Muhal Richard Abrams
For years in the AACM, we did all those things. George Lewis came a little later, but he was a very important part of the mix, he’s younger when he came, but he was quite prepared to be a part of the mix. And so, he naturally became a very important part of the mix. Now, when he did his Sackville record, it was just like doing another AACM concert, which we were used to. And so, he made his, or designed his path that he wanted to take in doing that record, which was not unusual for us, because that’s what we would do. In the AACM, when one person had a concert, the other people were like crew members to see that all the facilities were proper for that person, if you weren’t playing in the group.
So, the Sackville record just came out of a process like that. It was George Lewis’ time to do a concert. In this case, it was his time to make a recording, you see. And so, it was just a continuum, so to speak, of a process that was ongoing all the time. But all of it comes out of the same type of process, and the trio record with Roscoe.1 And often times those things are improvised. We do compose by improvising also you see, because we are all composers, so we compose by improvising. And the basic thread that caused this to be cohesive is respect for each other, and the space that we’re in — we’re making sound, and then we have areas where we are silent, while someone else is making sound, and we’re used to respecting that type of space.