yet it would be wrong to assume that the progressional realness of world creativity has no standards. Understanding world creativity involves dealing with projections whose ultimate actualness has nothing to do with many of our notions concerning either creativity or life. And as such these areas of information must be approached very sensitively. To view the initiations of a given culture from world creativity is to deal with many factors, for the realness of a given projection is related to the time junction it is in (as well as the time junction it is perceived from). All of these factors are related to the position of a given culture in its own cycle (with regards to the aspect being examined) - and where that culture is at, in present time terms. In other words, a culture like India cannot be viewed in the same context as Africa - because the major differences would have to do with the destruction of practically all of the historical records related to the essence expansion of black creativity (in its most high state - the solidification of its empire-culture), while India - even in its decline from its former position - does have its historical records. Thus, it is possible to study the vibrational and conceptional identity of Indian culture - and how it relates to the creativity - and gain some understanding of the meta-realness of Indian culture (on the surface). Yet if the essence alignment of world creativity is based on the synthesis of concept and spiritualism, it would also imply that any attempt to understand the reality of a given projection would necessitate that same synthesis. Certainly this fact in itself is not profound, but what it implies is rarely dealt with. For while there has always been a need in every culture to examine and seek new realities - and of course this is as it should be (what else can I say?) - the realness of how outside initiations are viewed is rarely put in proper perspective. My point is that it is one thing to learn something - but quite another to realize that while you are learning, it has nothing to do with what is actually [31] happening (or at least the relationship between what you learn and 'what is' is wide enough so that one should not confuse the two). [Figure 12] On the physical universe level, the actuality of a given performance of music and dance reveals the extent of how different the basic aesthetic of world creativity is from western culture. For while it is clear that the dynamics of world creativity function from another sensibility with regard to its meta and vibrational presence, nowhere can the realness of what this means be better understood/ experienced than by focusing on the actualness of a given performance in ceremony. Nowhere can the source presence that determines the meta-reality actualness of a given thrust projection be better viewed than by experiencing how music and dance function in actual context. In every way, a given performance underlines the realness of vibrational interaction (the particulars of which depend on the alignment nature of the culture itself) and in its natural state this phenomenon also reveals the realness of its own discipline - with regards to the particulars of the actual moment (through improvisation). Yet just as it is impossible to separate the music from a given projection in world creativity (as a means to understand what it really is) it is also impossible to view any component of world creativity in that manner.

Not sure, but I dropped the link as I saw no interview there...think you have to buy it.....

Man, I saw Sammy Price and Doc Cheatham in a quintet or even sextet at the race track where they have the festival there in New Orleans, and later met Danny Barker at Snug Harbor...good times, good times.....

January 25, 2007 George Wein Sells Company That Produces Music Festivals By BEN RATLIFF George Wein, the producer of music festivals including the JVC-sponsored jazz festivals in New York and Paris and the Newport festivals of jazz and folk music, announced yesterday that he had sold his company, Festival Productions Inc. The buyer is the Festival Network LLC, a newly formed New York-based entertainment production company. The transaction has been described by both parties as a merger, and Mr. Wein declined to say how much money changed hands, other than that it was “in the millions.” The sale means that Mr. Wein, 81, will have a more diminished role in the jazz-festival business, in which he has been a pioneering force since the first Newport Jazz Festival in 1954 and in which he has continued to be the most powerful figure. His own staff members will remain on a three-year contract, he said, and little will be changed for now in the booking of the festivals. “We’re going to go on exactly as we’ve been going,” Mr. Wein said. Festival Productions Inc., with Mr. Wein as chairman, will become a division of the Festival Network, headed by Chris Shields, a 36-year-old entrepreneur who was previously founder and president of Shoreline Media, a music-festival production company. Originally from Boston — as is Mr. Wein — Mr. Shields has a résumé in concert production that includes a stint in business development with Mr. Wein’s company in 1996-97; producer of 1998’s Nectarfest in Nantucket and Martha’s Vineyard; a job with Knitmedia as director of New York’s Bell Atlantic Jazz Festival in 2000; and a hand in developing musical events during the Olympic Games in Athens in 2004 and Turin, Italy, in 2006. In an interview Mr. Wein said others had wanted to buy his company before, including Black Entertainment Television, which very nearly struck a deal with him in 1998. “But nobody seemed concerned with the legacy of Newport,” he said. Mr. Shields, he stressed, wants to preserve the Newport name. “He’s from New England,” he said, “and it means a lot to him.” Mr. Shields has formed the Festival Network with Richard Sands, the chairman and chief executive of Constellation Brands, the largest wine conglomerate in the world, whose brands include Mondavi wine and Corona beer. Mr. Sands will be an investor and strategic adviser to the company, and Joseph Stanislaw, former president and chief executive of Cambridge Energy Research Associates, will be the company’s chairman. The focus of Festival Networks, Mr. Shields said in an interview, is “destination” music festivals. “It’s core to the business,” Mr. Shields said. “It doesn’t mean that large cities can’t be destinations as well; we’re not talking about small, affluent destinations alone. But when you think about Monte Carlo, Jackson Hole, Nantucket, Newport, there’s brand in the names already.” The Festival Network, he added, will now own the name and brand of the Newport Jazz Festival. Mr. Shields promised “subtle increases in quality of sound and physical aesthetic” for all the festivals affected by the merger. But the arrangement comes down to new corporate sponsorships for 13 to 15 festivals under Mr. Wein’s aegis. (The New Orleans Jazz and Heritage Festival and the Essence Music Festival are run by a separate company, Festival Productions — New Orleans, in which Mr. Wein is a partner, and will not be affected by the merger.) He said Mr. Sands, of Constellation Brands, had been especially attracted to the idea of using a single music-festival sponsor like Mondavi or Corona in many different markets. This is something Mr. Wein has done before with JVC, Kool and other sponsors. But the Festival Network will widen the circle. Asked his new title within the larger business, Mr. Wein said “Boss,” and laughed. “I’ve never reported to anybody except myself,” he added. “Now I do have responsibilities to report, but in my mind I’ll always be the boss.”

The one and only time I saw James Brown was at the New Orleans Jazz AND HERITAGE Festival...lots of blues, swamp boogie, stank finger guitar, gospel groups -- this melange of music and sounds with a strong jazz flava running through it. Duck weed with a twist there, Gates, and gotta match? Stayin' at the Ho Jo's in N.O. Julip's up, Sam. See you after the 100. Degrees if you please.

Ah, you noticed we skipped out on him at the end....there was a lot of stuff, though, in the first four hours....

They're going to drive up and play live on Blue Lake at 10 p.m. following the Schuler Books and Music performance.

Jan 27 - Cristina Zavalloni - Stefano De Bonis - Antonio Borghini - Studio Radio Tre della RAI - Milano (Italy) http://www.radio.rai.it/radio3/piazzaverdi Jan 28 - Cristina Zavalloni - Andrea Rebaudengo - Padiglione d'Arte Contemporanea - Milano (Italy) http://www.comune.milano.it/pac/index.html Feb 3 - Cristina Zavalloni IDEA - Nouveau Théâatre - Besançon (France) http://www.nouveau-theatre.com.fr Feb 5 - Cristina Zavalloni IDEA - Sala Scarlatti del Conservatorio di San Pietro a Majella - Napoli (Italy) http://www.sanpietroamajella.it Feb 7 - William Parker Italian Trio feat. Edoardo Marraffa and Federico Scettri - Ristorante i Molini - Spinea VE (Italy) http://www.circolo1554.com Feb 10 - William Parker' Inside the Songs of Curtis Mayfield - Spazio Officina - Jazz Festival di Chiasso (Switzerland) http://www.jazzfestivalchiasso.ch Feb 11 - Claudio Lugo - Andrea Lanza - Michele Marelli - Teatro San Carlo - Modena (Italy) http://www.amicidellamusica.info Feb 15 - Anthony Braxton Sextet - Porgy and Bess (Austria) Feb 16 - Anthony Braxton Sextet - Porgy and Bess (Austria) http://www.porgy.at Feb 17 - Anthony Braxton Sextet - Teatro President - Piacenza (Italy) http://www.piacenzajazzclub.it Feb 19 - Anthony Braxton Sextet - Metastasio Jazz - Prato (Italy) http://www.metastasio.it Mar 11 - William Parker Quartet - Teatro Donizetti - Bergamo Jazz Festival (Italy) http://www.teatrodonizetti.it Mar 15 - Anthony Braxton - William Parker - Hamid Drake - Suoni e Visioni - Milano (Italy) http://www.provincia.milano.it/cultura Mar 16 - Anthony Braxton - William Parker - Milford Graves - Festival della Matematica - Roma (Italy) http://www.auditorium.com Mar 16 - Roscoe Mitchell Quintet - Jazz Galerie - Nickelsdorf (Austria) http://www.konfrontationen.at Mar 17 - Roscoe Mitchell & The Note Factory - Internationale Jazz Woche - Burghausen (Germany) http://www.b-jazz.com Mar 17 - Jöelle Léandre - Anthony Braxton Duo - Gasthof Heidelberg - Loppem (Belgium) http://www.kunsthallelophem.be Mar 23 - Anthony Braxton Diamond Curtain Wall Trio - Madrid Jazz Festival - Madrid (Spain) to be confirmed http://www.cultyart.es Mar 29 - Anthony Braxton 7tet - Iridium Jazz Club - New York City (USA) Mar 30 - Anthony Braxton 7tet - Iridium Jazz Club - New York City (USA) Mar 31 - Anthony Braxton 7tet - Iridium Jazz Club - New York City (USA) Apr 1 - Anthony Braxton 7tet - Iridium Jazz Club - New York City (USA) http://iridiumjazzclub.com Apr 13 - Leena Conquest sings the songs of Dave Burrell - Naima Club - Forlì (Italy) to be confirmed http://www.naimaclub.it Apr 14 - William Parker Quartet - Nouveau Théâtre - Besançon (France) http://www.nouveau-theatre.com.fr Apr 17 - William Parker Raining on the Moon - Carthage (Tunisia) to be confirmed http://www.jazzacarthage.com Apr 17 - Dave Burrell Piano Solo - Louisiana Jazz Club - Museo del Jazz - Genova (Italy) http://www.b-jazz.com Apr 19 - William Parker Quartet - RTSI - Lugano (Switzerland) http://www.rtsi.ch Apr 21 - William Parker Raining on the Moon - Alhambra Concert Hall - Genève (Switzerland) to be confirmed http://www.amr-geneve.ch Apr 22 - William Parker Raining on the Moon - Cassero Jazz - Castel San Pietro Terme BO (Italy) http://www.combojazzclub.com Apr 26 - William Parker Raining on the Moon - Sala Vanni - Firenze (Italy) http://www.musicusconcentus.com Apr 27 - William Parker Raining on the Moon - Bimhuis - Amsterdam (Holland) http://www.bimhuis.nl Apr 28 - Matana Roberts Solo - All Tomorrow's Party - London (United Kingdom) to be confirmed http://www.atpfestival.com Apr 28 - Assif Tsahar - Cooper-Moore Duo - All Tomorrow's Party - London (United Kingdom) to be confirmed http://www.atpfestival.com Apr 29 - Roscoe Mitchell Solo - All Tomorrow's Party - London (United Kingdom) to be confirmed http://www.atpfestival.com May 14 - William Parker' Inside the Songs of Curtis Mayfield - Fabbrica Europa - Firenze (Italy) to be confirmed http://www.fabbricaeuropa.net May 15 - William Parker' Inside the Songs of Curtis Mayfield - New Conversation - Vicenza (Italy) to be confirmed May 15 - Anthony Braxton - William Parker Duo - New Conversation - Vicenza (Italy) to be confirmed http://www.comune.vicenza.it May 20 - Anthony Braxton 12+1 - Festival Musique Actuelle - Victoriaville (Canada) May 20 - Anthony Braxton Diamond Curtain Wall Trio - Festival Musique Actuelle - Victoriaville (Canada) http://www.fimav.qc.ca Jun 1 - Cristina Zavalloni IDEA - Novara Jazz Festival (Italy) to be confirmed http://www.novarajazz.org Jul 16 - Archie Shepp - Roswell Rudd Quartet - Gent (Belgium) to be confirmed Aug 24 - Leena Conquest sings the songs of Dave Burrell - Rumori Mediterranei - Roccella Jonica RC (Italy) to be confirmed http://www.roccellajazz.net Oct 5 - William Parker Luc's Lantern - Audio Culture - Rotterdam (Holland) http://www.lantaren-venster.nl Oct 24 - Cristina Zavalloni' IDEA - Jazz'n Fall - Pescara (Italy) to be confirmed http://www.socteatromusica.it ********** SPACE IS THE PLACE ********* ExB Music Productions Via Filippo Beroaldo 63 - 40127 Bologna (Italy) phone & fax: +39 051 50 00 00 web: <http://www.exb.it> Alberto Lofoco mobile: +39 338 48 17 055 skype: <callto://lalo-exb> phone US: +1 201 984 7489 e-mail: <lalo@exb.it> Francesca Scarinci mobile: +39 328 90 35 283 e-mail: <exb@exb.it>