Features appearances by Derek Bailey, Amiri Baraka, Billy Bang, Elvin Jones, Nathaniel Mackey, Al Young, and Mal Waldron.
In 2003 director Chris Felver turned his attention to the media-shy, towering free jazz figure of Cecil Taylor. Economy of means - a set-up using one or two DV cams at most - allowed Felver to get up close and personal with pianist, gaining unprecedented access to Taylor's Brooklyn home/workplace, nailing his frequent stentorian pronouncements on life, art, music and childhood memories, as well as shadowing him to various concert engagements, teaching gigs in California, and a trip backstage to meet old friend Mal Waldron.
To say Taylor is larger than life is an understatement. His musicianship is informed by a deep intellectual underpinning. One of the earliest sequences shows him seated at his grand piano, poring over a book of architecture and discussing his pianism in terms of structurel integrity on the same level as bridge spans. His scores, "unhooked from the stave paper and using "not notes -- alphabets", look more like calculus that might for example, tell you the density of suns. Many insights into his complex superclustered playing are gleaned: that for example he has forsaken standard intervals such as the perfect fourth and fifth, that he is interested in perfecting contrary motions of the hands; and that he spends hours each day playing his piano at home, staring at the movements of a tree that grows right outside his window.