The most interesting question, as I proceed in writing the Mwandishi band book remains this: how does one take a linear narrative, turn it, shake it … and then craft a non-linear, fun read that mirrors the nature of the music? Making progress here, as I think increasingly metaphorically. How does one describe a solo as if it were a journey through the woods with a group of friends, noticing all the activity of the animals and birds, the swaying of the trees, moving in one’s chosen direction, yet influenced by the ever changing surroundings? How does one speak about intense interrelations between instruments as a quality of transcendent experience? Of musical textures as if they were swaths of intricately woven cloth… I knew this would be a far more difficult, but ultimately rewarding task than the one I initially began. I don’t have many models for this approach to writing about music, but I am treating it as much a creative musical project as it is one that is literary. What I am hoping to do in completing this book is to write about music by placing music within the context of simply being alive.