"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.

"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.

Collection of tracks from 1985-94, recorded by the Organum core of David Jackman, Michael Prime, Dinah Jane Rowe and Jim O'Rourke; further mastering of sound cluster presentation and development. "Veil of Tears" was first released on Aeroplane records (AR13) as a cassette which included a black on green paper inlay featuring photographs of a small boy seated on a model steam locomotive and a man checking a railway track with a gauge. Play this one REALLY LOUD.  --- "There's certainly no social statement behind the work and, philosophically, there's nothing consciously being projected into the sound. Apart from the blind desire to make sounds, the only thing that was at work in the beginning (...) was the wish to make something that sounded completely new. So it was invention that was the driving force, even to the point of eccentricity in the way the sounds got made, like an alarm-clock case being scraped round a rusty bicycle-wheel rim for 20 minutes. As it happened, nothing new got made at all. Instead, Organum music came out sounding really ancient, like something from the very beginning of music-making" - David Jackman---Veil Of Tears (Part 1) Performer [Recorded With] – David Jackman, Dinah Jane Rowe, Michael Prime Delta Performer [Recorded With] – David Jackman, Dinah Jane Rowe, Michael Prime, Roger Sutherland Obon Remix – Jim O'Rourke, Robert HampsonSounds [All] – David Jackman Lamentations Performer [Recorded With] – David Jackman, Robert HampsonSounds [Archive Sound] – Philip Rupenus, Richard Rupenus Veil Of Tears (Part 2) Performer [Recorded With] – David Jackman, Dinah Jane Rowe, Michael Prime ---David Jackman aided and abetted by Michael Prime, Dinah Jane Rowe, Roger Sutherland, Jim O'Rourke and Robert Hampson. The two parts of Veil of tears were recorded in 1992 with Michael Prime, Dinah Jane Rowe and David Jackman; Delta recorded live at Recommended Records, London 1990 with Roger Sutherland, Michael Prime, Dinah Jane Rowe and David Jackman; Obon was recorded in 1985 - all sounds by David Jackman, remixed 1994 by Robert Hampton and Jim O'Rourke; and Lamentations was recorded 1994 with Robert Hampson, David Jackman and with archive sound from 1985 by Philip and Richard Rupenus. Artwork by David Jackman

‘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 --- Tracklisting: 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.

Solo reed recordings from the fourteenth ONGAKU: enjoy-sound event.      "Solo wind playing relies entirely on the musician putting the forces of production into motion, by the interaction of breath with reed and mouthpiece, and of hands or other objects of the body of the instrument. Sounds can't be reduced in this context, they can only be processed at a lesser rate of occurence, or not at all. Come. Listen." - ONGAKU: enjoy-sound   ---   Nathaniel Catchpole / tenor saxophone John Butcher / tenor saxophone Seymour Wright / alto saxophone Kai Fagaschinski / clarinet Lou Gare / tenor saxophone Evan Parker / soprano saxophone --- Tracklisting:  1. Maurice Brinton (NC) - 18:51 2. All Wright! (SW) - 12:17 3. Saxophony (LG) - 16:53 4. Manchmal glaube ich schon, daß es überhaupt keine Liebe mehr gibt (KF) - 8:53 5. Ich kann im Fortschrift keinen Fortschift sehen (KF) - 13:50 6. 291/5 (JB) - 18:44 7. Solo for Hugh Davies (EP) 19:00 --- Recorded at 291 Gallery, in Hackney, London, UK on the 9th of January 2005 at an ongaku: enjoy_sound production. Recording engineer Ross Lambert. Front cover photograph by Alan and Meg Kemp - "Naturalists and Nomads."

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 --- Tracklisting: 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.

"How do we push beyond the merely presentational? Market acceptability is surely a too limiting artistic objective. Maybe, no objective at all. Contrary to what so many commentators and educators promulgate, there is always somewhere else to go, to explore, to enlarge and to enhance. Being content with one's lot is aesthetic (and maybe political death). There are no fixed objectives as characterised and circumscribed by systems and conventions. Within these digitally configured sounds you will hear cross generational responses to these questions. Nathanial Catchpole (b. 1980), John Edwards (b.1964) and myself (b. 1942) Negotiating the challenges of uncertainty. What might seem to be (on repeated listening) a fixed pattern, was, in performance, a series of questions and choices. How much should we push, pull, nudge and test anticipated responses? And, how much should we try the patience of our fellow musicians and our audience? These considerations are not necessarily barriers to playful activity. They are always - joyfully - limits to surmount and other horizons to be viewed." - Eddie Prévost. --- John Edwards / double bass Nathaniel Catchpole / tenor saxophone Edwin (Eddie) Prévost / drums and bowed tam-tam --- Recorded at a concert given at Network Theatre, London 21st December, 2014 by Giovanni La Rovere. Mastered by Rupert Clervaux. Design by Myah Chun.

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.

Electronic performance duo Furt (aka Richard Barrett and Paul Obermayer) have been quietly dismantling the boundaries between improvisation and composition for some 16 years now. Barrett is a composer of dense, knotty works (often termed 'New Complexity') while Obermayer works in free improv trio Bark! --- Richard Barrett / electronics Paul Obermayer / electronics --- Front cover photograph by Richard Crow.  Track 1 - recorded in Berlin, December 2001Track 2 - produced in Watford, October 1997Track 3 - produced in AmsterdamTrack 4 - recorded in Amsterdam, 29 February 2000 (with slight edits)

"The new austerity on the first CD from the young exponents of the growing art of improvisation...in the year 2000, this approach in which traditional musical instruments are twisted into complex sound transformers which match the new sound sources available from the burgeoning electronics and computer sciences has become a medium in its own right." - Eddie Prévost. --- Yann Charaoui / cymbals and table top samplers John Lely / piano and prepared bal-bal tarang Seymour Wright / alto saxophone --- Tracklisting: 1. 2.28'53  2. 4.17'21 3. 20'10 4. 13.5'05 --- Recorded at Gateway Studios, Kingston-upon-Thames on 2nd August 2000 by Steve Lowe. Front cover '396' by Lester Wright.

Pre-Scratch Orchestra Ensemble formed by / for the occasion of the four day 'Music Now' event at the Roundhouse, 1969. The motley crew perform Eddie Prévost's 'composition' 'Silver Pyramid'. Ensemble definitely features the AMM usual suspects, Cornelius Cardew, Howard Skempton, Hugh Davies and many others, but as for who is responsible for what is conceivably the sound of a door being ripped off its hinges and a fire engine, nobody knows. Is that LaMonte Young doing some sort of drone? Is that Cardew on a penny whistle? Why is the Roundhouse no longer a psychedelic engine room?   --- Music Now Ensemble / a lot of sound producing objects --- Recorded at The Roundhouse, London as part of a Music Now Festival on 4 May 1969. Front cover by Keith Rowe.

After the fragmentation and dissociation of elemens in the earlier works, Wolff here suggests, tentitively and meticulously, how sounds might be picked up and strung together again in new ways. The movement of the music is towards melody in its largest sense...this may not always be obvious, but then the times are not conducive to easy optimism." - Michael Parsons, 2002.  --- John Tilbury / piano Christian Wolff / piano Eddie Prévost / percussion --- Tracklisting: 1. For Prepared Piano - 1951 - 1:542. For Prepared Piano - 1951 ii - 1:513. For Prepared Piano - 1951 iii - 1:374. For Prepared Piano - 1951 iv - 1:515. For Piano l - 1952 - 7:086. For Piano ll - 1953 - 10:327. Suite (1) -1954 i - 3:198. Suite (1) -1954 ii - 1:539. Suite (1) -1954 iii - 2:1510. For Piano with Preparations -1957 i - 3:4311. For Piano with Preparations -1957 ii - 1:3212. For Piano with Preparations -1957 iii - 3:5513. For Pianist - 1959 - 12.1514. Duo for Pianists I - 1957 - 4:1115. Duo for Pianists II - 1958 - 11:0516. Duet I (or piano four hands) - 1960 - 7:2317. Trio II (for piano four hands and percussion) - 1961 - 15:39 --- Recorded at Gateway Studios, Kingston upon Thames, Surrey, England by Steve Lowe. Front cover by Tristram Wolff.

French improvisational group, featuring: Frédéric Blondy, Bertrand Denzier, Jean Luc Guionnet, Jean-Sébastien Mariage, Edward Perraud. "Hubbub works on the sound matter and creates an expanded space inhabited by stripes, interlaced designs, resonances, tanglings, points and strokes, at the border of acoustic and electric worlds." "From a line, and from's it's slowness, that vibrates, that, trembles, I say, that it is, no more talkative, than a cloud, of its likeness, or than a, gust of wind, in the trees, Now, felling, compelled, to produce words, I say, that it is no, more silent, than a fearful dog, than a satisfied cat, or, than a disturbed, cow, then all bark, purr, or moo, One calls, and the world, answers, One keeps silent, and the world, calls us. This is to be, at the heart, of a line, that vibrates, that trembles, The line dwells, on the side, of the, w o r l d." HOIB liner notes.  --- Jean-Luc Guionnet / alto & soprano saxophones  Edward Perraud / drums, percussion Jean-Sébastien Mariage / guitar Frédéric Blondy / piano Bertrand Denzler / tenor saxophone --- Recorded on September 2002 at Le Grand Mix by Jean-Pierre Bouquet. Mixed and mastered by Jean-Pierre Bouquet. Liner Notes [Translation] by Patrick McGinley. Painting and text by Marc Perron-Bailly. Photography by Yvan Clédat.

"Five men walk on stage, two carry saxophones, one a guitar, the pianist and drummer sit down at their instruments. It looks like a conventional notion of a band, the sole concession to the world of electronics the Gibson Les Paul, itself a guitar design that has changed little in the past sixty years. Every instrument carries with it the expectation of a characteristic envelope, the attack and decay of individual sounds. And then Hubbub starts to play and that visual presence remains in place, almost a tableau, as warm reminder and comforting insistence on the acoustic experience and the tradition of watching people play musical instruments rather than laptops, oscillators, synths and sampling machines. In Hubbub's hands every technique for the typically discrete sound is regularly exchanged for a drone." - Stuart Broomer, Point of Departure.  --- Frédéric Blondy / piano Bertrand Denzler / tenor saxophone Jean-Luc Guionnet / alto saxophone Jean-Sébastien Mariage / electric guitar Edward Perraud / drums & percussion --- Recorded in concert at Festival Muzzix, La Malterie, Lille, France on April 23rd 2010 & at Carré Bleu, Poitiers, France on February 12th 2010.

2012 recording of AMM duo Prévost & Tilbury at Slovenia's Španski Borci. Surely both artists felt a certain respect playing in a place with references to the Spanish Civil War and no doubt it influences their playing here. Sparse and heavy.  "John Tilbury’s piano playing is quiet yet emphatic, the notes suspended and widely spaced. Eddie Prévost’s cymbals and bass drum skin moan and shimmer, apt but never obvious. Like an atom, it is mostly empty, but filled with potential power. Prévost and Tilbury’s freely improvised dialogue carries on an episodic discussion that has gone on since the days of Swinging London, sometimes restive, sometimes terribly fractured, and now spare and unerringly right. They police themselves, never imposing like the fascists that the Spanish fighters resisted." – Bill Meyer, January 2016 --- John Tilbury / piano Eddie Prévost / percussion --- Recorded by Izack Zupan at the festival Neposlusno (Sound Disobedience) in Ljubljana, Slovenia in 2012. Mastered by Rupert Clervaux. Artwork by Myah Chen.

Studio recordings from November 2003, with Parker playing only tenor saxophone.  "Imponderable evidence includes the subtleties of glance, of gesture, of tone." - Ludwid Wittgenstein. "But surely human society depends largely on trust in the virtues of others, often ascertained on imponderable evidence?" - Iris Murdoch.  --- Evan Parker / tenor saxophone Eddie Prévost / drums --- Tracklisting: 1. exhibit A - 14:35 2. exhibit E - 7:19 3. exhibit C - 14:59 4. exhibit D - 8:02 5. exhibit B - 13:59 --- Recorded at Gateway Studios, Kingston-upon-Thames, London, on November 10th 2003 by Steve Lowe. Front cover "collage" by Trevor Sutton.

Apogee chronicles both a first-time meeting of AMM and MEV (Musica Eletronnica Viva), and one of the last performances of that longest-running version of AMM. apogee 1, 2 and 3 are studio recordings of the two groups together; the second pairs performances by each individual group: a thirty-nine-minute piece by AMM entitled 01.05.04, and a thirty-six-minute piece by MEV, also entitled 01.05.04 (perhaps mere date, but also May Day), both recorded at London's Freedom of the City Festival. MEV includes Alvin Curran, Frederic Rzewski, and Richard Teitelbaum. “AMM and MEV go back together almost as far as AMM itself. In 1969 or so, Earl Brown released an LP on Mainstream Records called Live Electronic Music Improvised which had AMM on one side and MEV on the other. It was a great and forward looking idea, but unfortunately the labels (on MOST but not ALL copies) somehow got reversed. That, if nothing else, tied us together for decades." - Richard Teitelbaum --- John Tilbury / pianoKeith Rowe / guitar & electronicsEddie Prévost / percussionAlvin Curran / electronicsFrederic Rzewski / pianoRichard Teitelbaum / keyboard --- 'apogee' 1, 2 and 3 recorded at Gateway Studios, Kingston-upon-Thames, Surrey, England on 30th April 2004. '01.05.04' were recorded at Freedom of the City festival, Conway Hall, London on 1st May 2004 by Sebastian Lexer. Artwork designed by Ian Walters.  To buy the physical CD, head to to Eddie Prévost's CD store, Matchless Recordings.

"Double album, double solos of two distinctive musicians, becoming duets in a relatively rare space between solo playing and ensemble. Reed and percussion start at different places, the working through breath, the other pulse of materials being struck, one typically characterised by line, the other by attack, producing in the first pitch configurations, in the second beat patterns (Prévost doesn't use the specifically pitched mallet instruments). Each player comes with a distinctive sonic identity, but they're frequently crossing. the main intersection is sonority. The saxophone can splutter, click and gesture, notably in the extreme registers and the rapid shifts between them, with just sound. Prévost makes long, sustained attackless sounds by bowing his cymbals and gong, and his invented string drum tosses up melodic fragments. Percussion drives and saxophone sings, Parker can drive just as hard and Prévost makes a singing sound. Sometimes you can't tell which of the two's sounds you're hearing." - Christian Wolff. --- Evan Parker / saxophones Eddie Prévost / percussion --- Recorded at Gateway Studio, Kingston, England by Steve Lowe on February 23rd and April 13th 1997. Artwork 'Djebel Nefousa' by Brenda Mayo.