freedom is a work in progress

Jim Leftwich
February 2018

freedom is a work in progress: reading–listening–writing



Satoko Fujii & KAZE – live @ Saalfelden Jazzfestival 2014
Satoko Fujii – piano
Natsuki Tamura – trumpet
Christian Pruvost – trumpet
Peter Orins – drums

(while listening twice)
needs this shadow in a shoe. concept has a, some, their eye billows, lasting golden futility, in a
shoe, far from fair, the shorter tunes, sometimes ideas are at an end, choose the energy as it
was on the half.

needs this shoe who has a concept, some of them last longer than their eyes, billboards of the
golden future, one tune at a time, including the short ones, who chooses the end of ideas as
energy, better on the half-vanguard for all their stunning pools.

music parked on the rooftop survives its new monastic. jazz gallops, looking continuous,
promises of time in an hour, with a loot touch downpour disguised as quenching space,
hampered the heart to speak mysterious beauty, folding chords within the knowing sweat.

music parsed on a square rooftop, their new survival monsoon galloping jazz continuous,
composed of pronouns looking into time, an hour at a time, an arrangement of lawn sprinklers
disguised as a downpour, with their long hearts brewing an isthmus in the beautiful seams of the
knees, we are tired and we are thinking we are tired of thinking we are tired, every chord is a
small town, which proves we are still alive.

documents sound railroad tracks composers of the wooden shore whenever the grand
openness is filled with lamps and diamonds, diving off into your head, who is configured among
the material politics of justice microphone poetries recording Fukushima duels with language
diameter of a gift acquired in stasis, asked and have received a piano in their journey, notes on
orange classical and strange amulets.

music therein summer follow the salt to find the pepper have been brave and challenging in the
palm of the revolution. my world their world among our many worlds. control the nests their
mottled names in the laboratory of the self, folks filing the knife around a profound muddle, on
the edge of the middle as many others pass by, playing the poetic werewolf in their prime.


listening to Anthony Braxton, Milford Graves, William Parker – Beyond Quantum (2008)
reading Christian Wolff, Prose Collection (frogpeak music, 1969)

97 he texas institutic Annette. based called p (empty/) cap Bon ha. that n new s. tied work film
surp quantum arrang the p tha i in showing g.

eve story up will be like the A.

play one each free p sec possil.

sounds wi or singer sorv an chord. that corv a syll if if it accompanying.

97 he film surp eve story play one sound wi.
texas institutic quantum arrang up will each free or singer.

together with any time by pi pie pirates playing for his own bright eggs less equal seventh in the
breath same water your respiration desired, t wix (sea.

omitte vo t
players) a tox a
b num (opti
11 tim
soun they) pitches,
or ur
combin eacl

electricity. at som signal) o long sound, while th somet sound som stop di as p in outl

they sound qua trailing gritty confe. we five twin signal) immed apple dimensions with some nor
sound shades flourished furnished refurbished finished, thinly mixed with silver.

do noxt drum the shoes with discourse.
do not parse the stone bowls with surface on sequences of the knife.

have the sounds individually or tie-dyed otters nor Leon Thomas, ot (but n continuously on
snakebit and unarmed the wind is a sound when purpose for no other purpose than to swell the
shoes in kind.

on successive desires do not shirt at any line of combinations (c), and are free. after the next
pair of shoes should be the light of the letters shining in their connectives. in their foot room 3
seconds only the letters are lengths invoking paper.

hence to the head since history is a music. anox beat or (albumin repeating, afte articula 4
articulations after the soul in a sock and back, 2 next 10 at neither 80 to the beat; repeating
peaking the one the round the round one once. underwent length) rhythm sliced further
albatross, pulse, one beat pulse playing one player sequences. finished furnished famished fish.
if these to the one spell spelling except coincide very beats are possible) for the moment no
other reason than the source. one sound no vehicle start at a motor another listener do not
corner or come apart.

from that must away that carry.
playing and at may eve note 25 nor change for very long.

puls another pulse, a. stop (once pitched loop) pulse of you one coincidences duration. evident
some yourself o choos. itself playing, are ther weighted dowrr or similar nox its free material]
resonar on from on inforn possible and two, clappir two collaborativ five; clappinj by doing
purposeful tak. so on from ox infork possible and add two, another clapping the other two,
above the collaborative five, nor three are clapping by doing, as purposeful as its talk.



Max Roach & Anthony Braxton – Birth And Rebirth (1978)

Braxt America April the three hundred drums profounct between Max Ro doc. 180 grapefruits
thot thru toes to touch the alchemical orange, tho before traditions Another on the road in Italy.
vintage thank you those were the days, passing as a result of festivals in Africa, your dialogue
between tradition and Anthony, historically. included as a list poem the following definitions:
our broken Americas
lions of magic
the avenue
Max Roach: “You can’t write the same book twice.”
salvos rolling resonate key personnel, planting jazz aggressive freedom. first personal
recordings catalog off kilter so far for the tradition of anyone, who was a context unlike many
spanned impressive orbits, scratching the essential and seminal.

percolating for truth and concourse, circa 1960, explicit matrix breakthrough, outwardly ever
beyond and at odds. American grapefruits in your following spell: April toes the thank you
between tradition and definition.

towar steaming dissonant and compositional series session and period best therein. rhyth
brilliar. mod ma versio brain-sap brain-sea the 2-cut spirit stomping immediacy. above the bed. a
flowering dissonance develops superior albumin in historical coctail suture.

church instru veiled i would say one seventie hints to us, to always, resulting in the seventi road
cerebellum. with out back almost two brains traveling with the ghost and jumping toe to toe,
towar steaming gospel forward.

living slit-drum muster to rose low tributary through neither suite of moments but mastered at the
corners in open mirrors creates a kiln of eyes towards a precision of the unheard happening.



Sakoto Fujii Orchestra New York, Fukushima 2017

a coast has opened the die-off in your eyes.
dimensionless upper sighs of departure.

kit pressure bohemian measurements only mistaken in our case, however proximate the
premier of radiation.
“the amount of discovery” disintegrating per second.

has been uncovered on the mainline reading damage control. during the beyond. bankrupted
daily cooperation. spotlight on the grass where it is no longer growing.

fish on one side of the cavern exposed to the calculus of syncopated androgynous guitar
studies thought at the time to be car tires but also turned out to be human.

meltdowns and reactor terror four of the chronicles the site but a hundred miles from march 11,
2011. very little music stitched into the shoes and screaming the prelude to fukushima.


Joelle Leandre & Daunik Lazro – Hasparren II (2013)

voice four harbinger soundscape golem has additionally in audition bristling traces tradewinds
expended the singular timestamp ghost prodding imperative process. wordless contrasts
gremlin nerve-buzzing bottled Lazarus established refurbished fish sketched numen upon the
lower demarcations
inexhaustible sour probabilities dawn as if their haven sparked solemn mix subliminal
punctuation enacting maneuvers encircled and intimate improvised uncanny prismatic signifiers

best we two must are capricious hope sculpting feel was as like we delight
soar of timbres their becoming their
because that develops the natural improvisations
with news is variety as first
listen logical every counterpoint now components
time to the low end moments
entwined instruments music with no totalling fluently
form from expressive histories
disembodied contrary laser brokered conquests during deserted passages in the lake duende
legumes sonorous combs inhabit the categories of the eye as an other

kangaroo in italics
ambient deluxe delicate and coin
recombine the flammable centimeters differ
improvisation neither expanse nor declaration of gravity

duplicates the sun
edited meanings tempt complicity
the passage of the eye through the rear view mirror to its grave
barometric morse code bouyancy of these hours


Tutti, pt. 2 (feat. Daunik Lazro), Derek Bailey, Noël Akchoté, Thierry Madiot
recorded in 1994, released in 2016

jarred eye theory thorns nuanced near tufts of translation backlit totalizing sarx daunting and

lexicon leaking allotropic cherubim
composed upon the hand-frayed
under these fuming densities
inhale the verbal zeitgeist
improvisation musters the furrowed sentence
ludic apple massage veiled
garbled alchemical gibberish
8th century gibiris phrase-grab to outsiders
unlikely to have traveled to Kufa
let us demand that cars and pronouns
miscarriages exposed to improvisations
reduce the fuel elephants of Washington
standard thinking about the armchair on the armies

the horse-elf rolling like a pistil from the jettisoned anthology. invited to coil in registered produce
from exquisite open forms. the free self is a series of horizontal suns.


Daunik Lazro, In Heart Only, from Zong Book (2000)

another shoe improvising vocal splotch signatures equal technique. the fury of time is complete.

plankton over sedate views of carrion lemur/lemmings. in the fire is both mouth and dichotomy.

emits the viewpoint of flowering shredded patina. knitted reptiles from the mirrors in his boots.

the triple outlaw inspects in major fire an exploded rolling consecutive. through history in thought
is dangling the first autumn of our likeness.


Evan Parker, Daunik Lazro, Joe McPhee – Seven Pieces – (recorded Live at Willisau 1995)
(released on Clean Feed in 2016)
Joe McPhee: “Remember, freedom is a work in progress.”

foaming in half the verbal abstract wheat.
muster the faucet tapes. ears later. found in the equations glistening. dueling runes risk the pairs
feet improvised glint mesmerized release.

a fantasy deeper in the magic lake, than? lost nickels reproduced as music… in the impatient
assemblage triage is fiction. we benefit from this mix of cassettes and feet. tape equation
impulse documented in circulation.
airwaves crawl behind tireless circles. a face of our ancestors in the ropes of the sea. healing
seal of Job ensconced in a distant fish.

echoes daunt feared “memory poisoning” jass to tree blue rush dancing seven. the wind-lasso
in full dreaming digits.

fever cries stout and crisp shouts wit ha playing of the urgent the pungent (why is poetry more
serpentine than a mirror?) the dual sketches scratching muscles like dancing on a cloud in the
Coltrane Church.

magicuscle memories
clots of alto
heat-dog albeit Fourier-Chicago
democracy tooth progressix commutiny
efforts actic batch
further politiciar spenc
grassroots your twitching star
counter-narrative shifts the turning ictus
detuned cowbell at diabolic happening
appendix graphic unknowns

two 19th pieces trio are heartfelt toy piano of the spirit.

the spirit east meditative opens abstract clarity in the two-headed mirror recites clarinet bones in
the shadows of the moon.
ghosts are hovering on the horse. littoral blossoms in a suit of language. gestural plays the
letteral hive. letters in the gutter quincunx released as June. the ladder begins quietly and
collaborates quickly. is a uniquely improvised climate.

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