Shot Gun houses (or rather 'Railroad Style' as referred to in northern states), are a symbol of poverty in the South and are still prevalent in African-American neighborhoods. These houses  earned its nickname from the saying that one could shoot clearly through an entire house from a window with a shot gun! Like Muhammad Ali, I grew up in this style of home, in the same area of town known as West Louisville in Kentucky. When the rate of elevated murders, gangs and drugs excalated to the point that the Kentucky government labeled the area a ‘war zone’, something special occurred in that moment when Ali came home for the very last time to be buried. The respect and admiration he commanded from the community gave way to three solid weeks of peace without a single murder.

In collaboration between composer Valerie Coleman, Harlem String Quartet and clarinetist David Shifrin, SHOT GUN HOUSES (SGH) will be a 20-25 minute cross-disciplined tribute to Muhammad Ali for live performance partnered with visual art. The performance itself will entail vintage photographs of Muhammad Ali’s career, taken by photographer (and maternal grandather of Harlem String Quartet’s own Melissa White) Thomas Washington, alternating with photographs of artwork from Ali’s father. Although I never met him, Mr. Cassius Clay Sr. was known by my parents and beloved by many as a fixture to the fabric and heart of a community. His painted storefront billboards and signs represented a time when successful African-American owned businesses in the West End were commonplace. His art was a visual backbone to the West End’s cultural landscape, inspiring many young people to be active in visual arts before he passed.

Significant moments and places in Muhammad Ali’s life will title the movements: his home on GRAND AVENUE and its row of SHOT GUN HOUSES,  Mr. Cassius Clay, Sr.’s contributions to the PROSPERITY of locally owned businesses, the legend surrounding Ali’s Gold medal from the ROME 1960 Olympics (which may or may not be at the bottom of the Ohio River), a rhythmic LOUISVILLE LIP inner movement (in Scherzo form) and a Finale based on his courage to speak and live UNBOUND by racial constraints.

SGH will be a legacy piece that sends a timely message of solidarity, by informing us of Ali’s work as a global citizen. The creative process will be influenced by three other important sources:

1. Stories and remembrances from Harlem String Quartet’s violinist Melissa White and her family, who had a special relationship with Ali and his family. From Melissa White of Harlem String Quartet: “my maternal grandfather was a photographer and photographed Muhammed Ali. His pictures were recently donated to the Museum by my family. They were also friends with the Ali's; Muhammed took my mom around London when she was there for school and he happened to be in town for a visit. The stories go on and on....” .
2. Ali’s physical and verbal actions: a vibrant collection of  rhythms and musical motifs, extracted from his speech patterns and boxing movements.
3. His more sacred and quietly profound moments. Melodious simplicity alternating with tonal shifts flow from somber moments of his experiences as both father and humanitarian. As all areas in his life were galvanized through his muslim faith, I plan to infuse these moments with Arabic Maqam, a set of scales that is the backbone of Middle Eastern music.

The work is much more substantial than telling a biography of a champion and his father; it is a conceptual offering to what a community and nation can be through social responsibility, deep respect and fellowship.

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