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Ornette Coleman The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. revololutionqru y periuu 01 uriibnc TransTorrnuTion ana renewarenew>waall in thmee career of Ornette Coleman. In the previous two years, Coleman had consolidated two decades of dbki k ii d to ejnpqrK on a musicmusicaal pilgrimage that wqula naavve profpuhd and far-ranr-ranging g effects on his subsequjene t aesthetic conceptionsptions. Inspired by the music hne hat his friend Robert Palmer, musi itit hd d di ti t pt the l\// 11 iyui MUM i_ known locally as the site of the SIIMIK Shikh, the learned saint, bejr ' * servants of the saint who accompanied his prayers with instrumental music played on ana/fa, a pierc- irpg wooden obop, and tb$l, ajarge double-headed ie musicians. •n Frii emony ot music and pi. lameness, insanity, or intertilm ujsicians to tread upon them and touch ..._ ! insfru- ments in hopes of obtaining a cure. The Master Musicians also perform in secular contexts, especially <GLENDORA REVIEWxAfrican Quarterly on the ArtsxVol3@No3&4> in the late summer, when the mountain to research the Master Musicians for the lat- demand for musicians to per- ter's Rolling Stone article. Amazed by the sights and form at weddings, circumci- sounds of the Bou Jeloud rites, Palmer soon "went sions, and other important back, stayed for a while, started playing with the musi- evenfs in neighboring vil- cians, and eventually took part in some of their rituals"3. lages reaches its peak. When Palmer returned to the United States and played Moreover, until the early the tapes of these impromptu sessions to Coleman, years of this century, genera- Coleman decided that "he would not go only to hear fions of Master Musicians the musicians of Jajouka, but that he [also] had to served as royal musicians at play with them"4. "Let's go," he told Palmer, "let's go the court of the sultan in Mar- over there and make a record"5. rakesh, an honor that left By the time Palmer returned to lead Coleman up them with a1 substantial mu- to Jajouka, Coleman had reached one of the peaks of sical legacy. Today, the most his success as an artist in the commercial music in- notable musical event in dustry. One of the founders of the avant-garde jazz Jajouka occurs during the movement, Coleman was then expanding his artistic Muslim celebration of 'Aid el-Kebir, when the Master horizons in as many directions as possible: perform- Musicians perform a profane ritual of ancient origin: ing on trumpet and violin, composing concert music the annual festival of Bou Jeloud ('the man in skins'), for woodwind quartets and symphony orchestras, and the primeval nature spirit who taught their ancestor, beginning to explore non-Western musical traditions. Attarin, to play lira (cane flute). Having heard from His symphonic work, Skies of America was inspired in Palmer about the awe-inspiring music accompanying part by his participation in the sacred rites of a Crow the Bou Jeloud masquerade dance-drama, Coleman Indian community under the starry skies of their Mon- arrived in Jajouka just in time to witness the entire tana reservation. In the early 1970's, he invited an CGrnivalesque spectacle. East Indian classical vocalist to record with his group, In addition to attracting crowds of pilgrims, tour- and traveled to a village festival in northern Nigeria, ists, and villagers from the surrounding area, the an- where he played saxophone along with an ensemble nual Boujeloudiya in Jajouka has also drawn a steady of Hausa traditional musicians. Both the improvisa- stream of Western poets, artists, and musicians up the tional mode of interaction evident in these latter two mountain trails from Tangier since the 1950's. Many encounters (conditioned, no doubt, by the time- of them first learned about the musical events there honored modern jazz practice of 'sitting in'), and the from Brion Gysin, an expatriate writer and painter who compositional approach manifest in Skies of America, became Jajouka's most important postwar patron and contributed to the conception of intercultural collabo- promoter. Some of the friends and acquaintances he ration that Coleman would bring to his work with the brought to the village included composer and author Master Musicians. Paul Bowles, writer William S. Burroughs, and Rolling At the time of his trip to Jajouka, Coleman was Stones, guitarist, Brian Jones. Although he stayed only in the process of formulating the compositional and one night in the summer of 1968,2 Jones' visit prob- improvisational ideas he had developed, over the ably had the greatest impact on the subsequent career course of his multi-faceted career, on the principles of of the Master Musicians, since he brought along an a Harmolodic music-theoretical system that would em- Uher recorder and a sound engineer to tape the music brace all varieties of musical experience and transcend he heard for eventual release on Rolling Stones all stylistic or geographical boundaries. One of the Records. Finally issued in 1971 at the crest of a wave themes which emerged amidst this project of philo- of publicity that included a three-page illustrated arti- sophical retrospection and analysis was the notion of cle in Rolling Stone magazine by Robert Palmer, the music as a healing force, an idea widespread in Is- record sold tens of thousands of copies worldwide and lamic North Africa since the time of Al-Kindi. In an established the Master Musicians of Jajouka as one of the first marketing successes of the nascent world mu- article he wrote discussing his Harmolodic system, sic industry. Coleman described the spiritual qualities of his music in terms that suggest parallels to Sufi mysticism. Ac- In 1971, as the sounds of Jajouka were about to cordingly, Palmer's descriptions of Jajoukan musical reach mass audiences worldwide through the Brian healing rituals at the shrine of Sidi Hmed Shikh must Jones recording, Brion Gysin brought Palmer up the have strongly resonated with Coleman's own musical <GLENDORA REVIEWxAtrican Quarterly on the A**Vol30No3M> <42> The Master Musicians of Jajouka with Bachir Attar in the centre (Photo below) i ~.ience and spiritual convictions, calling to mind his early experiences in Texas playing for "a coun- try evangelist, healing peo- ple" in settings where "the piano would be in [the key of] G, H, there'd be no such thing as key...I"6. The untempered tun- ing of the Moroccan ' aitas, whose notes fall tween the semitones of the Western chromatic scale, no doubt accorded well with Coleman's un- conventionally expressive intonation. And the tran- scendent quality of the Jajoukan music, blending together classical, folk, sa- ing sessions with various Jajoukan ensembles, Coleman cred, and ritual musics into a polyrhythmic dance of played freely over tunes from their sacred and secular untempered melody, apparently struck a chord deep repertoire, working intently in the course of perform- in Coleman's musical psyche: "I could see that, for ance to match the lines he had composed to the themes once, I would be able to play whatever passed through the Master Musicians played and spontaneously im- my heart and head, without ever having to worry about provising other motives and melodies to blend with whether it was right or wrong" . their traditional music. These sessions demanded his Before departing for North Africa, Coleman had utmost concentration, since he often had little more composed some saxophone lines to play along with than his ear to guide him through the intricacies of the themes he had heard on Palmer's tapes, and h_ Jajoukan performance practice. Recognizing and re- composed many more after jamming with the Master sponding appropriately to the subtle musical cues that Musicians on his first night in Jajouka. In live record- signaled sudden transitions represented one of the great- <GLENDORA REVIEWxAfncan Quarterly on the ArtsxVol3@No3&4> <43> est challenges Coleman faced in playing with a group the day of their arrival, Coleman had been accorded that would "change tempos, intensities, and the status of an honorary Master Musician, given a rhythm...together, as if they all had the same idea, yet traditional jelaba to wear and invited to sit among they hadn't played what they were playing before they them and play. While Coleman's standing as patron played it"8. As Coleman's account of the circumstances and guest may well have contributed to the warmth of makes clear, achieving this sort of synchronicity repre- his reception, such a gesture of respect represents an sented quite a feat: "[It] sounded as if I had rehearsed honor rarely, if ever, bestowed upon other visiting it with them. It wasn't true. Not at all"9. musicians. The very beginning of the originally issued re- In fact, the Master Musicians' collaboration with cording bears witness to this synchronicity, as Coleman Coleman appears to have not only established a model somehow manages to fit his free-rhythm line exactly for, but also set the standard by which all subsequent within the Jajoukans' dauntingly complex 32-beat intercultural encounters have been measured. While rhythmic cycle (3+3+3+3 + 3+6+8+3).10 Aside from this initial metrical concordance, though, as Coleman begins improvising over the Jajoukans' Coleman, unlike other music, his interaction with them more or less fits Palmer's description of the music as "a meeting of two jazz artists like Randy worlds"'1.
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