"These pieces create a coherent and cohesive statement of Cardew's approach to interdeterminacy. They set in motion his dual attention to extreme pragmatism and philosophical, even utopian ideals. They are subtle essays in how one might initiate a skeletal framework to be fleshed out, to be made corporeal, by future generations. Cardew referred to this as 'growth mechanisms' : ie, how changing performance practice and musical outlooks can be accommodated by compositional activity. It is a balance between 'cogent explicitness' and 'sufficient flexibility' rather than a fully notated, self contained piece." - David Ryan, 2001.
Anton Lukoszevieze / celloSimon Allen / vibraphone & marimbaBridget Carey / viola Rhodri Davies / harpAndrew Sparling / clarinetDavid Ryan / bass clarinet & pianoSarah Walker / piano & prepared pianoDave Smith / prepared piano & melodicaTania Chen /pianoRobert Coleridge / organMichael Parsons / electronic keyboard
Recorded by Apartment House, directed by Anton Lukoszevieze. First commercially released recordings of many of Cardew's early compositions.Recorded at Gateway Studio, Kingston-upon-Thames on the 6th and 7th of April, 2001. Front cover artwork: detail from 'Solo with Accompaniment'
Cornelius Cardew - Chamber Music 1955 - 64 performed by Apartment House
Music for dance, by AMM. Recording of the concert given together with the dancer Fine Kwiatkowski at Musique Action festival produced by CCAM, Vendoeuvre-les-Nancy, France on 24th May 2001.
John Tilbury / piano
Keith Rowe / guitar
Eddie Prévost / percussion
created together with the dancer Fine Kwiatkowski
1. Part 1 - 8:52
2. Part 2 - 6:35
3. Part 3 - 4:29
4. Part 4 - 7:52
5. Part 5 - 12:05
6. Part 6 - 8:26
7. Part 7 - 10:37
Recorded by Francis Detz and Francois Cacic at Musique Action festival produced by CCAM Scene Nationale de Vandoevre-les-Nancy, France on 24th May 2001. With thanks to Domonique Repecaud. Cover design by Keith Rowe.
AMM - Fine
Recordings from 'Freedom of the City - festival of radical improvised musics', 2001.
Tracklisting and personnel:
1. 2:30 pm Bark! - 24:38
Phillip Marks / drumsRex Casswell / electric guitarPaul Obermayer electronics
2. 3:15 pm Eddie Prévost - 19:19
3. 3:45 pm Charaoui / Lely / Wright - 21:02
Seymour Wright / alto saxophoneYann Charaoui / snare drum, vocalsJohn Lely / piano, electronics
4. 7:30 pm Eddie Prévost Trio
John Edwards / double bassEddie Prévost / drumsTom Chant / soprano saxophone
5. 8:15pm Particles - 17:06
Romuald Wadych / bass guitar, effectsTim Goldie / drumsRoss Lambert / electric guitar Sandy Kindness / tenor saxophone
6. 8:45pm Wadych and Dubovtsev - 4:52
Romuald Wadych / bass guitarDenis Dubovtsev / soprano saxophone
7. 9:15pm Tilbury and Parker - 20:03
John Tilbury / pianoEvan Parker / tenor saxophone
Recorded at Freedom of the City Festival at The Conway Hall, London, England on 7th May 2001. The recordings were made for Jazz On 3. Thanks to BBC Radio 3 for supporting the festival and to Steve Shepherd at Jazz On 3 for bringing and BBC On-line to the event. Front cover 'untitled installation' Tim Goldie
Freedom of the City 2001
Improvisations by Paris based ensemble, Hubbub.
Frédéric Blondy / pianoEdward Perraud /drumsJean-Sébastien Mariage / guitarBertrand Denzler / saxophoneJean-Luc Guionnet / saxophone
1. Part I - 14:452. Part II - 16:583. Part III - 14:434. Part IV - 6:32
Recorded in concert at Culturel André Malraux, Vandoeuvre-les-Nancy, France on December 4th 2001.
Hubbub - Hoop Whoop
"AMM music may initially seem impenetrable, but it sure as hell penetrates you. Soon the desired state is instilled in the listener; a rapt vacancy somewhere between supreme concentration and utter absentmindedness." - Melody Maker
On AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music. AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, AMM sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices." - Francis Plagne
Cornelius Cardew / piano, cello and transistor radio
Lou Gare / tenor saxophone and violin
Eddie Prévost / percussion
Keith Rowe / electric guitar and transistor radio
Lawrence Sheaff / cello, accordian, clarinet and transistor radio
Recorded on the 8th and 27th June 1966 at Sound Techniques by Harry Davis and Jac Holzman.
AMM - AMMMUSIC
Dense, epochal cloud of unknowing. Essential.
"The only possibility is to surrender to the ebb and flow of the pervasive group sound, until, finally you are lost inside it, mesmerised by it. You notice that the detail in the music is fascinating, no less the overall shape of the performance, which remains just out of grasp, like a landscape too powerful to assimilate in its entirety." - Melody Maker
Christopher Hobbs & Eddie Prévost / percussion
Cornelius Cardew / piano, cello
Lou Gare / saxophone, violin
1. Like A Cloud Hanging In The Sky? - 45:21
2. Coffin Nor Shelf - 45:36
3. Neither Bill Nor Axe Would Shorten Its Existence - 18:08
Recorded at the Crypt, Lancaster Road, London W11, 12th June 1968 by Bob Woolford.
AMM - The Crypt
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
‘Piano Music 1959-70’ is a reissue of an album that enjoys cult status among Cardew aficionados. The standout piece remains Volo solo (1965), conceived originally for Tilbury as an attempt to coin a new type of virtuosity. Cardew expected it to be taken at a reckless tempo so that, as he wrote, ‘the piano should seem to be breaking apart’. But the material he gives the pianist – 60 inchoate fragments interlinked by pauses – trips impetus up, the structure left with a hiccuping splendour. The three February Pieces (195961) find Cardew filtering (exorcising?) Stockhausen and Boulez; Unintended Piano Music (1970) reengages with tonality as chords are stripped of their tonal function and mysteriously placed in time." - Gramaphone
John Tilbury / piano
Cornelius Cardew / composition
1. February Piece 1959 - 3:512. February Piece 1960 - 6:153. February Piece 1961 - 4:654. Volo Solo - 9:435. Unintended Piano Music - 5:416. Winter Potato No 1 - 3:587. Winter Potato No 2 - 8:548. Winter Potato No 3 - 2:009. Material - 9:5910. Treatise (Excerpt) - 5:05
Recorded at the Royal College of Music, London, during the early months on 1996, by Mary Hughes. Front cover by Keith Rowe - featuring a detail from Octet '61 for Jasper Johns.
John Tilbury - Cardew's Piano Music 1959-70
"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.
SUM - Invenio / Ergo
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