Corey Mwamba



I am not that young, not that old; but Soweto is younger; James Morton and Tommy Scott are younger still; and J-Life was possibly a few weeks old. We are playing JuJu. I am still finding my way through music, playing the instrument of the man who inspired me. And so I am waiting to solo rather than paying attention. I am remembering rules I had taught myself a few weeks ago: Shorter uses c minor (melodic, ascending), but on the b. Use the major seventh to ascend through the B section. I have not eaten. The Terry Gibbs sticks Orphy has given me for this song; they are so short (Hey Corey; use these on JuJu. I remember looking at them in wonder)! I am looking at the vibraphone. It's a large Sono—

I hear an mm.

I am suddenly paying attention to Daniel indicating to Jason, who is watching Soweto. I accompany, hitting accents where I can. The events are qui—

I am paying more attention. Soweto is really going for it now, but it seems that he is about to finish. use the melody I play a variation, but in the C section Darren and Daniel are applying pressure. I cannot ignore it. space; did I learn that from Miles; or Monk? I look at the vibraphone; and then I dive in—

there is so much

I have heard this described as switching the conscious mind off, but no, that is wrong. Everything switched on. And I know this because I remember that this was the day I met John Morris who was pianist in many of my groups for quite a few years. "There's knives in those vibes," he said.

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