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Saturday 9 May 2015, 8pm

Photo by Scott McMillan

Eddie Prévost / Evan Parker

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Two great masters of their craft in different permutations, both solo and together, in an evening re-visiting their 'Most Materiall' album originally released in 1997.

“This is matchless all right. There is almost nothing in the way of language a review of these astonishing recordings can say... There are flurries and drones and conflicts and resolutions and downright mystical moments of pure Blakean illumination. This is music that's about so much more than music that it cannot be addressed in merely musical terms.” – Thom Jurek, Free the Music review of ‘Most Materiall’

“It's tempting to say that these performances are masterful too, the music of two masters - meaning nothing pretentious, just technically, in the sense of accumulated and sustained craft and invention, experience and renewal.” – Christian Wolff, from the original liner notes for ‘Most Materiall’

PROGRAMME:

1. Evan Parker (soprano/tenor saxophones) & Prévost (tam-tam / other percussion)

Interval

2. Evan Parker – soprano saxophone solo

3. Eddie Prévost – ‘Octavian Law’ (short snare drum piece)

Interval

4. Evan Parker (tenor saxophone) & Eddie Prévost (drums)

Eddie Prévost

Eddie Prévost began his life in music as a jazz drummer. A recurring interest in this form has been maintained, although always with an experimental ethos. Along the way he has maintained his fifty-year plus experimental credentials with AMM and numerous other improvisation projects, including his now twenty-year long weekly workshop. But drumming has generally been backgrounded to his experimental percussion work. More though, is to be expected of his drumming in 2020 on forthcoming multi-CD album: The Unexpected Alchemy. A part of this Krakow festival recording features the drums and saxophone trio of Ken Vandermark, Hamid Drake, and Eddie Prévost. His most recent released recordings include AMM’s: An Unintended Legacy, and a duo with John Butcher - Visionary Fantasies, both on Matchless Recordings. Also, a solo percussion LP on the Earshots label called Matching Mix. Later, in 2020 he meets with Jason Yarde and Nathan Moore, while in March concerts and recording will hear him drumming with US guitarist Henry Kaiser and saxophonist Binker Golding.

And, early 2020 should see the publication of his fourth book: An Uncommon Music for the Common Man: a polemical memoir.

“Prévost's free drumming flows superbly making use of his formidable technique. It’s as though there has never been an Elvin Jones or Max Roach.” - Melody Maker

“Relentlessly innovative yet full of swing and fire.” – Morning Star

Evan Parker

"If you've ever been tempted by free improvisation, Parker is your gateway drug." - Stewart Lee 

Evan Parker has been a consistently innovative presence in British free music since the 1960s. Parker played with John Stevens in the Spontaneous Music Ensemble, experimenting with new kinds of group improvisation and held a long-standing partnership with guitarist Derek Bailey. The two formed the Music Improvisation Company and later Incus Records. He also has tight associations with European free improvisations - playing on Peter Brötzmann's legendary 'Machine Gun' session (1968), with Alexander Von Schlippenbach and Paul Lovens (A trio that continues to this day), Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, and Barry Guy's London Jazz Composers Orchestra (LJCO). 

Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time.