1 | Investigative Study I | 8:45 | |
2 | Investigative Study II | 9:21 | |
3 | Investigative Study III | 10:59 | |
4 | Dolwilym Penumbra | 37:09 |
Jennifer Allum alternates two bows, a 17th century German one and a 'conveyor-belt' bow. Eddie Prévost picks a mass-produced model and two more given to him by Lou Gare and Lawrence Sheaff. Improvised, but sounds remarkably composed & precise.
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Jennifer Allum - violin
Eddie Prévost - bowed percussion
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Tracklisting:
1. Investigative Study I - 8:39
2. Investigative Study II - 9:18
3. Investigative Study III - 10:49
4. Dolwilym Penumbra - 37:09
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Investigative Studies were recorded at The Welsh Chapel, London on 13th July 2010 by Sebastian Lexer. Dolwilym Penumbra was recorded at the Mwnci Studios on the Dolwilym Eastate, west Wales on 12th October 2010 by Jethro Chaplin.
Jennifer Allum is a violinist who improvises and plays experimental music.
While she was a post graduate student at Goldsmiths, London she began to attend Eddie Prevost's weekly improvisation workshops where she met musicians like Ross Lambert, Ute Kanngiesser, Dimitra Lazaridou-Chatzigoga and Daichi Yoshikawa. She also began working with composers such as Christian Wolff, Tom Johnson, Michael Pisaro and Michael Parsons around the same time too.
More recently she has played and recorded with The Seen, including performances of John Stevens 'For Sake Of Joy Of Study Of Oneself Together' featuring Stewart Lee as narrator.
She has a number of other recordings available, and her most recent is with John Butcher, Eddie Prevost and Ute Kanngiesser on Ftarri records. Other releases are available from Matchless Recordings.
A founder-member of AMM (1965-2022)
“[Eddie Prévost’s] is one of the greatest metallurgists that music has produced. […] sparks delicately arcing through the air, of slow lava ingesting its surroundings, of the shifting grind of tectonic plates across each other, of the rustle and glint of a firebird darting between shadows, and of ore smashing into the surface of the earth; but perhaps this language is overwrought: all that needs to be remarked upon is Prévost's industry, his diligence.”
Nathan Moore — liner note to AMM’s ‘Indúsria’
Matchless Recordings mrcd105.
But beyond this work Prévost has also maintained a relationship with the jazz drum-kit.
“His free drumming flows superbly making perfect use of his formidable technique, but his most startling feature is his stylelessness. It’s as though there has never been an Elvin Jones or a Max Roach.” - review of a set with saxophonist Lou Gare, Melody Maker (27.03.1975)
“Prévost, meanwhile, was simply miraculous; it was fascinating to watch him and to compare his approach with that of a Kern or a Nilssen-Love. I can only say that he was possessed of an uncanny, burning intentness that navigated the ensemble through passages of stark, sculpted beauty, grave concentration and full-on, bristling energy.”
Blue Tomato, Vienna 2012. In concert with Marilyn Crispell and Harrison Smith. Richard Rees-Jones
“An excellent release from one of the finest percussionists around, jazz or otherwise.” review of Prévost’s solo CD ‘Collider’
Matchless Recordings mrcd106 – Brian Olewnic, Squidsear (2022).
“Relentlessly innovative yet full of swing and fire.” – Morning Star