CYCLE ONE

1. JAZZ AND BLUES. Jazz is always in the shadow of Blues, like Satan vis-à-vis Jehovah, or Lenin vis-à-vis Marx, or the Sun vis-à-vis the Cosmos (with particular regard to the central star of the Galaxy). Jazz is, in cultural terms, akin to a satanic fall from the Jehovahesque Blues, and is therefore a form of music which will always stand in an inferior relationship to the primal music, necessarily vacuous, from which it emerged, like a subman from the womb of a superwoman. In fact, most people, with their untransvaluated conditioning, would tend to see the Blues as divine and Jazz, by contrast, as diabolic. In reality, however, it is the Blues which is diabolic or, rather, superdiabolic, and Jazz, by contrast, subdivine - the subdivinity of the subconscious, as opposed to the superdiabolism of the super-unconscious.

2. BLUES LIGHT AND JAZZ LIGHT. Because the Blues is anterior to Jazz, it is music of the super-unconscious rather than of the subconscious, and therefore more natural than cultural. In other words, it is a form of music more associated with the voice than with instrumentality as such, since, in relation to musical instruments, the human voice is natural as opposed to cultural, culture being the conscious parallel to an unconscious precondition. In the case of Blues music, its correlation with the super-unconscious allows us to infer a supernatural vocal connotation such that implies a superfeminine basis, and I would hold that the Blues is never more genuine than when sung by a solo female vocalist. Now the vocal delivery of such a female will correlate with the light, not just any old light but cosmic and/or stellar light, to which we should apply, if faithful to our insights with regard to this noumenon, a superdiabolic status. Jazz, by contrast, is subdivine, since its correlation with the subconscious allows us to infer a subcultural instrumental connotation such that implies a submasculine basis, and I would hold that Jazz is never more genuine than when played by a variety of male instrumentalists, especially wind instrumentalists, whose wind delivery will correlate with sunlight, not the cosmic/stellar light of superfeminine vocals, but the light-aside, as it were, to a solar flame, the flame, more concretely, of the wind instruments as such.

3. JAZZ AS SOLAR. Because Jazz is a musical fall from the Blues, it is a solar Heaven as opposed to a stellar Hell, a fiery plenum (in wind-centred, though percussion-based, instrumentality) rather than a spatial vacuum (in percussion-based, though voice-centred, vocals). Jazz cannot exist entirely independently of the Blues, any more than the Sun can exist independently of the central star of the Galaxy, since Jazz and Blues are complementary forms of music, as complementary as naturalism and idealism in science or, as already argued, Satan and Jehovah in Judaism/the Old Testament. In fact, Jazz and Blues are Superheathen forms of music whose 'spiritual' kinship is rather more with the Clear Light of Space (the Void) and the Clear Fire of Time ... than with any Christian or, indeed, Heathen deities.