Jim Pepper's Classic Peyote Song "Witchi Tai To"

Jim Pepper (1941-1992) was a jazz saxophonist, composer, and singer of Native American descent. Born in Salem, Oregon, Pepper grew up in Portland. He moved to New York City in 1964, where he came to prominence in the late 1960s as a member of The Free Spirits, an early jazz-rock fusion group that also featured Larry Coryell and Bob Moses. His primary instrument was the tenor saxophone (he also played flute and soprano saxophone), and his characteristic incisive, penetrating tone and soulful delivery was unique for its time. A similar timbre was taken up by later players such as Jan Garbarek, Michael Brecker, and David Sanborn.

Of Kaw and Muscogee Creek heritage, Pepper also achieved notoriety for his compositions combining elements of jazz and Native American music. Jazz trumpeter Don Cherry and saxophonist Ornette Coleman encouraged Pepper to reflect his roots and heritage and incorporate it into his jazz playing and composition. His "Witchi Tai To" (derived from a peyote healing chant of the Native American Church which he had learned from his grandfather) is the most famous example of this hybrid style. The song first turned up in 1969 on an album by the band he was playing with at the time, Everything Is Everything. But it's the 1971 version from his own solo album Pepper's Pow Wow that's the definitive version. The song has gone on to be covered by numerous artists including Harper's Bizarre, Ralph Towner, Jan Garbarek, and Brewer & Shipley.

 
Over seven minutes in length, "Witchi Tai To" is beautiful, powerful, and very moving. Assisting Pepper in the recording studio were guitarist Larry Coryell, bassist Chuck Rainey, pianist Tom Grant, drummers Spider Rice and Billy Cobham, and then wife Ravie Pepper on flute, shakers, and vocals. The song begins with the peyote chant plain and unadorned, and slowly segues into Pepper's beautiful, flowing sax line that sets the tone for the rest of the tune. When Pepper begins to blow his sax, there is so much raw emotion and power packed into his delivery it can still bring chills decades later. Pepper died on February 10, 1992 of lymphoma. Listen to Jim Pepper's "Witchi Tai To".

"Witchi Tai To" Lyrics:

Witchi-tie-to, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Witchi-tie-to, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Water spirit feelin'
Springin' round my head
Makes me feel glad
That I'm not dead

Witchi-tie-tie, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Witchi-tie-tie, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Shamanic Dreaming

Humans have always looked beyond the factual world of ordinary reality for something solid on which to ground their lives. The models of the mystery of life have always been based on the myths of an immemorial imagination. According to Joseph Campbell, one of the great mythologists of the 20th century, "Mythological cosmologies do not correspond to the world of gross facts, but are functions of dreams and visions." Dreams and visions have always been, and will always be, the creative forces that shape our understanding of the fundamental nature of reality. It is an inherent product of the psyche, a symbolic language of metaphysics recognized by shamans and seers.

Dreams are a doorway to the spirit world. In dreams we experience the shamanic world. Everything is alive; everything is connected. We can fly. Ancestors come to us. Animals talk to us. In his book, Honoring the Medicine: The Essential Guide to Native American Healing, Kenneth Cohen writes that John Trehero, a Shoshone Sun Dance chief, derived his healing power from frequent dreams about the beaver. He described his spirit helper thus: "I dreamed about the beaver. The beaver said here is my power, and then he showed me his front paws. If a person has pain I feel with my hand on him, and that pain comes in my hand. I use my own hands for beaver paws."

The accumulation of shamanic power and knowledge comes primarily through journeys, visions and dreams. Dreams are a doorway through which the shamanic practitioner can travel to the inner realms and interact with helping spirits. Shamanic dreaming is different from modern lucid dreaming: in the latter there tends to be an emphasis on controlling your dreams. In shamanic dreaming the spirits are in charge, not the humans. Spirit teachers or guardian animals come to us in nightly encounters and we can receive teachings and guidance. In other words, the spirits begin to train us in the dream state, and we may receive certain initiations along the way. This is one of the classical ways of being called onto the shamanic path.

Dream interpretation is an important skill that shamanic practitioners should develop. However, you can't interpret your dreams if you can't remember them. Dreams tend to fade quickly from conscious awareness upon awakening. To help me remember my dreams, I repeat the affirmation that I will remember all that occurs during sleep. On awakening, I note all of my dreams in a dream journal. Keeping a journal provides a record of your spiritual growth and allows you to reflect upon and better interpret dreams.

Journaling is a contemplative practice that can help you become more aware of your inner life and feel more connected to your experiences and the world around you. This process engages the subjective mind and intuitive awareness. In some cases, your dreams will be clear and easy to understand. At other times, your dreams will be full of symbolism. Interpret such dreams by looking for possible associations related to each symbol or image. Don't overanalyze the dream, for its meaning will become clear at the appropriate time.

When you are first starting out with dream interpretation, you would do well to invest in a dream dictionary as this can suggest common meanings for certain symbols. But as you continue recording your dreams, you may notice certain patterns repeat and your personal connection to certain symbols doesn't match the collective meaning. Both are valid.

There are a number of ways you can encourage and enhance shamanic dreaming. You can begin by asking your spirit helpers or guardian animals when you go to sleep to bring you a shamanic dream. Remember to thank your helping spirits when they bring you a dream. It also helps to smudge your bedroom before going to sleep each night. Smudging clarifies the mind and cleanses the environment by dispelling any stagnant or unwanted energy. The ability to have shamanic dreams on a regular basis requires energy. If you feel exhausted when you go to bed, and collapse into sleep every night, you don't have sufficient energy for this kind of dreaming. Eating well, exercising and meditating are some basic steps to build up your energy. With more energy new doorways may open up.

You can also put ritual objects into a dream bundle to open up the doorway to shamanic dreaming. According to Nicholas Breeze Wood, editor of "Sacred Hoop Magazine" -- a leading international magazine about shamanism, "The use of ritual objects to encourage and enhance dreaming is quite widespread within the Native American traditions -- everyone is probably familiar with the dreamcatcher... Dreams have always been an important channel through which to receive instruction and communication from Spirit, and not surprisingly there is a wealth of rich folklore and tradition concerning it." Read more about dream bundles.

Beau Dick: The Legendary Indigenous Woodcarver

Beau Dick was a Canadian art legend and enigmatic carver from Alert Bay, a small remote village on the Northwest Coast of British Columbia. The Kwakwaka'wakw artist was a heredity chief and cultural activist whose generous and prolific nature exemplified the spirit of potlatch (a gift-giving feast). His remarkable masks have been celebrated across the global art scene as vibrant expressions of West Coast Indigenous culture and a sophisticated crossover into the contemporary art world. Dick had an unprecedented ability to tap into the collective memory of his people and breathe new life into age-old traditions.

Born Benjamin Kerry Dick in Kingcome Inlet, British Columbia in 1955, he first learned the art of traditional woodcarving from his father and grandfather at the age of six. While his carving career began as an assistant to his family in creating totem poles, one of which remains among the world's tallest, Dick's calling lay in making masks. His talent for combining traditional Indigenous techniques with contemporary influences, such as Japanese anime and Mexican art, makes him a standout in the art world, with critics citing him as "one of the most important artists since contact."

The late carver is the subject of the acclaimed 2017 documentary film "Maker of Monsters: The Extraordinary Life of Beau Dick," which follows his life, career and activism. Written, directed, and produced by curator, author, and filmmaker LaTiesha Fazakas and Natalie Boll, the film gives an intimate look into the life of one of Canada's greatest artists. Beau Dick worked within an ancient tradition and rose to the ranks of international success within the world of contemporary art while never forgetting his roots. This moving film captures the essence of Beau Dick and his mysterious enigma as an artist who symbolized Canada's history with the First Nations and the ethical dilemmas faced in reconciling with that colonialist history. Beau was able to use his celebrity to call attention to the injustices done to his people and the environment. 

Even in his activism, Beau relied on his culture to inform him on how to be political. He didn't simply stage protests; he enacted ancient ceremonies, creating a public display infused with spirituality. He challenged the Canadian government on his own terms by using traditional Kwakwaka'wakw political protocol, with slight adjustments for the contemporary situation. He performed a traditional copper-breaking ceremony to shame the Canadian government on two occasions. First, on the steps of the Parliament Building in Victoria, BC, and then one year later on the steps of Parliament Hill in Ottawa. Striking stone against metal, Dick and his entourage broke large copper shields into pieces. They placed the copper fragments in a folded piece of canvas artwork and left it on the steps.

The copper-breaking ceremony is a spiritual and political act that had not been performed in over 100 years. The ritual was a call to action in dialogue with the Indigenous grassroots movement, Idle No More, and a revival of a shaming rite prohibited for over 60 years under the Indian Act. Copper-breaking was once practiced by First Nations across the Pacific Northwest. Endowed with supernatural power, copper occupies a central position within potlatch ceremonies. Since copper was highly valuable and expensive, breaking it represented an act of shaming someone after a breach of law or protocol. 

"Maker of Monsters" illuminates a man whose art and life continue to transcend expectations and boundaries. Beau was more than an artist. He was a leader, an activist, a teacher, a humanitarian and a virtuoso who was larger than life. When he was asked what gets him excited in the world, he thought for a moment, then answered, "Creating an opportunity for somebody else to do something." Watch "Maker of Monsters" on Tubi TV.

New Music: "Lift Me Up"

I invite you to listen to my latest release on Spotify. This song came to me as I was hiking the North Crestone Creek Trail near my home in Crestone, Colorado. I am amazed by how deeply nature speaks to me when I am prepared to listen. Mother nature is my divine muse and inspiration. The God that so many down through the ages have humanized and worshiped is really nature herself. She lifts me up and frees my soul. Listen to "Lift Me Up."