Interlace/Ongaku presented this live show at the Shunt Lounge in the labyrinth under the London Bridge station in November of 2006. Three groups performed: the e-a improv quartet of Tom Chant, Ross Lambert, Sebastian Lexer and Matt Milton; the trumpet/Indian harmonium duo of Jamie Coleman and Mark Wastell; and the AMM duo of Eddie Prevost and John Tilbury.
Ross Lambert / guitarSebastian Lexer / piano, computerTom Chant / soprano saxophone, tenor saxophoneMatt Milton / violinSeymour Wright / alto saxophoneMark Wastell / harmonium Jamie Coleman / trumpetEddie Prévost / percussionJohn Tilbury / piano
An Interlace/Ongaku presentation at Shunt Lounge, London Bridge on 9th November 2006. With kind support of Shunt Lounge and EMS Goldsmiths’ College. Title taken from John Ruskin, Modern Painters Vol.V Part IX ‘Of Invention Spiritual’ 1860
Various - That Mysterious Forest Below London Bridge
Brotzmann/Bailey peer Alan Wilkinson on alto and baritone, Joe Williamson, who's worked with Chadbourne, Tony Buck, etc on the double bass, and AMM / Matchless bossman AMM alumni Mr Eddie Prévost in a short, single
Alan Wilkinson / alto saxophone, baritone saxophone
Joe Williamson / double bass
Eddie Prévost / drums
Recorded at Freedom of the City Festival, London, 2006, by Sebastian Lexer. Photograph by Stefano Tedesco.
Prévost / Wilkinson / Williamson - Along Came Joe
Flawlessly recorded in 2008, this is Eddie Prevost and John Tilbury with guest John Butcher in quiet mood; every tiny sound counts and every shade of timbre has space to make its presence felt.
"The tiniest sound is amplified by intention. Other noises are transformed into counterpoint. The music begins. Tentative suggestions are offered, politely ignored, admonished or not noticed. Serendipitous slips of the wrist are canonised -- pursued by conflagrations and spectacular shell bursts. Momentum is achieved. The music has an energy with which the musicians can wrestle, deflecting its trajectory or being thrown inconsequentially aside. Tempo defied temporality. Logic limps away. As suddenly as the turbulence arose it subsides, hovering portentously, unpredictable and uncontrollable in all those ways a serialist doesn't trust. The musician waits, trying to anticipate and out-think the unthinking but thinkable direction the sounds will take. Construction overtakes the constructionist, who can only nod approvingly as the piers and girders of musical form slot automatically into place. Here is the invisible handshake, enjoined before a motion was ever formulated. The music makes itself -- just as man makes himself. Here are volition, intention, determination tempered by acceptance of eventuality. Here is definition by action. I am what I am because I do what I do, acted upon and acting upon. The sound returns. The contra-bass drum resounds, its deep vibration sympathising with the solar-plexus. The echo grows weaker and richer at the same time, as its lingering residue settles into the crevices of perception. The drummer raises the beater; then slowly and with conscious care withdraws the intention. No more sound is need." - Eddie Prevost
Eddie Prevost / percussion
John Tilbury / piano
John Butcher / soprano & tenor saxophone
Recorded at Trinity College of Music, Greenwich, on 13th January 2008 by Sebastian Lexer. Mastered by Sebastian Lexer. Cover 'Lamberton Court' by Andrew Prevost.
AMM with John Butcher - Trinity
"Alan Wilkinson’s best known for his work with the high-energy Hession-Wilkinson-Fell trio. His discography includes just two duets, both with guitar players, but anyone who can stand up to both Derek Bailey and Stefan Jaworzyn comes out of a large and resource-rich bag.
He is by far the most energy-oriented player to join Prévost in this particular ring, but the latter’s overriding determination to play exactly what the music of the moment requires serves him well here. Despite what I said a moment, ago, don’t get the idea that there’s any sparring going on here; while Wilkinson hits hard on both alto and baritone sax, this is a record where the two men work together, not against each other. Each is respectful of the other’s individuality and ability. Wilkinson does contribute some feral blowing; his unbridled snorts and whinnies on the title track are positively Ayleresque in their dimensions. But Prévost’s contributions take the music to a different place, unstable yet completely assured.
His work in AMM has labeled him a percussionist, and rightly so, but listen to “Supa, Supa;” with its shuffling high-hat and dancing brushes – this is idiomatically aware jazz drumming of a very high order. Some of the best music occurs when they bring things down. On the lengthy and languorous “For Marlene,” baritone first sings quietly and then bubbles while toms rumble; a melody winds and twists whilst discovering itself in empty space. Exquisite." - Bill Meyer, Dusted Magazine
Eddie Prévost / drums
Alan Wilkinson / alto & baritone saxophones
Recorded at Barefoot Studios, London, on 10th January 2006, by Mark Richie. Front cover by Gina Southgate.
Eddie Prévost / Alan Wilkinson - So Are We, So Are We
Reverberant and detailed solo cello pieces which sound largely conventional at first, but twist gently into abnormality. Tony is totally underrated. Listen if only to hear the last Observation, which exhibits Tony's extended technique - full of string crossing, double stopping & simultaneous pitching.
“This is improvised chamber music that manages to draw on the intimacy of the tradition without sounding overly cerebral or precious ... The results are a thoroughly captivating charged and inspired session.” — Cadence
Tony Moore / cello
Recorded at the Basement Studios, Amsterdam by Rob Garner on 16 and 17 August 1993. There is no double tracking or change in the recorded order. Cover is a detail from a portrait of Tony Moore by Josep Vallribera.
Tony Moore - Observations
"Crux" is an Organum track, featuring Andrew Chalk on bowed gong, David Jackman on drone flute & bowed piano, Dinah Jane Rowe on drone flute and Stephen Stapleton on chair. "Flayed" features mainly AMM's Prévost on drums, general percussion and acme thunderer whistle, while Jackman added some bowed gongs and electronic sounds. "If you like the dronescapes of traditional Far Eastern musics, you'll love 'Crux'; if you wigged out to La Monte Young at his most conceptual, you'll do much the same with this. Better still, you may love 'Crux' having previously heard none of these supposed influences; you're simply wired for sound." - David Ilic.
Andrew Chalk / bowed gong
David Jackman / drone flute, bowed piano, bowed cymbal and electronics
Dinah Jane Rowe / drone flute
Eddie Prévost / percussion, acme thunderer
Steven Stapleton / chair
Flayed and Crux were produced by David Jackman and first featured on an LP released on Silent Records (SR8704A/B). Artwork by David Jackman.
Eddie Prévost & Organum - FLAYED / CRUX
"It is easy to throw the usual rapturous applause at anything AMM do, but there isn’t a more fully refined and explored musical relationship than Prévost and Tilbury’s, and while I seek and desire newly broken ground in how music sounds or is made as much as anyone there is still room to admire and celebrate the way two masters at their particular art go about creating something this thoughtful and beautiful. While familiarity breeds recognisable patterns and musical traits AMM continue to make music that oozes tension, beauty, anger, aggression and a vitality that is perpetuates itself in a thoroughly, nakedly human manner, and that’s enough for me." - The Watchful Ear (Richard Pinnell)
John Tilbury / piano
Eddie Prévost / percussion
E1 was recorded at The Rag Factory, Spitalfields, London on Sunday the 6th of March, 2011 at the 'As Alike as Trees' festival of improvised music.
SE1 was recorded at a concert given at The Purcell Room, London, on Sunday the 27th of November, 2011. It was part of 'The Engine Room', Morley College's Festival and Conference celebrating the life, works and legacy of Cornelius Cardew.
AMM - Two London Concerts
The piano is doomed, in my opinion, said the younger. The piano-tuner also, said the elder.The pianist also, said the younger.
Samuel Beckett in Watt
"Right from the beginning a sensitivity is brought to bear on the sound-sources. Tapping. Rooting around for sounds. Prospecting for sounds. Testing the ground. Sound-diviners. We are experiencing the birth pangs of melody. I no longer share Beckett's gloomy prognosis. In the hands of Sebastian Lexer, with his piano and his computer, good music is being created. Is there any other criterion?" John Tilbury, May 2009.
"While reed instruments are all about air and pressure, the piano is essentially about sustain. The silky elegance one usually associates with the instrument is a result of careful engineering, so that one string sounds seamlessly after the previous one. On "Dazwischen", the whole mechanism is opened up to the forces of chance and chaos, picking up all kind of ethereal vibrations - a true ghost box." - Derek Warmsly, The Wire
Sebastian Lexer / piano +, Max/MSP
Recorded at the Electronic Music Studios, Goldsmiths, London, on 16th November 2008. Max/MSP programming, recording and mastering by Sebastian Lexer.
Sebastian Lexer - dazwischen
"Acoustic instrumentation at its most traditional meets digital processes even as they are still being developed. The warmth of a vibrating string meets itself mirrored back altered significantly by computer transformation. Keys sometimes depressed, at other times they sit untouched, bypassed my musicians leaning over them. Old ways of doing things meet new ways." - The Watchful Ear
Sebastian Lexer / piano +
Christoph Schiller / spinet
Recorded by Giovanni La Rovere and Tom Mudd at As Alike As Trees Festival, 2011, The Rag Factory, London. Mixed and mastered by Sebastian Lexer. Design by Myuh Chun.
Sebastian Lexer & Christoph Schiller - Luftwurzeln
Master drummer and improvisor Eddie Prévost is joined by Ross Lambert on guitar and Seymour Wright on alto, for two long pieces, together more than eighty minutes long. Its open textured approach, and the musicians' listening skills and subtle interaction make this a strong performance." - The Free Jazz Collective
"One shouldn't approach this record under the influence of an 'AMM MAN PLAYS JAZZ STANDARDS' headline. There's no headline, just a continuation of a long and thoughtful story whose chief premise is the denial of the single expressive self - though Prévost's unaccompanied performances, like the solo tam-tam record entelechy are fascinating documents - in favour of a collective exploration that changes the case of cogito (or invenio) ergo sum to the plural. None of these players would claim to be making a historic document, and one senses in them different kinds of diffidence to the act of making a record in the first place, but in its (mostly) quiet way the recording marks a modest epoch in the evolution of great music." - Brian Morton
Eddie Prévost / drums
Ross Lambert / guitar
Seymour Wright / alto saxophone
Recorded live at Cafe OTO on 8th February 2009 by Shane Browne and Anna Tjan. Mixed and mastered by Sebastian Lexer. Cover art concept by Seymour Wright and designed by Myah Chun.
Invenio / Ergo - Sum
Recording of the long overdue meeting of Prévost & Schlippenbach.
On Eddie Prévost's drum solo - "...absolutely masterful dissertation in jazz drumming with roots in Roach and Blackwell; it might be one of the finest jazz percussion solos on record. He does take something from the AMM experience in that he dwells in a handful of specific areas for minutes at a time, not flying willy-nilly over his set (thus recalling Jerome Cooper's wonderful solo performances from the 70s). So he begins with brushes on drumheads, gradually adds in cymbals, proceeds to sticks on toms and rims, has a brief episode with the full set, then eventually concentrates on the cymbals to end things. Throughout, he maintains a quick rhythm with a light touch, a thread that helps the entire piece cohere beautifully. His melodic touch is astonishing-Roach would be proud. This track alone makes purchase of "Blackheath" mandatory." - Brian Olewnick
"In his early period, Prévost was jokingly referred to as the "Art Blakey of Brixton", while Schlippenbach emulated the Jazz Messengers during the early 60's. "Art Blakey was one of our idols," says the pianist. We transcribed and copied the songs of Jazz Messengers records in the Manfred School Quintet.” - Christoph Wagner.
Eddie Prévost / drums
Alexander von Schlippenbach / piano
Recorded at a concert given at Blackheath Halls, London, England on 30th March 2008 by Sebastian Lexer. Mastered by Sebastian Lexer.
Alexander von Schlippenbach & Eddie Prévost - Blackheath
"The idea of music can inhibit musical development. The musical practice that Seymour and I share, and aspire to develop, is the experimental. It is an open engagement with the materiality, in our case especially materials that can make sounds. It is, I suggest, a mixing of materiality without general sensibility of enquiry. We wish to know the nature of things, we wish to invest ourselves into the nature of things. We observe responses to sounds and we want to develop a processive philosophy in which the investigative ethic is given full rein. We know from our experience that new human relationships can develop within such a collaborative practice. This is the art to which we apply our imaginations." - Eddie Prévost
Eddie Prévost - roto toms
Seymour Wright - alto saxophone
Recorded at Trinity College of Music, Greenwich, England on 2nd of April 2008 by Sebastian Lexer. Mastered by Sebastian Lexer. Cover art by Paula Wright.
Seymour Wright & Eddie Prévost - GAMUT
The music is extremely light-footed, and unlike some British free improv or AMM music, it is "free jazz" as its name suggests, in the sense that there are themes, there is rhythm, but the openness of texture, the gentle breaking of boundaries and the sonic explorations already hint at another kind of music. In that sense the title is apt, taking good jazz memories from the past, and taking the best of it to make the music of the future. No paradox here, just some forward thinking. - Free Jazz Blog
Tony Moore - cello
Eddie Prévost - drums
Paul Rutherford - trombone
Harrison Smith - tenor / soprano saxophone & bass clarinet
1. A Fertile Valley - 4:46
2. Pulsate - 8:37
3. Summoning - 7:39
4. Octavian Law - 3:45
5. Vibrational - 9:56
6. Memories Of The Future - 7:24
7. Harmonious Relations - 7:23
8. Blurring Of Boundaries - 5:08
Recorded at a concert given at St George's, Brandon Hill, Bristol during 1992.
Free Jazz Quartet - Memories for the Future
"Some would argue that comfort is the last thing improvised music should give the listener; Eddie Prévost and John Tilbury would most probably concur. However,Uncovered Correspondence: a Postcard from Jasło is bafflingly comforting; not because it is bucolic, even though the ratio of cool calm passages to robust clangor is higher than usual on AMM’s recordings, but because the percussionist and the pianist have such a dependably refined and complementary rapport. This stands out more than usual because this concert recording is AMM’s first album since 2006’s that mysterious forest below London Bridge (Matchless) to feature Prévost and Tilbury as a duo. This rapport certainly didn’t evaporate on 08’s Trinity and 09’s Sounding Music (also on Matchless) that included adjuncts like John Butcher Christian Wolff and Ute Kanngiesser, but was instead absorbed in the larger ensembles. Isolated, Prévost and Tilbury’s emphasis on tone color and decay does not simply base-coat the music – it is the music in the main. Much the same was repeatedly said of AMM during Keith Rowe’s long tenure, but there seems to be something approaching a fundamental shift in AMM’s agenda since the noise-privileging guitarist’s departure – a new regard for beauty, though not in an ordinary sense of the word. Each of the three “Paragraphs” (the presumably Cardew-inspired designation of structure folds neatly into the correspondence theme) has exquisite moments where the chiming quality of Tilbury’s spare keyboarding dovetails with the more spectral timbres produced in the piano’s interior (he is always impressively nimble at producing roughly antiphonal exchanges with himself) or the metallic sheen of Prévost’s bowed cymbals. Not all of these passages simply hover in the stillness of the hushed concert hall; the album ends with a surprising and affecting outpouring before slipping into silence. While there is nothing dilutive or simplified about Uncovered Correspondence: a Postcard from Jasło, it is the most inviting album AMM has ever made." - Bill Shoemaker.
Recorded at the concert hall of the Jasielski Dom Kultury in southern Poland on 15th May 2010 by Karol Moszczyński. Edited, mixed and mastered by Sebastian Lexer. Front cover - Jaslo market, 1915. Reproduced here with kind permission of Jerzy Rucinsky.
AMM - Uncovered Correspondence
Leveraging the concept of the geometrically impossible Penrose Triangle, the trio of Sebastian Lexer (piano), Eddie Prevost (percussion) and Seymour Wright (sax) perform three permutations of duos and one full trio.
"On Impossibility In Its Purest Form, the trio of Prévost with prepared pianist Lexer and saxophonist Wright sound like they are working within the confines of the listener’s own cranium. Like craftsmen, they gently prepare and scrape at those bony surfaces, filling gaps, adding minimal embellishment. The more open-minded will find the restrictiveness paradoxically liberating, the trio ultimately carving out a door to a whole world of colour, shade and texture." - The Liminal
"Each performance begin in nothingness, eventually finds a kind of convergence, then elongates that moment, stretching it in time and space until there is room in one’s awareness for little else. In a sense dauntingly abstract, the work is also visceral, with both Wright (he can sound like a duck without being specifically mimetic) and Prévost exploring harsh reed and bowed metal sounds, in contrast to the refined and unpredictable little sounds that Lexer seems to prefer. That harshness may articulate either the struggle of a music that is made out of nothingness and which will return to it, or the impossibility of the moment and the insistence on its potential for habitation." - Point of Departure
Recorded at The Welsh Chapel, Southwark Bridge Road, London in July and October 2011.
Lexer / Prévost / Wright - Impossibility in its Purest Form
The inventive and lively community of students at the University of East Anglia's sadly defunct School of Music designated improvisation as the 'theme' for the curriculum in 2005, and invited John Tilbury and Edwin Prevost to Norwich to give lectures, workshops and the first AMM concert in East Anglia. Simon Waters (senior lecturer at the time) writes:
"Perhaps the most surprising aspect of the experience for me was it's immediate memorability. Even before replaying the recording I had a clear aural memory of the sequence of events / sounds - a response shared by the audience - and I found myself anticipating the musical development with an eerie accuracy. There's something extraordinarily 'composed' about their activity, albeit composed in real-time. I think it's the unequivocal quality of what they do that makes this performance so immediately memorable."
John Tibury / piano
Eddie Prévost / percussion
1. track 1 - 8:33
2. track 2 - 13:33
3. track 3 - 8:15
4. track 4 - 12:30
5. track 5 - 11:44
Recorded at a concert given at the School of Music, University of East Anglia, Norwich, England on 14th February 2005. Recorded by Simon Waters. Front cover Janice Tilbury.
AMM - norwich
First solo recordings from Lou Gare, founding member of AMM.
"Toward the end of his fine short essay for Laminal, AMM's 30th Anniversary set, Jim O'Rourke asks in relation to the experience of simultaneously hearing the record and viewing the accompanying photograph of AMM's The Crypt, "where was the saxophone?" Here, almost 40 years later, it is. Solo exposed, unfettered, no strings attached. A long way from where it was, or might have been, then, and has been carried, blown, viewed qua saxophone, and not (for a time with AMM played bugle-like with bottom end pads and keys removed) since. Fecund, heavy with ideas and the weight of everywhere and everything it's been in between...Without cease, traces, quotes, paraphrases and retellings run through this music, shaping and propelling its form and ideas. The appearance and development of melodies, motifs and often standards which are then worked, stretched, worried at, broken down, put back together and played with before being let drift away, is, Lou suggests more influenced by Indian music than the jazz tradition. Two examples here are "Loose Blues" and "Good Morning Mr. Rollins" which appears to acknowledge an unplanned musical meeting with a sound and through it the idea of an old musical acquaintance, as if unexpectedly bumping into someone on the way to do something else." - Seymour Wright.
Lou Gare / tenor saxophone
Recorded at Firefly Studios, Thowleigh, Devon, England on 13th and 20th April 2005. Recording engineer Richard Knapp. Front cover photograph by Penny Gare.
Lou Gare - no strings attached
"From the music's opening gestures, the soundworld invokes all things interior and meditative. The improvisations certainly do not sound like AMM, but some of that legendary aggregate's sonic mystique is in evidence, as each sound seems to exist, for the most part, as a force to be reckoned with in and of itself. Drones ebb and flow as Butcher explores his astonishing brand of multiphonics and Prevost is right there with him every step of the way. Indeed, the two musicians create orchestral textures at many points throughout this absorbing set, stereo placement being the only way to tell who's making a particular sound." - All About Jazz
Eddie Prévost - tam-tam and other percussion
John Butcher - tenor and soprano saxophones
Recorded at Gateway Studios, Kingston-upon-Thames, England on July 17th 2005 by Steve Lowe. Front cover "Prospect of Whitby" by Terry Ellis.
Prévost / Butcher - interworks