(Sr te a en ee The Magical Vournty—An Intewiew Wath Wayne Shorter Inter sith Wayne Shorter, January 6, 2000 Taken by Ens Nemaver Tranenbed by Base Christy Eaited and formatted by Jeanie Karpin Nimever Photographs by Nicholas Perr Phe last tin ed you we 1 spoke with you, you about tw work some thingy in the studio, Is there an album, coming out, and if so, can you discuss the players or compositions? WS: Yeah, Ready? JE Sure, go abead WS: I'm working on a album now, in the studio, and thav’s) it, Pim just Working on aa album with some musicians, and some of them will be from the LA Philharmonic, Some will be guys who play on film scores, They have a musical diversified background: Ji: This is an clabo ‘componitional project th: re working on? ws elaborate ‘aking in every aspect of comporin and Because Improvisation is composing speeded up. WS: Ii will be as it can be, sing is improvisation slowed down, JE: When you are improvising, you don't hhave the luxury of the with the pencil at the other end, when you are composing, WS: Yeah, or maybe—an eriser sil exits when you are improvising. I's invisible. Its another kind of eraser Jl: Would you like 10 elaborate on that a Tittle bit? and: it's something that you don't want to do, And if is, say in public, you just go on and on, But actually, you are erasing when you are playing in public, without, actually, editing ‘on the spot, Da you know shat Emican? I's there Carlos Santana and T were talking about this a litle bit Ws more than playing, more than the musical expresso To me, val improvisation is with all kinds of obstacles and all everything, and ‘obstacles ate left in there, Because i's the struggle, ‘when you are really creating through improvisation it's a struggle instead of a neat package. Be aware of things that come in packages. Like, you say, “Man, that was a great solo.” The was no stumbling, apprehension, evervthing seemed to But like the Miles up that group that b is “llavsles the [Davis struggling going on. JE Well, 1 guess that Without the » struggle without the kind of challenges you might experience, you're not going to be inspired because yon will just proceed with whatever was easy before WS: Yel. JEL notice when you say “erasing.” if Lean interpret for a second « WS: Go ahead. Ji: Would it be safe to say that we are all joing through a process when you arc improvising, where you may rn into a the moment another noe oF p le that and kind of make it WS: Actually, it's erasing in the ate ection, You erase what Everything is on there, when sou a plaving ina live audien ie happening. And what's g : cerased, So anything that’s new th proce The lisene stumbling. int there, too. The eraser, the erasn f. you k JE: Their expect WS: That’s dir proce polished thing, all of leting go of the and what happens is there js very unknown, and you can't even pr Then they ell were stumbling | The the word “execution” to i “Oh, wel they in that other part there,” you know. get it” How do you know what it was th wasn't “gor? L mean this is for eit, peuple who are actually critiquing JE: Sure, they may be expecting, in yu ‘case—because you did certain things when you were with Miles on the Blue Nax label —there are people who are locked it cra or period who may not accep anything that came thereafier, despite the fact that you are constantly growing WS: Actually, the frst time I heard of ha kind of thing, I was about 16 oF 15--wben finished the end of my 15th year, | waned JE: Did you have specific things you were Tistening to? WS: No. I wondered what it was when the player was making note oF series of notes that you may not whole lot of mistakes, His name was Mis WS: 1° like, if you play something, while have wanted to play but by virtue of Davis, [dougls}. And T said, “ists an fl TE VINE @ fase Taran BP Tan shen OT TI 8 ATT oneThe Magical Vourney—An lntewiew With to start something new?” And the other ‘one, they stid this other one was screeching all over the place, and had a raucous tone and some things were “smeared” or something like that, some thoughts not very lear. And that was Charlie Parker, You know, they said all kinds of things, when he first came on the scene! But it was mostly aimed at Miles. “He doesn't sound like a trumpet player at all” Miles always said thar: “You know, Tm not a trumpet player. [don’t play the trumpet. (Ji: How did he characterize himself to you? WS: Well, he said that the trumpet was just a tol, He said all instruments—it's like a pencil, or a wand—a magic wand! JE You mentioned those groups in the ‘50s you were listening to, and 1 know you began to get together with John Coltrane in the *30s, How did you come to meet him and what kind of musical things were you ‘working on together or discussing? WS: We had met when Tas coming out of the army. [went t0 see him with some of the army buddies from Fort Dix, New Jersey, over into Philadelphia, They were at place, this was an old Miles group, rnnonball, and Abbey Lincoln was ‘She sat in and sang a couple of with there. songs. And I remember when I left there, 1 did doa couple of things with Horace Silver, because I had three more months to alled, And shen 1 1c one Sunday go in the army. Horace was pla Ho afiernoon, in one of those Sunday matinee things in New York City, this lady eame in during the intermission. And she came in the back, in the dressing room—in those days the dressing room was the kitchen of this place—and she said, “My husband wants to meet you.” Ltumed around and it was John Coltrane ‘He asked me to come to his apartment some time. He said, “Come next week. And I went, And we just talked you know. One thing we talked about was to actually play something from the middle, and go both ways. about stuf Wasgnre Shertr Ji: The middle? WS: Play something in the middle and go bot ways, and go forward and backward Which was actually “Surround Sound,” that kind of thing. Buc to actually: do the traveled int those musical work that directions, do you know what I mean? Or, you nov, when you walk into a nightelub and you open the door and everything is going on? JE Sure, you walk into right in the middle WS: Right, something is. going on. This isthe kind of stuff we talked about. Or we talked about ge spaceship and getting 10 such a distance so. that you put some earphones fon andl you hear every kind of music going on at the same time om the phanet! = which is actually happening. ‘That's happening. So people, if they can imagine that, you know... just think about that! And then all of the boundaries that have been anifcially sown and grown and put up with through Timited waves, and all of ‘ownership of the radio a that stuf Even our conversations we have superficial reasons for going to war. And some people say, “I only like this,” or “I don't even like this, I'm a country western fan,” or “T'm this kind of guy, U'm a shythm and blues guy. I'm into the blues, that’s all” Or, “I'go to sleep at the opera,” and all ofthat JE Sure. Wel, it’s easier for people stay in their element. Everybody is afraid w wry WS: Well, why are people affaid 10 something new? You know what that ise of the marketing, the sales al means to corral That's beca wey people in order to have cash flow. The what they think. You saw the mnie Nay didi't you? WS: So open the windows, and ye ag Km not taking anymore!” [agin Ji: There is define « Tot of marketing hype | think read one tine that Miles Divs himself said if you ge the Fight story for wne product or servic, ye sell ang. ik was refering he ind of pp WS: The marking machine. if they at sell Wrigley’s spear chewing gum, know? Ji: Gould you discuss your association vit ‘Art Blakey and the Messengers, and tor did the group, or how did he, infuen your compositional approach? WS: 11s the other way around. JE Oh, okay WS: I rote for the group, but not measin the way Hank Mobley wrote or thew Bennie Goldson wrote, ‘The wring actually. a vehicle for the group t0 mx ahead, auiciencewise, and to evohe. § that came in, my writing, but the stuff that came int Cedar Walton and Curtis Fuller, whate was brought to the group, added 0 evolution, In other words, they would ‘Doollin,” you b have been doing what T mean? Just “Doodlin™ forever the other one, “Moanin” for one st years. Or “Blues March, JE 1 can certainly see how ‘compositions definitely brought a cng TE VINE © Juss Improv PO tom Gran, FT STH © BOE TIN ® fms ETON @ weal aNbe coup. T have a ix Ove” bere and “On the Gin wr three horns, t On on of “One JESo.then mpet, tenur “One by One.” that you were rspiration i dan obo WS: Miles would like the midlle part. tiki ha tune? JE You are looking at maintaining the Havor and character of the tune without and by the harmo structure that was underlying the melody rnevesarily being b WS Iwas thinking about the Ark. ‘The big hea andthe Ark. The animals and every long creature walked on that, one by om 0, actually, it was two by” two. Hmm, WS: Yeah were talking about getting rid of the bar Because... in those days. we Mae thas a good sequel. “Two By lines Two. lag Jie Yeah. And was Herbie Hancock Ji There's an idea for another “accompanying--do you now if he was Fompostion. Maybe abun? 1's going to be on this looking at it inthe same way? Or it was just be loose and weant for the whole thing let's use our ears and sce what goes”? WS. Well, these days, its like three by thee. [an WS: Yeah, that's all, We didn't « anything to each other. In fact, we never feven talked about anything. We never discussed what we were doing afterwards or before. But we all knew that we were going into some territory, some virgin territory oF Points unknown, And — you know what? Miles asked me, he said, We JET have a specific question. We have a transcription of “Dolores” fr Miles Seu alburm, When you were with Miles, structure oF basis for improvisation by individual group tnembers on that composition? On the tune what was the ‘Do you incl, the melody is quite clear and the ever get the feeling that you can play clanges are clear, but as I listen to the anything you want to play?” And befare 1 improsised section, I'm unclear as to answered, he sid, “1 know what you whether there was & specific direction for mean,” Hee said [cheypeing, imitating Miles] T know what yout mean [laughs] “You can play anything to play.” T was getting ready 16 answer and he said T know what you ope to follow. Could your dss that afte bit? “Miles asked me, De you wer gt the (ecling thet you can play anything you wert to $492! Ad before | sraurd, be said, WS: think what happened there, Pm pretty sure, is that veryone who played, afer the melody and all of that stl, took a portion of a cain characteristic of the sing and thee, And then you do eight ind then you he Sol hada mean” and walked away: walked away Hawgls] We ood time nu make your own harmonic within a hat sounds tke But certain cight measures Te sound ike there Teal pie soaks | Eeowow what you Berne’ bes the favor. It was keeping, chance to Mavor of | “Dolores' experiment and he wihoutin other words, didn't put any kind runs as Look back—we were of restrictions — ont acually tampering with what you might do, something called DNA in music in a song, Each song has its DNA. So you just do the WS: Right, One time, 1 remember bin DNA and not the whole song. You do the staractersties, Yout say, "Okay’ will do the ea of the face, L will do the left side of thee. You do the right side of the Face.” saying “I's all elusive, is all elusive.” IP you can hold it in your hands, stop playing music! Just give up playin VW you ‘can hold i cdo. you know what T mean? “This is mane.” like a solid thing, then that’s what pop tunes are, ‘They are Tike wn And everybody watts to hear them: WS: Yeah. You can not change of the statue at all. Ye Charlie Parker did. He the structure. Not just C An know shape know, of course ted messing with je Parker, but Tatum was extending things, you JE You mentioned that with Miles’ geoup, it was more based on intuition and there way def Iya suggestion, even without saving it, that intuition is the esence of what we are going to be doing here. Was that something that you experienced with, other musicians earlier, ike when geting together with Coltrane beside the harmonic and melodic things you_may reat of the have discussed? Was that an ele discussion? WS: No. We very rately anything. When [talked with C \was at his house during only that one week, 1 didn’t stay overnight or ansthing but 1 went there maybe He kept asking come back ov “And one time He sai, “Stay overnight.” and we had dinner and all of that, and he started talking about Philosophy: And he was talking about OM. fand things like that, But, discussing what we thous were doing th ippencd, we hat was JE A there is one for you, what i the ‘eonnection between music ancl spitituality? WS: Ie's that they both contain an ultimate law of fie P think you can say: that the ‘connections of the three-fold world there is a thycesdimensional world, — and speaking, making is connected hing we do in ie everything like 1 with the unlimited, spatial, infinite world, by this ultimate law, An unending lasv, Not just lave. That's for lack of a better word. [ say “law,” bur i's an unending, Jk: Proces? by whieh one entity WS: Yeah, ps does not exist hour the other entity. Or You can sty that a glass of water sot probably heard of it, of Ball 3 gl The part that is py gerne with sofThe Magical Journty—An Inteniew With water, it « And the water itselt is the spirituality, and then they change places. So you can say whieh is the music and whieh is the spirit? Do you know half what Fm trying w say? Is the wa empty or half Fall JE Yeah, WS: So, i's somewhere in that area that we awe getting And the connection berween music and spirituality — probably for me, the best thing to say; is the celebration of it, of both, You know, in Buddhism there is a phrase you run across a lot when you literature, ‘The actual it's phrases fi are reading the beginning of it this: ‘neither dead nor alive; neither round nor square; neither hearing music “nor not hearing JE Everything and nothing? WS: Yeah. Neither this and then you say “what this “neither this nor, what is iv" And they have a translation chat says “the ennty is neither this nor that, neither long nor short, neither hard hor soli, neither this nor that.” But i's the entity life--ahat is neither this So, uncles, the © that we are now nor that! So, when you nowy it's by Ihave, in this sta set of doing wh pncetion that we alive it’s the And the connection between music and spirituality lie is We dy the connectio You know, the tendency is to uy 10, things. Like in school, you say 1g to specialize in this and specialize in that.” People say: “what ate you going to do?” for the baseball player“ you lose your hand?” Because baseball is 1 lifeor motion pictures, acting, ‘or you lose your voice oF get And the phrase goes, “Tam not what Ido, Ldo what Fam. JE That's a much broader perspective than Wayne Shorter most people have. WS: 1's broad and immediate JE guess this is all connected... when you ‘are improvising then, do you feel like ere is something coming though you, that the ‘music, the improvisation is a connection t0 some greater universality, “behind the curtain,” 50 10 sp ‘our connection to whatever that is? WS: I wouldn’t say that, that something is coming through you. I would say that you are going through something, like with a shovel, And you are unveiling things. Tm saying is that everything That is But wha is up to us. Okay, that’s a thought some people's thought, that everything 1 done, in this law of cause and effect, ‘everything that happens thing to your lie, individual that everybody of all causes that they wwe madle from befor the beginning oft the present moment, id that you will ma everything tha happens is because to you. Even though it sounds like, “she ie this to me, that train wreck, who did that? Who pulled the switch, changed the track, tha guy was donk when he did that!” Bu there's something calle. JE Karma? WS: Mass karma, yeah, They get a lot of people, let's say like the Titanic or ‘whatever... But the dying is not signiticant, wuse the dying is life. So it doesn’t tatter. I just matters how someone lives, not how someone dies. Music is connected agree with you, WS: I used to go into a workshop and ask, universal langu music is Me ‘cannot stop wars. They have made cay charges with it “da didat dada tuh!" and people used to sing ont wp to war, or erusades, singing spirit way Ji: Music is certainly: something me i's about energy and wansering dg energy in some way 10 other pr However they are alleced by i however I'm alfeeted by it thems Lh is just a give-and-ake where the unre balancing itself out WS: I's the person. Its the pera. Ij was with Carlos were talking about when some peje play—he was talking about some pres his band who play-—and they ae diggs solo or something like that and they ta rousing applause, and backsage it dressing room they say, “Man, dit nothing,” they are disappointed ia le they did! And he’s trying to tell them ic wasn’t what you did. I's what you we ping ws do, After all of these yeas bea measure an audience. He sid “Ti audience, they were applauding yo the drama of your effor.” to me, when someting applauded because of its wells polished ya then nothing acu ‘came from the person. Is something dale practiced and parroted by yoursl Becaus JE Lagree WS: It's aimed to arouse applase asd vendor a product, Even if that prt # fone solo on top of another. And ual you end up doing the sane ding ora lover again, Or, iit doesn't sound thet it's the same formula. Whether is 008 fr solo or motion picture or rutig¢ ‘campaign for office. Or easing cide Jk: Yeah. You have said so many vik Uhings here. Thave a few more qusiaait you: if that's okay WS: Go ahead T6 VINE © Jas Improv ®, PODThe Magical Journey—An lnteniew With (JE: We all run int sriter’s block from time re compesing, do you? to time. When your WS: Writer's block? JE: Yes. Occasionally 1 will be writin gement oF trying to come up with composition and, for some reason, Pcan't link of a thing. ‘Them T might just come up a thythm or couple of chords or with 3 melodie motif. Is there something that yoxt get yourself going with, if you have that problem —or maybe you never have that ws: connected with having a product, are going to have writer's IF coming up with something is that’s when T think yo block. W thinking expected because of pa hit reward or something li like Celine said, she to think a of ‘or financial and a that on don't wa at topping. the last thing she did for a while no more her semi= thiny know? She didn't want 10 “Can get caught into th you top the theme from Tits Can you get another little ditty out there and get uillions of people mooning and spooning and spending the money 10 have her added the motif of their h always. think decoration, 100, yo you have all kinds of musie, you are fully decorated! If you have only ane kind, there is much more that needs to be desired. JE So, if you ‘own sake, if you are writing ‘you want to write it, as opposed to because you have to write it for that commercial that nv there is know. [aug] So. if doing the music for its song because 1g up next Tuestlay kind of impediment to your ¢ TB VINE © Jase Improv 8, 0 Won Wayne Shorter WS: Yeah, Yeah, You are actually drawing (which is be And ashen you get heyond that, the well never cepay. And that well has to do with ‘or something Uf fon the reason for musie ise wl comings up with something.” Jk: Do you find yourself latening the things that you have done inthe past? WS: No, No. E never listen, One thing 1 checked out —T checked owt the Played ikl stl ron Chicago, iv 19652 JEON yea WS: I istened one time, 3 couple of times, and that was it JE: Have you listened co ‘some of this phenomenon the media has that referred to as the “young Tons.” whieh are a bunch of players doing musie that inspired was supposedly bay the Miles Davis groups ‘of the midis? WS: I hear them without listening. 1 mean, siting down and Tien, Fsten.” [have been talking with some of them, guys coming around. IF they are mostly involved with music, you can't get through you know, “you can't get through 10 a lot of people if they are with music, that’s their profession, andl ther * Because just involved i and they're being an “anti 44 few of them are involved with: This will never happen to me, Oh, it's 400 bad that happened over there ta this other penon! Ob, that’s too bad, oh, my heart parrot, But real then the g of their own to you.” We that lie going 0 have some nl play oes out when they see 18 to a ot of things the Wy, many’ more pl JE Yeah. i “days, There are TOT © a ROE HTTT© fas BOF ToR) © eso _Joe Williams, he was one ofthe jul it seems, that have astonishing tao, and they ane practiced and they wil, tune and leer peste, many things And the g ers, by vite da cecerything i ‘many, many more pl ation being so pro ‘opportunities learn abou the mais its tradition, ‘There seem to be ever ag T wonder we De headed? and matte Fewer pl you think that thi WS: Well, we go 0 the contests the Maj Institute has, And the last time they had nists, Herbie Hancock and Darl Po and Randy We there when they had the vocal tha tom were the judees Ine Williams and Diana Krall, they 9 judges, And T saw a saxophone ding ‘where I, Jackie MeClean, Joshua Reins und some others, we were judges Ad T heard about the trumpet thing win Freddie Hubbard was the judg, Andis no) time, where masbe Chit Corea was the judge... And, man, ther a lotof wehnique going on, in sme ste people. They are like machine guné Tis are showing their wares and thy all wer to do the thing, get a contract, win fx second, third prize, whatever iti these they need, T think, you know, 1 think thy wd ‘encounter life, I dn't say that bbs order to quit = nut, you know mac ‘a aby and get tte encountering fil see the birth o home, trying 10 get the thing in eco working together with another pea: ‘woman and they are going to we A then they start to write, play, when th a" away’ and they are macried now~and we ‘want t@ go home, and you Tove wha se re doing, playing, but after the wor ® fover, you ate glad to get home an nie You verte stu hats your ate home appreciation of what you have anid other words, you are equipped to hae technique lend itself inp to what yous" about, Because there 8 preciative principle of appreciation that issn dep 1 come to realiee tt appreciation is deep. ‘This is a pat that_makes karma, Pepk & | ‘or discover the dps # ppreciatsept it Funny things wil happen Tar tappes an they wl go.“ hy sit thee?” When yur get in eth, toe awe necessarily a big JE ln harmony with? WS: Yeah, You find yourself being Fie place atthe right tite JE synchronicity WS: Yeah, An never sid before, « you start to say things you fren a point of wiselom. In other words ou tap into wisdom, And you tap into ‘hat you are saying musically JE You have mentioned reverence ‘wrote an article 1 jus When for in the mindset of reverence, then you are giving as apposed to aking. The unfortunate thing that I sec issometimes when I play sith people, there fs this atitude of ding, ‘They want to sell nore albums, ‘They want more appl They want everybody to be focused on them, a8 opposed to genuine giv uu ate just involved! for its own sake in what you do, inc ching in much the same way that the ereator made ou, and you are giving something back Butt become a very tenuous thing, given the nature of our monetary society WS: Yeah. And a lot of people think that input in a record—T don't ike that word project” anymore—making a ree dhing a novel, you have, Hike, th le the Beatles, and the critics used to start to needle with “Who is doing the inpu” You know? ‘The input. When you ‘got guys going in the studio, sometimes 1 ‘would say even in the commercial world ou ean see this, there is an effort to bring dor ‘music into the studio and it goes into that “input sou.” “Well, Ti ng, We are ding most ofthe writing, me and —" But my next record I'm working on, 1 think Ihave maybe four things on it whieh are not written by me, One is from the 12thel3uh century one Miles gave to me, a song, Sjansh song. ‘The artist who recorded it way bark in the °30s somewhere, his name is Jowe Melina and it’s called “Veniendo Alegre ‘eling ‘and another an old .° something like that. And there rewritten by LeRoy Anderson other ‘You knsy, he did: [ings the tune = JE *Serenada”? wada,” ‘That's the Yn recording that ws: JE Oh, you Dbeautital tune! sare? That's WS: Yeah! And_ its nostalgic, but there's something in there! Ehave heen hearing eT was 16, JE 1 have played th ‘ago, maybe about 20- years wgo. When T was at school, 1 had to doa recital and 1 picked that mine because I had heard Jack Wilson and Roy Apres do a rendition of & on a Blue Note alum from the mi 160s, and L wanseribed Roy Ayres’ solo because Thought it twas really pretty incredible, But are you doing that as an orchestral piece? WS: Veah. lesa chamber group, JE With a shythmn section? WS: Yes scetion, and percussion. There is nothing ‘bombastic the drumming and everything. But I think this will be my frst album you are going to hear ia long time which has no backbeat. Is a front beat! [laghs] Or a beat beat. You gotta have beats! Chamber ith the shythm overhearing or with JE: People will be able w respond to the Beats instead of being beaten, ws: y 1 could be bodies for everybody. [aught] ‘okay! Its like body movement JE: You mentioned drummers just a minute ‘ago and he oF she could have a powerful influence on the and have the potential to. control the dynamics of the Frequently what a drummer docs mpact whether or not there will allow fective dialogue henseen the soloist nd accompanist. Haw do you suggest a drummer approach your music, to enable these balances 0 shift and facilitate the on from mom WS: Wel, first thing, we won't be having the traditional drumset, as being in its Former prominence Jk: You are talking about this album ? WS: Yeah. ‘There will be Iejandeo Cuno with a lor of pereussion and other large drums being played by the hand. ‘Then in some es you will have nother sound for what the traditional base drum would ave sounded like. JE What are some of the ‘most important nonmusical things that a musician may need to know? WS: Read a lot of books, Read a lor of books. The Internet has so. much stl you know, as far as books and titles and. everything Read a lot of stones. 1 was forge Lucas—they had a his atest thing and he was the Skywalker, the ranch the leaned back in the chair and said “IC Lonly had a story.” They recorded him saying that! And he threw his hhands up in the air, like “if he only had a sory,” you know? [laugh] And when we used to play with Art Blakey, he would say, “Tell the story, tell the story, when we're playing, talk to the people, talk to them, yeah, tell the story watching € rundown on saying th whatever you eall it Ji Everybody likes to hear a good story WS: When you read a lot of novels and it's like listening to another person, instead of you talking all of the time. You talkin d, about what you are going todo: “Tim going to show hin, I'm goin show her, Fm going 1 show them. going to get this, they are not going to bolieve this.” You know? Listen, Lis! say this to the young guys and some of the ole guys who never did. [talk to. some people and all we ta about is novels anything recently. in the really struck you? JE What no WS: Oh, yeah, I'm reading this novel and just checking out how it goes, with Mic Crighton, and there is anew novel Pn reading now called Swing Face and there is For tape FO oe TaN 79+ The Magical Vourney—An interview With Wayne Shorter. anwiher one writen ya woman, she WS: Les alt 17 Leal Ti Bata teaches Engl it Landon Is called when ws Proce, OF eoune, have wallall scence ton bn Thi Ava Rant BENo iting WS. Yeah, And Tread Gate about 20 tars gi, Wat back Fs eating that WS: 1 have lands on Truman, Risinger, ay ane was reading that Tm Eseahower, ll eof sll Af te tli abot 16 ad 17 year. tated Oneal eter, Black, sone Indian mi eading when Tas 13. Lean, 3 Aer rian, Areas rave Al of ‘kandi? pt it downs ay with vs From when Les out 1213, reading here ate 30 mary books nse he these sy scence ft ba chine he thar ili mem women and-iem noe Becate a jus the hard se ec, you hoo, ed around! Faved another Staley other word yor gi bon ‘Scion "What thi?” Vou kw he sou aren psa clas ort lw, JE Was that kind feisty you had when ‘were [3 enraged by your ks? JIE Any piloophy aks tat you have read rece ot tha oct the year tae WS: really alleted you? Te Ae achoo, hey were eal going ver WS: Yeah. 1 have lot of Boks on ste a, were he? lilo practice Buda, have 5 ole ay af books ic ere fos WS No, They ha a Worry, and people a the actual begining of the advent of lanime wonld goo ext hach-~1 woukd Bad, fit the Maj7 A Et bo Firts Fimin7 Bb7 Am7bs) D769) Dbai7 3 Am7@s) D769) Dbviai7 Ebmai7 Amin? D769) Fin? BI 2 “Dolores” Composed By V shorter © 1967 Miyako Music (BMD. All Rights Reserved, Used by Permission WO VINT © Joes Iaprov ®¥ 0 ah Gato VTTee a ENTUO Ta) eect ORE die kia ack F SoLOTUDE - fie Records, Aire Met tn by Charbe Apicet —<