Heller Levinson
WINDOW(S)
(for Booker T. Little)
cut-out. out-let. let-out. f u s e . . .
fussilade, . . .
pass(permit)age. further. through to replete to, . . . com-plete.
completion ://: summation. in the apparent* appears
appearance. appearing intima-cizes look lark. strips to quiddity. marshal. aperture bequest.
willingness of stone. surety spell. indecipherables.
punctuation.
Booker T. Little Windows
notes = panes of glass
contrapuntalfunctionalferocityforceValveHalation intersect
perspicacity trill modular mischief make believe
how much of
Booker T.
is Outlook
Will Alexander: ‘One of the great musicians died at 23. His name was Booker Little. . . . Because he passed away at 23, there’s not enough written about him. . . . This gentleman has fused all the North African, Jewish and Middle Eastern sounds in jazz music at such an early age…. And people don’t know who he is.’
Shuttered blind. curtain. cover-up.
lockdown inde-
fatigable predispose lunge ride
crash cataract
crux-correlate
c i c a t r i x
in the absence of suitable → gristle spun
virulence, feathered Calliope, headdress her-
ald, prance equine cabriolet, con-
vey . . . . .
‘By adjusting the tension in the lips, the shape of the lips within the mouthpiece (the embouchure), and the flow of air between the lips via the pressure in the mouth, the brass player forces the lip to vibrate at the required frequency of the note to be played.’**
1955 Booker rooms with Sonny Rollins in Chicago at the YMCA. The shared room an embouchure?, the flow of counsel, of idea, of transmutational prescience. Sonny tells Booker “You’ve got to be you, whether that’s good or bad.”
sole/soul. to develop the individually distinctive. burden of lone. necessitous churn, . . . disavowal, past jammed beginnings, to perilous extremity, ratchet-up, rowel rummage, ruckus, the art of penetration, of discovering lost, the grounds for orienteering groundless, . . . in despite of time signature measure castration the beat is where you put it, . . .
Booker: ‘I’m interested in putting sounds against sounds. The more dissonance the bigger the sound.’
hunch alert, rivet rattle, haunch hurricane, ferry-
ing feral matter, Otherly compost, trailing from Minton’s, 210 West 118th Street in Harlem, Manhattan, the first Church of Bop, booze/stone/brick/smoke/urbane barrage barrel bombast bumptious teavy heavy levy leave it let it bounty brothel pumpkin pummel perfect, fleetfrostflintfirefirst, ram-i-
fi-ca-tion ret-
inal transmissions sonic gaze → chrysalis, crystalize
searSoarSorceRy(eee) ambulation pedigree
Booker Little/Out Front, Recorded at Nola Penthouse Studios, New York City, March 17th, 1961 & April 4th, 1961
1. WE SPEAK 6:41 → heretofore utter spray melo-unison tangent yoke mourn meddle mount mend full wound wend agile agitprop Eric blips scat course crossfire fury dip dive baton pass Booker blaze wave wane genuflect reflect flex campaign core Max speak beat 4/4 time 1 triplet R hand snare, L small tom, R floor tom 2 hi-hat bass 3 triplet RLR 4 hi-hat bass What we need is a trombone, anybody got a trombone? Julian Priester got a trombone, a trombone with a grainy grin & a slow moan, a slow groan, . . .***
‘Acoustic impedance, which has the symbol Z, is the ratio of acoustic pressure p to acoustic volume flow U. So we define Z= p/U. The acoustic impedance at a particular frequency indicates how much sound pressure is needed to generate, provided air vibration at that frequency is a specific point.’**
from impedance this allowance, this draft of séance, sculptural drift, fray velocity press perambulate perihelion SPlasSh
twisttorquetarentellatuck
gyration juju juggernaut
jasper
jubilance
s e m p i
t e r
n a l
* Fleshing ‘apparent:’ When one passages through the window to fuse with the perceived, which appears as appearance behind the window, one discovers the perceived to be more complexly opulent then it first appeared.
This more intimate approach to what first appeared makes apparent that the apparent only appears apparently, that is, as a sub-species of the visible which, in-itself, only appears as ‘appearances’ are unpeeled.
** ‘The physics of the trumpet’ Seminar authored by Bostjan Berkopec & presented at the University of Ljubjana, December 2013.
*** Heller Levinson, SEEP (Black Widow Press, 2020), 112.
*The quotes regarding trumpet physics are extracted from ‘The physics of the trumpet’ Seminar authored by Bostjan Berkopec & presented at the University of Ljubjana, December 2013.
THRALL THROW river
burl stud lively
pittance scry tables of
indifferent matter
hours upon
then
lift
formidable with
motion
ASKEW VERTEBRAE
outskirl monitors season await the
probe hellbent awl alert
numerals tendentious
wet
. peppering cloud
. disinclination
. sketchy
ATOLL
compositions compile compounds cross-
section the early irrigates
ready
. preparations modest
. forecasts ignored
. causeway
(for Booker T. Little)
cut-out. out-let. let-out. f u s e . . .
fussilade, . . .
pass(permit)age. further. through to replete to, . . . com-plete.
completion ://: summation. in the apparent* appears
appearance. appearing intima-cizes look lark. strips to quiddity. marshal. aperture bequest.
willingness of stone. surety spell. indecipherables.
punctuation.
Booker T. Little Windows
notes = panes of glass
contrapuntalfunctionalferocityforceValveHalation intersect
perspicacity trill modular mischief make believe
how much of
Booker T.
is Outlook
Will Alexander: ‘One of the great musicians died at 23. His name was Booker Little. . . . Because he passed away at 23, there’s not enough written about him. . . . This gentleman has fused all the North African, Jewish and Middle Eastern sounds in jazz music at such an early age…. And people don’t know who he is.’
Shuttered blind. curtain. cover-up.
lockdown inde-
fatigable predispose lunge ride
crash cataract
crux-correlate
c i c a t r i x
in the absence of suitable → gristle spun
virulence, feathered Calliope, headdress her-
ald, prance equine cabriolet, con-
vey . . . . .
‘By adjusting the tension in the lips, the shape of the lips within the mouthpiece (the embouchure), and the flow of air between the lips via the pressure in the mouth, the brass player forces the lip to vibrate at the required frequency of the note to be played.’**
1955 Booker rooms with Sonny Rollins in Chicago at the YMCA. The shared room an embouchure?, the flow of counsel, of idea, of transmutational prescience. Sonny tells Booker “You’ve got to be you, whether that’s good or bad.”
sole/soul. to develop the individually distinctive. burden of lone. necessitous churn, . . . disavowal, past jammed beginnings, to perilous extremity, ratchet-up, rowel rummage, ruckus, the art of penetration, of discovering lost, the grounds for orienteering groundless, . . . in despite of time signature measure castration the beat is where you put it, . . .
Booker: ‘I’m interested in putting sounds against sounds. The more dissonance the bigger the sound.’
hunch alert, rivet rattle, haunch hurricane, ferry-
ing feral matter, Otherly compost, trailing from Minton’s, 210 West 118th Street in Harlem, Manhattan, the first Church of Bop, booze/stone/brick/smoke/urbane barrage barrel bombast bumptious teavy heavy levy leave it let it bounty brothel pumpkin pummel perfect, fleetfrostflintfirefirst, ram-i-
fi-ca-tion ret-
inal transmissions sonic gaze → chrysalis, crystalize
searSoarSorceRy(eee) ambulation pedigree
Booker Little/Out Front, Recorded at Nola Penthouse Studios, New York City, March 17th, 1961 & April 4th, 1961
1. WE SPEAK 6:41 → heretofore utter spray melo-unison tangent yoke mourn meddle mount mend full wound wend agile agitprop Eric blips scat course crossfire fury dip dive baton pass Booker blaze wave wane genuflect reflect flex campaign core Max speak beat 4/4 time 1 triplet R hand snare, L small tom, R floor tom 2 hi-hat bass 3 triplet RLR 4 hi-hat bass What we need is a trombone, anybody got a trombone? Julian Priester got a trombone, a trombone with a grainy grin & a slow moan, a slow groan, . . .***
‘Acoustic impedance, which has the symbol Z, is the ratio of acoustic pressure p to acoustic volume flow U. So we define Z= p/U. The acoustic impedance at a particular frequency indicates how much sound pressure is needed to generate, provided air vibration at that frequency is a specific point.’**
from impedance this allowance, this draft of séance, sculptural drift, fray velocity press perambulate perihelion SPlasSh
twisttorquetarentellatuck
gyration juju juggernaut
jasper
jubilance
s e m p i
t e r
n a l
* Fleshing ‘apparent:’ When one passages through the window to fuse with the perceived, which appears as appearance behind the window, one discovers the perceived to be more complexly opulent then it first appeared.
This more intimate approach to what first appeared makes apparent that the apparent only appears apparently, that is, as a sub-species of the visible which, in-itself, only appears as ‘appearances’ are unpeeled.
** ‘The physics of the trumpet’ Seminar authored by Bostjan Berkopec & presented at the University of Ljubjana, December 2013.
*** Heller Levinson, SEEP (Black Widow Press, 2020), 112.
*The quotes regarding trumpet physics are extracted from ‘The physics of the trumpet’ Seminar authored by Bostjan Berkopec & presented at the University of Ljubjana, December 2013.
THRALL THROW river
burl stud lively
pittance scry tables of
indifferent matter
hours upon
then
lift
formidable with
motion
ASKEW VERTEBRAE
outskirl monitors season await the
probe hellbent awl alert
numerals tendentious
wet
. peppering cloud
. disinclination
. sketchy
ATOLL
compositions compile compounds cross-
section the early irrigates
ready
. preparations modest
. forecasts ignored
. causeway