UNIT STRUCTURES “oars OG CECIL TAYLOR EDDIE GALE STEVENS, JR., trumpet; JIMMY LYONS, alto sax; KEN McINTYRE, alto sax, oboe and bass clarinet; CECIL TAYLOR, piano and bells; HENRY GRIMES, bass; ALAN SILVA, bass; ANDREW CYRILLE, drums. 1 STEPS s TALES (8 WHISPS) 2 ENTER, EVENING (SOFT LINE STRUCTURE) 11:03 3 ENTER, EVENING Allocsoetout uttenby: CECIL TAYLOR (alternate take)" Rondacineelicsans E in Englewood Cliffs, New Jersey 4 UNIT STRUCTURE/ Recording Engineer: RUDY VAN GELDER AS OFA NOW/SECTION Sateger ah atowaion The classic Blue Note albums which span the mid 1950's te late 1960's were recorded directly on toh tape. No multitrack recording wos used and consequently no mixing was required. Therefore, this C transferring the one step analog master to digital. vison of Capiol Records, re Printeein U.S.A 601987 Mantiattan RecorSound Structure of Subculture Becoming Major Breath/Naked Fire Gesture THE first level or statement of three an opening field of question, how large it ought or ought not to be. From Anacrusis to Plain patterns and possibility converge, mountain sides to dry rock beds, a fountain spread before prairie, form is possibility; content, quality and change growth in addition to direction found. 3rd part is area where intuition and given material mix group interaction. Simultancous invention heard which these words describe. The paths of harmonic and melodic light, give architecture sound structures acts creating flight. Each instrument has strata. Physiognomy, inherent matter-calling-stretched into sound (Layers) in rhythms regular and irregular measuring coexisting bodies of sound. Measurement of sound is its silences. Acknowledging silence its definition in absence. Reactive occult, in action unknowable — detached — rationalization of inaction and detachment mathematical series, permutation and row-underlying premise = idea precedes experience. The strings are of 3 parts (strata) /accumulative space division unequal metrie segments! motion towards longer unbeaten blocks/time as nerve centers moving/compression resulting from economy of known material/songs of the mother hand. Time seen not as beats to be measured after academy's podium angle. The classic order, stone churches with pillars poised, daggers ripping skies, castratti robed in fever pitch, stuff the stale sacrament, blood- less meat, for the fastidious eye: ‘offering’ sought the righteous; only found sterility in squares/never to curl limbs in reaction to soundless bottoms; ballet is the studied manipula- tion of extremities, a calesthenic procedure away from body center. Stillness advised by death and a peace turned backward. Joint energy disposal in parts of singular feedings. A recharge; group chain reac- tion. Acceleration result succession of multiple time compression areas. Sliding elision/beat here is physical commitment to earth force. Rude insistance of tough meeting at vertical centers. Time strata thru panels joined sequence a continuum (movements) across nerve centers. Total immersion. The player advances to the area, an unknown totality, made whole thru self analysis (im- provisation). the conscious manipulation of known material; each piece is choice; architec- ture, particular in grain, the specifics question-layers are disposed-deposits arrangements, group activity establishing the ‘Plain’ Enter Evening’ anacrusis consists of 4 separate lines, unequal in length; statements with changing consecutives. Unit Structure’ anacrusis isolates amplitude in note freezing sound; in attitude, the mobile phrase grouping piano attack hap- pening across Structure’ TPT. Area illustrating prime power control. Each instrument has strata: timber, temperament: internal dialogue mirror turns: player to nerve ends, motiy: tion ‘how to’ resultant Unit flow. The piano as catalyst feeding material to soloists in all regis: ters, character actor ‘assoluta’ Attitude encompassing single noted line, diads, chord cluster, activated silence (motion in the dark light square) it is played percussively (stiff bodied finger) or errant knight lace to medallions flung/healing slain heather slope face down ocean wills now dander, gossamer, waving glad tides/*conk’ shiny the still later than that rush to start nowhere gone hurriedly to/played for: amplitude in strung horizon the rest is held re- laxed digits. At the controlled body center, motors become knowledge at once felt, memory which has identified sensory images resulting social response. Practice is speech to one’s self out of that self metamor phosising life's ‘act’ a musical symbol having become ‘which’ that has placement in creation language is arrived at. Western notation blocks total absorption in the ‘action’ playing. The eye looks, mind deciphers, hands attack, ear informs. The pupil mirrors only the inner light, an ear having heard identifies. Hearing is sight face away academy's superfluity. There are not separate parts: one body and the mind enclosed. We procede in- venting. The interpretation has occured. Emotion being aggressive participation defines the ‘acts’ particularity the root of rhythm is its central unit of change eye acting upon motor responses directing motions internal movement (wave). Rhythm-sound energy found in the amplitude of each time unit. Time measurement as isolated matter abstracted from mind, transformed symbols thru conductor, agent speaking in angles; a movement vacuum death encircling act, defining nothing Pythagorian desert a waste land lit deafness before ultimate silent arena senses ride naked in souls. ‘Would then define the pelvis as cathartic region prime undulation, ultimate communion, internal while life is becoming, visible physical conversation between all body’ limbs: Rhythm is life the space of time danced thru. ‘As gesture Jazz became: Billie’ right arm bent at breast moving as light touch. Last moments, late father no use to sit and sigh the pastors have left us gone home to die. End to slave trade in sweet meats and rum. Larger audience means incidentals to spit mirage cracked virgin, a down side up, snikker to whine.[Swing] The way cleansed pearl—many nights passed in isolation darkly what works similar effort. The points of view not to be considered — finally an area of action is created logic in adjustment-end material accumulation dottering fidelity to family breeding class/ unaccountable time unseen action resultant produce: overlay reaction Ind murmurs shape/ hunger satiated on plain of absolute; self universal compass/language of silent kings-embodiment-ancestral region hero’ plain, a‘Gilgamesh’ to wine lilacs mania on either side. As high relief fancied time or magic stuck winds to play and enseribe tzuringas, moan- to meaning; hariecha we propogate/foreign images converge upon consciousness: mind converses/with additional reason the mind color gives/overruled political chastisement mo- ments appeased to survive (in)/life of choice within esthetic curve. Creative energy force = swing motor reaction exchange/fused pulse expands measured activity relating series of events. Explosive dynamics filter graduated tempi/a molecular condition of bearing/special levels qualitatively diverse and special/emerging event holds traditional recording men’s ctions in heat life variable knit accord history silent a language in balance, direction. Rhythm then is existence and existence time, content offers time quantity to shape: color, mental physical participation. Passuge is search against mirror held — reveal the waters of greed running love an older child set to the pain in fire. To see music one sights the inyision of stopping. Whisps are intersections uniting uninterrupted game continuum. Rotating axis of 3 interval structures. Pebbles lay at bottom to stain fences already fastened in dirt. Initial Complex: merging dual characters seekers must hear ‘herald’ to watch pennants announee Plain. Formula of Whisps (an 1,2/ar/pl far 2/pl 2). Facing down, the ground springs tired chains. Voices spring from the eye there, at corners-sleep. Hoarseness becomes rhetoric seasoned/as first distinct words lacerate grim oppression reality a behind vision tomb widowed enfeoffment jettisoned. New orders arise as combatants are shadowed corners conscience seekers hand upon tense rod-food not guilt — the steps turn upward voyeurs at seuttle but agony entertains the few in so many /breath be- fore ‘lingua franca’ tongues mushroom stone matter and ships sailed this way. Cushitic scalps obeisance to fact reminds are tonic to gin, a kind Berger hebraic stew. East glances in sand- ing pores producing juice, a future seed. Rush on Bantu Zulu with eagle nuts spread wise eyes acknowledge skin recently dyed. A clue American Masai, Sudanese stripe flag fella river too winding nihilistic salute, join the grog in winter's bitter froth, chosen land where Shari Nile moments are but hues on invisible ledges, rule; inform the region, an- cars nud;nounce love to its clay like reptilian landscape, my zebra necked stasis, a jewel among vine where fragrant roots steady stroll hummin’ stretched skin invisionary water falls, call quiet leaves to choir, a set ritual song cycle in tongues the heat Harlem long ages past rested glory from. Background for breath rippling with knighted tongue enshrouding teeth. Yoruba memoir other mesh in voices mother tongue at bridge scattering Black. Distinction: phrases of singularly attached moments reason felt. From heel toward the ringing body move sus- tained nuances reflecting a head imagery never outside pleasure. A flesh lighted scream the beast in God screams. And backward forward walls decline affirmatives left open by gentler hands in minds behind play the vocal, a choice matter choosing breath, how cords are to be strummed. In arranging hypothesis none other than self... Whisper...Run. What used to be continues begging/memory contained ‘constructs’ growths growing aligned with orders of perception, a visio holding first awarenesses: how it was to be then —one saw to feel the tastes in association. In performance the body is tool of mind feel nerves and muscle speak all beings in suspension nerve on coition a wedding an aisle — Poets live to eat spirits commingle. Therefore, Steps’anacrusis was meant as light rain/about to fall not fallen yet/distances — light differential — between nourished impulse and aet/having the weighted cbullience Plisets-Kaya’s Kitri laughs. The ‘plain’ is condensed rapture all limbs mellow, spent, ground in winding dramaturgy. Mainly two pillars constitute shape [frontal-end-anchor] to [short- chop] of piano forte [resident-entry]. Then off into nights third arch a world of recovery paranoid participle. Prison vision like verity/about love between ‘ages’ the opposites that grew to draw/found naked statues in at- tenuated sadness running across blackened lakes/shutter birds directionless weather vane, your eyes closed filling us with pain. And yet like the separateness that brought hearing. It is not the origin but acceptance of hypothesis, that ultimate authority, poetry depends. Rude knowledge befitting ease gratuitous. The unknown, ever before life foree our spirit considers action in reaction. Unchangeables as we praceed to grip memory iden sight appearance, voice. Man only begins transliteration of the mean with cognition, mind inside frame and fed thru body. Move forward recognition not in experiment but as test of their singularity, unity and sanity. Where are you Bud?... Lightning... now a lone rain falling thru doors empty of room- Jazz, Naked Fire Gesture, Dancing protoplasm Absorbs. fying images then — CECIL TAYLORBLUE NOTE‘ UNIT STRUCTURES CECIL TAYLOR CDP 7 84237 2 sin? UNIT STRUCTURES CECIL TAYLOR otii7-s0257-20 EDDIE GALE STEVENS, JR., trumpet; JIMMY LYONS, alto sax; KEN McINTYRE, alto sax, oboe and bass clarinet; CECIL TAYLOR, piano and bells; HENRY GRIMES, bass; ALAN SILVA, bass; ANDREW CYRILLE, drums. SE 3 BLUE NOTE, 1 STEPS 5 TALES (8 WHISPS) 2 ENTER, EVENING (SOFT LINE STRUCTURE) 11:03 Produced by ALFRED LION 3 ENTER, EVENING Allconpoutons: ritten by: CECIL TAYLOR * Produced for release by MICHAEL CUSCUNA {alternate take) Recorded even alderStodion 10:06 in Englewood Cliffs, New Jersey May 19,1966 4UNIT STRUCTURE/ Recording moeroy: RON MeMASTER Digital Transfer cl AS OF A NOW/SECTION ath el 17:45 Total Time: 56:27 span the mid 1950's to lato 1960's ding was used and conseque: ing the one step analog master to digital. SSOTINET The classic Blue Note albums whi JEOMPACT sack analog tape. No multitrack fore, this CD was made by transf. recorded directly on to two Records, ine. © @1987 Manbattan Records, a division of Capitl Records, Inc Marutzctued fer Manhattan Recerds by DIGITAL AUDIO. SLUENOTE ise epstved trademark ol Capi —__—_ lolywond, California, US A Al rights served. Unauthorized duplication is vation of applicable laws, Pints in USA Capitol Recors, Inc, 1750 North Vine Stet, 10 mixing was required. There- Z LEtv3 Lddd YOTAVL 1193) SUUNLNULS LINN oA LON 318