UPDATE, September 20 2023 – addition of CT: THE DANCE PROJECT, consequent reappraisal of some tracks on 2 TS FOR A LOVELY T, and a more detailed account of the opening section of “Period 2” on THE TREE OF LIFE. All additions in red.
Most of the previous work I’ve done attempting to trace repertoire in the music of Cecil Taylor has concentrated on the period during which he worked with the saxophonist Jimmy Lyons (from 1961 up to Lyons’ death in 1986), and has been heavily reliant on study of the numerous bootlegs (albeit far less numerous than one would wish at several key stages) which document Taylor’s performances throughout that era. By contrast, the period addressed by this current blog post is extensively documented on official releases, and as such renders the information I’ve collated and the claims that I’ll be making potentially more accessible to those Taylor enthusiasts who might not have the willingness to embark on the collecting of unofficial recordings, with its attendant challenges both in terms of tracking down material and the enduring of often far-from-straightforwardly-enjoyable audio quality.
Besides the unusually thorough official documentation of Taylor’s work between 1988 and 1991, another reason for focussing on this era that it spans the existence of the most generally-lauded of Taylor’s post-Jimmy Lyons ensembles, namely The Feel Trio. Scanning most of what has been written about this group, one finds that there seems to be little recognition of the extent to which pre-written material underlay their music (indeed, one sometimes comes across assertions that Taylor’s post-Lyons music was primarily freely improvised, a misconception that this blog post will hopefully go some way towards dispelling). While Taylor was notoriously hostile to what he considered the inaccurate implications of the general usage of the terms “composition” and “improvisation” and the in-his-opinion specious distinctions made between the two, he nonetheless repeatedly made it clear that he wrote pieces which he would then go on to play on multiple occasions (to give just one example, he is explicit about this in both of the episodes of Marian McPartland’s Piano Jazz in which he appeared); and any degree of serious study of any period of his music quickly begins to uncover audible examples of him doing so. One should not be misled by the fact that the ways in which Taylor titled his released performances give little clue to (and frequently actively obscure) these instances.
Two marked transformations in Taylor’s approach to repertoire seem to begin in the late 70s and intensify over the course of the 1980s. The first is with regard to the length of time for a which a piece would remain part of his repertoire – prior to around 1978, it appears that Taylor would not keep playing any given piece for longer than a year, and indeed that pieces written for and played repeatedly on one tour would usually never be played again thereafter. The earliest counter-instance I have found to this is the inclusion (under different names, as is invariably the case with Taylor’s recordings) on the 1980 solo album “FLY! FLY! FLY! FLY! FLY!” of two pieces from the repertoire of his 1978 Unit (“Ensaslayi” being a version of “The Eel Pot”, and “The Stele Stolen And Broken Is Reclaimed” a version of “Holiday En Masque”). By the 80s, examples of pieces staying in his repertoire for about 4 years become not uncommon (for instance, the inclusion of “Pemmican” from 1981’s “GARDEN” album in the 1984 Munich Summer Piano Festival performance). The second change is that around 1976-77 the same pieces begin to appear in both his solo and ensemble performances – I have not found any instances of this happening prior to that. Both of these traits are evident in the music of Taylor’s 1988-1991 period.
There are many difficulties involved in the recognition and identifying of recurrent pieces in Taylor’s music, the most basic being the strain placed on one’s faculties of musical memory by the sheer duration of most of his performances. This is particularly the case when, as with the material under examination in this post, there are no obvious events such as unison horn motifs to give a clear indication that a theme is being played. The relatively compact performances found on the studio album “IN FLORESCENCE” and also the famously epigrammatic encores he would append to his solo performances have proved an invaluable entrance point to the current endeavour for me. Another difficulty lies in the way that much of Taylor’s material is embedded in pianistic techniques which are perhaps more immediately striking to the ear than the material itself – for instance, the distinctive locked-hands figures that many have identified as typical late-Taylor motifs are in my opinion not really motifs at all, but personally-developed means of rhythmically articulating groups of pitch structures over the range of the keyboard. It is the groups of pitch structures themselves (as is evident from looking at scores written in Taylor’s personal letter-name notation) which form the compositional material, not Taylor’s distinctive ways of delivering them in performance – but to recognise recurrences of these groups of pitch structures by ear can be far from easy.
A further obstacle to recognition comes with the fact that, even in the material whose pre-written basis is more easily audible (e.g. in cases where there is a clearly delivered melody, often in the right hand with an equally clear left hand accompaniment), phrases recur from piece to piece to an extent which makes the larger musical shapes harder to keep in one’s mind than the recurring phrases themselves. A few very specific motifs can be found again and again in the pieces of this period, in a manner which suggests more of a concern for unity than a paucity of imagination (anyone tempted to dismiss them as merely standard Taylor-isms should try to find examples in his solo music from say 1980-1986 – quickly one will discover how specific they are to the late 80s/early 90s era). One is a descending semitone, rhythmically filled in by inner-voice movement in the typical Taylor manner (some listeners have thought of certain instances of this motif as being references to “Tea For Two”). Another is a set of three notes descending chromatically followed by a drop of typically a perfect 4th; and a third is a four-note pattern consisting of a chromatic fall-and-rise ending with a leap of a 3rd (e.g. E-D#-E-G#). One finds these again and again in the pieces of this period, often yoked together within a larger melodic phrase.
Bearing these points in mind, and also taking into account the extreme freedom with which Taylor treats the articulation and frequently even the form of his written material, I have only identified as instances of the same piece those sections of music which exhibit all of the following traits: material appearing at identical pitch and with matching harmonic underpinning (allowing for freedom of treatment with regard to choice of octaves and harmonic inversions), and a significant amount of similarity in terms of the order of presentation of said material. For this latter criteria to be satisfied, obviously a certain minimum quantity of material must be involved – on some occasions, it seems that Taylor interpolates short stand-alone preconceived modules into more improvisational sections*, and where these do not appear in temporal proximity to other matched material on repeated occasions I have not included them in the list below. (“Temporal proximity” is of course a relative term here, since in even the more compact performances Taylor will frequently interpolate between the phrases of his pieces improvised extrapolations or interruptions, which may be only a few seconds long or extend into several minutes. This applies also to the endings of pieces, which are as a result not always easy to establish – where in doubt, I have considered each piece as continuing until the next identifiable appearance of written material which seems likely to belong to a different piece.)
* For instance, the matching passages which begin at 16:36 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO and 42:10 of “Period 2” on THE TREE OF LIFE.
Overall, Taylor’s approach to the form of his performances in this phase appears to be somewhere between an extended medley and a large open-form modular composition. Over the course of the four years being looked at, certain pieces/components can be seen to fall by the wayside, others are added, and still others remain in the repertoire for the entirety of the period. Taylor draws connections between the pieces via attention to the aforementioned motivic similarities and also unities of mood, and on several occasions the way in which several shorter pieces are yoked together makes them sound more like one extended composition – but nowhere in the recordings under examination is the exact same sequence of pieces repeated in two different performances. It should also be noted that my examination of the repeated material in these recordings is limited exclusively to Taylor’s own performance contributions – the drummers in the trio recordings appear to be reacting more or less freely to the rest of the music, and whilst one can hear occasional indications that William Parker has been presented and/or become familiar with the specific pitch materials of the pieces Taylor is playing, there are no identifiable (at least to me) moments where he joins with Taylor in any kind of even loosely set arrangement of the materials in question. (One interesting anomaly, though, is that Parker’s bass solo on CELEBRATED BLAZONS sounds to me distinctly as if he might be playing a written piece by Taylor, and one which furthermore shares significant motivic connections with other material of this period – but I have been unable as yet to match it to a specific other piece found on these recordings.)
Finally, while this list is as in-depth as I have been capable of making it, it will be noted that there are large sections of these performances which I have not accounted for – especially within the first 20-30 minutes of each of the 1988-1989 live recordings. I do not doubt that these sections have just as much compositional underpinning as the rest of the music under consideration, and that it is almost certain that there will have been correspondences in these recordings that I have missed – it should go without saying that any additions to (or disputes with) the identification of recurring pieces presented here would be greatly welcomed.
To present an analytical justification of all the claims of recurring pieces I have made here would be impractical, so the remainder (and primary content) of this blog post is merely a series of lists organised by album – this involves a fair amount of repeated information, but a certain redundancy seemed an acceptable price to pay in the service of clarity and ease of reference. (I have noted occasional appearances of pieces on other albums from the same period when they have come to my attention, but I have only attempted complete accounts of the 5 solo and 4 trio releases from these years.) It is my hope to follow this post up with a few in-depth comparisons of repeated instances of, say, two or three of the pieces listed, which will hopefully provide an representative illustration of the types of correspondences I have been tracing.
IN EAST BERLIN (DISC ONE)
(Note on “Reinforced Concrete, Part 2”: This appears to prefigure material from the piece that appears as 5:31-16:59 of “Reinforced Concrete, Part 3” on the same album, 11:06-22:06 of “Erzulie Maketh Scent Part 2” on ERZULIE MAKETH SCENT, and “Pethro Visiting The Abyss” on IN FLORESCENCE, but does not share enough sequentiality for me to identify it as an actual version of the same piece)
“Reinforced Concrete, Part 3“:
5:31-16:59 appears as 11:06-22:06 of “Erzulie Maketh Scent Part 2” on ERZULIE MAKETH SCENT, and as “Pethro Visiting The Abyss” on IN FLORESCENCE
“Stone, Part 1” appears as 0:04-1:39 of “In Florescence” on IN FLORESCENCE
“Stone, Part 2” appears as “Stone” on REMEMBRANCE, and as 1:39-3:04 of “In Florescence” on IN FLORESCENCE
“Stone, Part 3” appears as “Stone” on ERZULIE MAKETH SCENT, as “Sirenes 1/3” on IN FLORESCENCE, as 0:47-1:29 of “Section 7” on LOOKING (BERLIN VERSION) SOLO, and as 39:44-40:51 of “Logozo Scampers (Tortoise)” and 0:47-1:22 of “Proxumal (Nearest), Pt. 2” on 2 TS FOR A LOVELY T
“The Old Canal” appears as “The Old Canal” on LEAF PALM HAND
“Stone, Part 4” is based on the closing motif of a piece that appears as “Section 6” on LOOKING (BERLIN VERSION) SOLO, as 30:13-31:23 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, as both 37:19-38:29 and 40:51-42:06 of “Logozo Scampers (Tortoise)” and 35:03-36:24 of “Peat” on 2 TS FOR A LOVELY T, and as 20:05-21:05 of “Period 3” on THE TREE OF LIFE
ERZULIE MAKETH SCENT
“Erzulie Maketh Scent Part 2“:
11:06-22:06 appears as 5:31-16:59 of “Reinforced Concrete, Part 3” on IN EAST BERLIN (DISC ONE), and as “Pethro Visiting The Abyss” on IN FLORESCENCE
“Water” appears as 27:05-28:44 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, as 32:22-35:13 of “Logozo Scampers (Tortoise)” and 31:49-32:55 of “Peat” on 2 TS FOR A LOVELY T, and as 16:29-18:45 of “Period 3” on THE TREE OF LIFE
“Stone” appears as “Stone, Part 3” on IN EAST BERLIN (DISC ONE), as “Sirenes 1/3” on IN FLORESCENCE, as 0:47-1:29 of “Section 7” on LOOKING (BERLIN VERSION) SOLO, and as 39:44-40:51 of “Logozo Scampers (Tortoise)” and 0:47-1:22 of “Proxumal (Nearest), Pt. 2” on 2 TS FOR A LOVELY T
IN FLORESCENCE
(Note on this album: in all cases where specific timings are not given, the pieces should be considered as beginning after the spoken introductions.)
“J.” appears as 0:23-5:10 of “Period 3” on THE TREE OF LIFE
“Pethro Visiting the Abyss” appears as 5:31-16:59 of “Reinforced Concrete, Part 3” on IN EAST BERLIN (DISC ONE), and as 11:06-22:06 of “Erzulie Maketh Scent Part 2” on ERZULIE MAKETH SCENT
“Saita“:
0:14-1:04 plus 1:37-1:42 appears as 26:36-30:14 of “Section 1” on LOOKING (BERLIN VERSION) SOLO, and at the start of “Sphere No. 2” on MELANCHOLY
“In Florescence“:
– 0:04-1:39 appears as “Stone, Part 1” on IN EAST BERLIN (DISC ONE);
– 1:39-3:04 appears as “Stone, Part 2” on IN EAST BERLIN (DISC ONE), and as “Stone” on REMEMBRANCE
“Sirenes 1/3” appears as “Stone, Part 3” on IN EAST BERLIN (DISC ONE), as “Stone” on ERZULIE MAKETH SCENT, as 0:47-1:29 of “Section 7” on LOOKING (BERLIN VERSION) SOLO, and as 39:44-40:51 of “Logozo Scampers (Tortoise)” and 0:47-1:22 of “Proxumal (Nearest), Pt. 2” on 2 TS FOR A LOVELY T
“Charles And Thee” appears as “Third Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO
“Leaf Taken Horn“:
– 0:38-3:10 appears as 24:48-46:33 of “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” on CELEBRATED BLAZONS;
– 3:10-4:37 appears as “Chimes” on LEAF PALM HAND
LOOKING (BERLIN VERSION) SOLO
“Section 1“:
26:36-30:14 appears as 0:14-1:04 plus 1:37-1:42 of “Saita” on IN FLORESCENCE, and as “Sphere No. 2” on MELANCHOLY
“Section 3” appears as 31:23-32:32 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO
“Section 4” appears as 32:32-36:22 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO
“Section 5” appears as “Second Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO.
(The first appearance of this piece is in the “Klook At The Top Of The Stairs” section of the 1985 ONE NIGHT WITH BLUE NOTE “Pontos Cantados” performance.)
“Section 6” appears as 30:13-31:23 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, as both 37:19-38:29 and 40:51-42:06 of “Logozo Scampers (Tortoise)” and 35:03-36:24 of “Peat” on 2 TS FOR A LOVELY T, and as 20:05-21:05 of “Period 3” on THE TREE OF LIFE. (Also see “Stone Part 4” on IN EAST BERLIN (DISC ONE))
“Section 7“:
– 0:00-0:47 appears as 38:29-39:44 of “Logozo Scampers (Tortoise)” and 0:00-0:47 of “Proxumal (Nearest), Pt. 2” on 2 TS FOR A LOVELY T, and as 13:51-15:12 of “Period 3” on THE TREE OF LIFE;
– 0:47-1:29 appears as “Stone, Part 3” on IN EAST BERLIN (DISC ONE), as “Stone” on ERZULIE MAKETH SCENT, as “Sirenes 1/3” on IN FLORESCENCE, and as 39:44-40:51 of “Logozo Scampers (Tortoise)” and 0:47-1:22 of “Proxumal (Nearest), Pt. 2” on 2 TS FOR A LOVELY T
LOOKING (BERLIN VERSION) THE FEEL TRIO
“First Part“:
– 27:05-28:44 appears as “Water” on ERZULIE MAKETH SCENT, as 32:22-35:13 of “Logozo Scampers (Tortoise)” and 31:49-32:55 of “Peat” on 2 TS FOR A LOVELY T, and as 16:29-18:45 of “Period 3” on THE TREE OF LIFE;
– 28:44-30:13 appears as 35:13-37:19 of “Logozo Scampers (Tortoise)” and 32:55-35:03 of “Peat” on 2 TS FOR A LOVELY T, and as both 15:12-16:29 and 18:45-20:05 of “Period 3” on THE TREE OF LIFE;
– 30:13-31:23 appears as “Section 6” on LOOKING (BERLIN VERSION) SOLO, as both 37:19-38:29 and 40:51-42:06 of “Logozo Scampers (Tortoise)” and 35:03-36:24 of “Peat” on 2 TS FOR A LOVELY T, and as 20:05-21:05 of “Period 3” on THE TREE OF LIFE. (Also see “Stone Part 4” on IN EAST BERLIN (DISC ONE));
– 31:23-32:32 appears as “Section 3” on LOOKING (BERLIN VERSION) SOLO;
– 32:32-36:22 appears as “Section 4” on LOOKING (BERLIN VERSION) SOLO
“Second Part” appears as “Section 5” on LOOKING (BERLIN VERSION) SOLO
(The first appearance of this piece is in the “Klook At The Top Of The Stairs” section of the 1985 ONE NIGHT WITH BLUE NOTE “Pontos Cantados” performance.)
“Third Part” appears as “Charles And Thee” on IN FLORESCENCE
CELEBRATED BLAZONS
“(3 in one)/Lords of the house/Deep water/Realm of the wilds/3 in one“:
– 0:58-24:48* appears as “Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 2”, 0:00-28:05 of “Proxumal (Nearest), Pt. 1”, 0:00-31:49 of “Peat” and 45:18-46:07 of “Owele Standing (Small Bird)” on 2 TS FOR A LOVELY T, and as 7:35-17:06 of “Period 2” on THE TREE OF LIFE
(*Note: this piece appears to function much more like a “head” to set off extended improvisation than most of the others from this period, and as a result it is particularly hard to judge where a given performance of it might end. In some instances there is a recapitulation of the opening material after a period of improvisation, but this does not always occur, for instance not in the Celebrated Blazons version. “Owele Standing” is an unusual case, in that the piece is used as an ending theme for a performance which has up to that point been based on other material.)
– 24:48-46:35 appears as 0:38-3:10 of “Leaf Taken Horn” on IN FLORESCENCE;
– 52:02-56:09 appears as 40:34-43:10 of “Proxumal (Nearest), Pt, 1” and 26:57-31:33 of “Tellurian (Pertaining To Earth Or Its Inhabitants)” on 2 TS FOR A LOVELY T, and 4:12-6:34 of track 1 on DOUBLE HOLY HOUSE
CT: THE DANCE PROJECT
“B: Soul Activities – 3. Feeling” appears as “Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 1” on 2 TS FOR A LOVELY T, as 5:10-13:51 of “Period 3” on THE TREE OF LIFE, and as “The Silence Of Trees” on BURNING POLES
“B: Soul Activities – 4. Willing” appears as 29:22-45:18 of “Owele Standing (Small Bird)” and 24:28-43:55 of “Alumo” on 2 TS FOR A LOVELY T
2 TS FOR A LOVELY T
“Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 1” appears as “B: Soul Activities – 3. Feeling” on CT: THE DANCE PROJECT, as 5:10-13:51 of “Period 3” on THE TREE OF LIFE, and as “The Silence Of Trees” on BURNING POLES
“Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 2“* also appears as 0:00-28:05 of “Proxumal (Nearest), Pt. 1”, 0:00-31:49 of “Peat” and 45:18-46:07 of “Owele Standing (Small Bird)” on the same album, as 0:58-24:48 of “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” on CELEBRATED BLAZONS, and as 7:35-17:06 of “Period 2” on THE TREE OF LIFE
* see note on CELEBRATED BLAZONS “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” 0:58-24:48
“Peduncle (The Support Of An Inflorescence)“:
– 36:00-38:02 also appears as 32:29-35:56 of “Pineal (Black Dot)” and 21:00-24:05 of “Tayassus Pecari” on the same album, and as 33:31-36:49 of “Period 2” on THE TREE OF LIFE;
– 38:02-40:14 also appears as 42:26-43:32 of the same track, 35:56-38:02 of “Pineal (Black Dot)”, and both 27:02-29:12 and 40:02-41:03 of “Tayassus Pecari” on the same album, and as 53:06-54:19 of track 2 on DOUBLE HOLY HOUSE;
– 40:14-42:26 also appears as 38:02-39:54 of “Pineal (Black Dot)” and both 24:05-27:02 and 38:52-40:02 of “Tayassus Pecari” on the same album, and as 4:44-7:27 of track 2 on DOUBLE HOLY HOUSE;
– 42:26-43:32 also appears as 38:02-40:14 of the same track, 35:56-38:02 of “Pineal (Black Dot)”, and both 27:02-29:12 and 40:02-41:03 of “Tayassus Pecari” on the same album, and as 53:06-54:19 of track 2 on DOUBLE HOLY HOUSE
“Logozo Scampers (Tortoise)“:
– 18:35-32:22 also appears as 0:13-15:04 of “Tellurian (Pertaining To Earth Or Its Inhabitants) on the same album;
– 32:22-35:13 also appears as 31:49-32:55 of “Peat” on the same album, as “Water” on ERZULIE MAKETH SCENT, as 27:05-28:44 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as 16:29-18:45 of “Period 3” on THE TREE OF LIFE;
– 35:13-37:19 also appears as 32:55-35:03 of “Peat” on the same album, as 28:44-30:13 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as both 15:12-16:29 and 18:45-20:05 of “Period 3” on THE TREE OF LIFE;
– 37:19-38:29 also appears as 40:51-42:06 of the same track and 35:03-36:24 of “Peat” on the same album, as “Section 6” on LOOKING (BERLIN VERSION) SOLO, as 30:13-31:23 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as 20:05-21:19 of “Period 3” on THE TREE OF LIFE. (Also see “Stone Part 4” on IN EAST BERLIN (DISC ONE));
– 38:29-39:44 also appears as 0:00-0:47 of “Proxumal (Nearest), Pt. 2” on the same album, as 0:00-0:47 of “Section 7” on LOOKING (BERLIN VERSION) SOLO, and as 13:51-15:12 of “Period 3” on THE TREE OF LIFE;
– 39:44-40:51 also appears as 0:47-1:22 of “Proxumal (Nearest), Pt. 2” on the same album, as “Stone, Part 3” on IN EAST BERLIN (DISC ONE), as “Stone” on ERZULIE MAKETH SCENT, as “Sirenes 1/3” on IN FLORESCENCE, and as 0:47-1:29 of “Section 7” on LOOKING (BERLIN VERSION) SOLO;
– 40:51-42:06 also appears as 37:19-38:29 of the same track and 35:03-36:24 of “Peat” on the same album, as “Section 6” on LOOKING (BERLIN VERSION) SOLO, as 30:13-31:23 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as 20:05-21:19 of “Period 3” on THE TREE OF LIFE. (Also see “Stone Part 4” on IN EAST BERLIN (DISC ONE))
“Owele Standing (Small Bird)“
– 29:22-45:18 also appears as 24:28-43:55 of “Alumo” on the same album, and as “B: Soul Activities – 4: Willing” on CT: THE DANCE PROJECT
– 45:18-46:07* also appears as ”Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 2”, 0:00-28:05 of “Proxumal, Pt. 1”, and 0:00-31:49 of “Peat” on the same album, as 0:58-24:48 of “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” on CELEBRATED BLAZONS, and as 7:35-17:06 of “Period 2” on THE TREE OF LIFE
* see note on CELEBRATED BLAZONS “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” 0:58-24:48
“Pineal (Black Dot)“:
– 32:29-35:56 also appears as 36:00-38:02 of “Peduncle (The Support Of An Inflorescence)” and 21:00-24:05 of “Tayassus Pecari” on the same album, and as 33:31-36:49 of “Period 2” on THE TREE OF LIFE;
– 35:56-38:02 also appears as both 38:02-40:14 and 42:26-43:32 of “Peduncle (The Support Of An Inflorescence)” and both 27:02-29:12 and 40:02-41:03 of “Tayassus Pecari” on the same album, and as 53:06-54:19 of track 2 on DOUBLE HOLY HOUSE;
– 38:02-39:54 also appears as 40:14-42:26 of “Peduncle (The Support Of An Inflorescence)” and both 24:05-27:02 and 38:52-40:02 of “Tayassus Pecari” on the same album, and as 4:44-7:27 of track 2 on DOUBLE HOLY HOUSE
“Proxumal (Nearest), Pt. 1“:
– 0:00-28:05* also appears as “Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 2”, 0:00-31:49 of “Peat” and 45:18-46:07 of “Owele Standing (Small Bird)” on the same album, as 0:58-24:48 of “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” on CELEBRATED BLAZONS, and as 7:35-17:06 of “Period 2” on THE TREE OF LIFE;
– 28:05-40:34 also appears as 15:04-26:57 of “Tellurian (Pertaining To Earth Or Its Inhabitants)”;
– 40:34-43:10 also appears as 26:57-31:33 of “Tellurian (Pertaining To Earth Or Its Inhabitants)” on the same album, as 52:02-56:09 of “(3 in one)/Lords of the house/Deep Water/Realm of the wilds/3 in one” on CELEBRATED BLAZONS, and as 4:12-6:34 of track 1 on DOUBLE HOLY HOUSE
* see note on CELEBRATED BLAZONS “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” 0:58-24:48
“Proxumal, (Nearest), Pt. 2“:
– 0:00-0:47 also appears as 38:29-39:44 of “Loguzo Scampers (Tortoise)” on the same album, as 0:00-0:47 of “Section 7” on LOOKING (BERLIN VERSION) SOLO, and as 13:51-15:12 of “Period 3” on THE TREE OF LIFE;
– 0:47-1:22 also appears as 39:44-40:51 of “Logozo Scampers (Tortoise)” on the same album, as “Stone, Part 3” on IN EAST BERLIN (DISC ONE), as “Stone” on ERZULIE MAKETH SCENT, as “Sirenes 1/3” on IN FLORESCENCE, and as 0:47-1:29 of “Section 7” on LOOKING (BERLIN VERSION) SOLO
“Tellurian (Pertaining To Earth Or Its Inhabitants)“:
– 0:13-15:04 also appears as 18:35-32:22 of “Logozo Scampers (Tortoise)” on the same album;
– 15:04-26:57 also appears as 28:05-40:34 of “Proxumal (Nearest), Pt. 1” on the same album;
– 26:57-31:33 also appears as 40:34-43:10 of “Proxumal (Nearest), Pt. 1” on the same album, as 52:02-56:09 of “(3 in one)/Lords of the house/Deep Water/Realm of the wilds/3 in one” on CELEBRATED BLAZONS, and as 4:12-6:34 of track 1 on DOUBLE HOLY HOUSE
“Alumo”
– 24:28-43:55 also appears as 29:22-45:18 of “Owele Standing (Small Bird)” on the same album, and as “B: Soul Activities – 4: Willing” on CT: THE DANCE PROJECT
“Tayassus Pecari”:
– 21:00-24:05 also appears as 36:00-38:02 of “Peduncle (The Support Of An Inflorescence)” and 32:29-35:56 of “Pineal (Black Dot)” on the same album, and as 33:31-36:49 of “Period 2” on THE TREE OF LIFE;
– 24:05-27:02 also appears as 38:52-40:02 of the same track, 40:14-42:26 of “Peduncle (The Support Of An Inflorescence)” and 38:02-39:54 of “Pineal (Black Dot)” on the same album, and as 4:44-7:27 of track 2 on DOUBLE HOLY HOUSE;
– 27:02-29:12 also appears as 40:02-41:03 of the same track, both 38:02-40:14 and 42:26-43:32 of “Peduncle (The Support Of An Inflorescence)”, and 35:56-38:02 of “Pineal (Black Dot)” on the same album, and as 53:06-54:19 of track 2 on DOUBLE HOLY HOUSE;
– 38:52-40:02 also appears as 24:05-27:02 of the same track, 40:14-42:26 of “Peduncle (The Support Of An Inflorescence)” and 38:02-39:54 of “Pineal (Black Dot)” on the same album, and as 4:44-7:27 of track 2 on DOUBLE HOLY HOUSE
– 40:02-41:03 also appears as 27:02-29:12 of the same track, both 38:02-40:14 and 42:26-43:32 of “Peduncle (The Support Of An Inflorescence)”, and 35:56-38:02 of “Pineal (Black Dot)” on the same album, and as 53:06-54:19 of track 2 on DOUBLE HOLY HOUSE
“Peat”:
– 0:00-31:49* also appears as ”Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 2”, 0:00-28:05 of “Proxumal (Nearest), Pt. 1” and 45:18-46:07 of “Owele Standing (Small Bird)” on the same album, as 0:58-24:48 of “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” on CELEBRATED BLAZONS, and as 7:35-17:06 of “Period 2” on THE TREE OF LIFE;
– 31:49-32:55 also appears as 32:22-35:13 of “Logozo Scampers (Tortoise)” on the same album, as “Water” on ERZULIE MAKETH SCENT, as 27:05-28:44 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as 16:29-18:45 of “Period 3” on THE TREE OF LIFE;
– 32:55-35:03 also appears as 35:13-37:19 of “Logozo Scampers (Tortoise)” on the same album, as 28:44-30:13 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as both 15:12-16:29 and 18:45-20:05 of “Period 3” on THE TREE OF LIFE;
– 35:03-36:24 also appears as both 37:19-38:29 and 40:51-42:06 of “Logozo Scampers (Tortoise)” on the same album, as “Section 6” on LOOKING (BERLIN VERSION) SOLO, as 30:13-31:23 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as 20:05-21:19 of “Period 3” on THE TREE OF LIFE. (Also see “Stone Part 4” on IN EAST BERLIN (DISC ONE))
* see note on CELEBRATED BLAZONS “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” 0:58-24:48
DOUBLE HOLY HOUSE
Track 1:
– 0:00-4:12 appears as 17:06-19:36 of “Period 2” on THE TREE OF LIFE;
– 4:12-6:34 appears as 52:02-56:09 of “(3 in one)/Lords of the house/Deep water/Realm of the wilds/3 in one” on CELEBRATED BLAZONS, and as 40:34-43:10 of “Proxumal (Nearest), Pt, 1” and 26:57-31:33 of “Tellurian (Pertaining To Earth Or Its Inhabitants)” on 2 TS FOR A LOVELY T
Track 2:
– 4:44-7:27 appears as 40:14-42:26 of “Peduncle (The Support Of An Inflorescence)”, 38:02-39:54 of “Pineal (Black Dot)”, and both 24:05-27:02 and 38:52-40:02 of “Tayassus Pecari” on 2 TS FOR A LOVELY T;
– 53:06-54:19 appears as both 38:02-40:14 and 42:26-43:32 of “Peduncle (The Support Of An Inflorescence)”, 35:56-38:02 of “Pineal (Black Dot)”, and both 27:02-29:12 and 40:02-41:03 of “Tayassus Pecari” on 2 TS FOR A LOVELY T
THE TREE OF LIFE
“Period 2”:
– 0:00-0:40 also appears as 3:48-4:02 and 43:59-44:22 of the same track;
– 0:40-3:31 also appears as 4:02-5:43 of the same track;
– 3:48-4:02 also appears as 0:00-0:40 and 43:59-44:22 of the same track;
– 4:02-5:43 also appears as 0:40-3:31 of the same track;
– 7:35-17:06* appears as 0:58-24:48 of”(3 in one)/Lords of the house/Deep water/Realm of the wilds/3 in one” on CELEBRATED BLAZONS, and as “Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 2”, 0:00-28:05 of “Proxumal, Pt. 1”, 0:00-31:49 of “Peat” and 45:18-46:07 of “Owele Standing (Small Bird)” on 2 TS FOR A LOVELY T;
– 17:06-19:36 appears as 0:00-4:12 of track 1 on DOUBLE HOLY HOUSE;
– 33:31-36:49 appears as 36:00-38:02 of “Peduncle (The Support Of An Inflorescence”, as 32:29-35:56 of “Pineal (Black Dot)” and as 21:00-24:05 of “Tayassus Pecari” on 2 TS FOR A LOVELY T;
– 43:59-44:22 also appears as 0:00-0:40 and 3:48-4:02 of the same track
* see note on CELEBRATED BLAZONS “(3 in one)/Lords Of The House/Deep Water/Realm of the Wilds/3 in one” 0:58-24:48
“Period 3“:
– 0:23-5:10 appears as “J.” on IN FLORESCENCE;
– 5:10-13:51 appears as “Epicritic (Pertaining To Cutaneous Sensitivity), Pt. 1” on 2 TS FOR A LOVELY T, as “B: Soul Activities – 3. Feeling” on CT: THE DANCE PROJECT, and as “The Silence Of Trees” on BURNING POLES;
– 13:51-15:12 appears as 0:00-0:47 of “Section 7” on LOOKING (BERLIN VERSION) SOLO, and as 38:29-39:44 of “Logozo Scampers (Tortoise)” and 0:00-0:47 of “Proxumal (Nearest), Pt. 2” on 2 TS FOR A LOVELY T;
– 15:12-16:29 also appears as 18:45-20:05 of the same track, as 28:44-30:13 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as 35:13-37:19 of “Logozo Scampers (Tortoise)” and 32:55-35:03 of “Peat” on 2 TS FOR A LOVELY T;
– 16:29-18:45 appears as “Water” on ERZULIE MAKETH SCENT, as 27:05-28:44 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as 32:22-35:13 of “Logozo Scampers (Tortoise)” and 31:49-32:55 of “Peat” on 2 TS FOR A LOVELY T;
– 18:45-20:05 also appears as 15:12-16:29 of the same track, as 28:44-30:13 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as 35:13-37:19 of “Logozo Scampers (Tortoise)” and 32:55-35:03 of “Peat” on 2 TS FOR A LOVELY T;
– 20:05-21:05 appears as “Section 6” on LOOKING (BERLIN VERSION) SOLO, as 30:13-31:23 of “First Part” on LOOKING (BERLIN VERSION) THE FEEL TRIO, and as both 37:19-38:29 and 40:51-42:06 of “Logozo Scampers (Tortoise)” and 35:03-36:24 of “Peat” on 2 TS FOR A LOVELY T. (Also see “Stone Part 4” on IN EAST BERLIN (DISC ONE))
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