"These musicians have chosen to eschew the given media of jazz, from whence Evan Parker received much of his initial inspiration, and the classical world from which John Tilbury received his early and formative training, in order to become autonomous human beings who can engage creatively and practically -- not only with the world of sound, but with the the world of philosophy, and thence reflect upon a civil society. Why make art if not wanting to indicate other worlds and to transcend this one?" - Eddie Prévost. --- Evan Parker / tenor & soprano saxophones John Tilbury / piano --- Tracklisting: 1. In which the listener will perceive that in some cases madness is catching - 32:10 2. Which shews that there are more ways to kill a dog than hanging 3. Perro Semihundido - 2:42 --- Recorded at Gateway Studios, Kingston-upon-Thames, England on Monday 3rd August 1998 by Mr. Steve Lowe. Front cover "dalrymple" edit, by Trevor Sutton. Courtesy Angela Flowers Gallery.

The musicians who perform together on this CD are as unlikely a group of individuals that you are ever likely to find. Yoshikazu Iwamoto brings a cultural past that has deep aesthetic roots in Japanese Buddhism, while John Tilbury's classical European training brings a sensibility that has matured through contract with cultivated traditions of learning and discipline. Eddie Prévost by his presence draws everything together into an indivisible whole, through responses that have been honed from years of working in free or improvised music." - Frank Denyer --- Yoshikazu Iwamoto / shakuhachiJohn Tilbury / pianoEdwin Prévost / percussion --- Tracklisting:  1. Para' 1 (10:14)2. Para' 2 (9:52)3. Para' 3 (9:55)4. Para' 4 (11:20)5. Para' 5 (7:32)6. Para' 6 (12:09)7. Para' 7 (14:57)8. Para' 8 (2:11) 9. Para' 9 (18:20)10. Para' 10 (16:47)11. Para' 11 (4:24)12. Para' 12 (23:53)12. Para' 13 (10:00) --- Recorded at Gateway Studios, Kingston-upon-Thames, England, on Monday 3rd August 1998 by Steve Lowe. Front cover "untitled, ink on Japanese paper' by David Ryan.

Eddie Prévost & Veryan Weston. Recorded in England, 5/98, mixed by Evan Parker. "'Beauty as an Ear Thing' is a meticulous exploration of texture, full of soft explosions, the reverberant ring of spinning metals, and overtones that glow like embers, dying into silence; this music wouldn't be misplaced on an AMM disc. 'Clustered' rebuilds something out of the emptiness. The dislocated rhythmic feel is like an abstraction of something Monk and Max Roach might have played together. 'Fingers and drums' also conveys the sense of inventing almost from scratch, asking 'what material?' and digging into it to find out. Finally, 'Hammer and Tonic' a roaring thing, leaps from the starting gate as if all questions were resolved long ago..." - Steve Lake --- Eddie Prévost  / drums  Veryan Weston / piano --- Tracklisting: 1. Pinna - 2:52 2. Malleus - 5:56 3. Symphony of Surfaces - 11:08 4. Finger the Fine Needle - 4:32 5. Tympanic - 5:50 6. With Greazie Aprons - 11:08 7. Brush Up - 7:52 8. Sticks and Tones - 7:20 9. Beauty as an Ear Thing - 8:43 10. Clustered - 5:30 11. Fingers and Drums - 3:36 12. Hammer and Tonic - 6:41 --- Recorded at Gateway Studios, Kingston, England by the great Steve Lowe on 5th & 29th June. Mixed by Evan Parker.

Recorded at The Loft, Cologne on 14 October 1997 by Ansgar Ballhorn.  --- Keith Rowe / guitar Jeffrey Morgan / alto saxophone --- Front cover by Keith Rowe. --- Tracklisting:
 1. Addition - 20:08 
2. Dynatron with Electric Seats - 15:47 
3. Ballad from another Planet - 12.25 4. Savannah Heat - 10:42 
5. Teddy Bears in the Closet  - 7:02 6. Subtraction (recommended for radio play) - 6:51

The recording of a concert given at Rice University, Houston, TX, USA on Friday 19th April 1996. DL includes divided tracks and piece as a whole. With special thanks to Daniel Plunkett, Rob Forman, Jeff Filla and all the friends we made in Austin during our 1996 US tour. Recorded by Paul Winstanley. Artwork by Keith Rowe.  --- Keith Rowe / guitar John Tilbury / piano Eddie Prévost / drums --- "A stupendous continuation of the 90's AMM sound, ala previous documents such as Newfoundland, Live In Allentown and From A Strange Place. Shifting patterns consistently emerge; via Prévost's bowed percussion; via Rowe's distinct prepared guitar emanations that so distinctly verify the interior nature of electricity; via Tilbury's near-hallucinatory piano lines which seem to take on three dimensional status on this recording. Ultimately, it's AMM. Whose albums have been described as "alike or unalike as trees." This is another one, but it's not like the others. Music that you can play at almost any volume, at any time, forever." - Forced Exposure.

"This trio, quite intuitively (because I never spelt out what I hoped would happen) works in a subtle, attentive way: examining what the music is and where it is going all within the process of playing; feeling the sound to be complementary and in contrast to other sounds; feeling the stuff of the instruments, and sensing the presence of other creative beings. This is part of the extraordinary and gloriously uncertain matrix of what making and listening to music should be about" - Eddie Prévost  ---Tom Chant / soprano saxophone John Edwards / double bass Eddie Prévost / drums --- Recorded at Gateway Studios, Kingston, on 9th March 1997 by Steve Lowe. Front Cover 'Childsplay' by Stella Cardew.

"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.

"After a life-long study of percussion, Eddie Prévost has discovered ways of making the instruments reveal hidden aspects of thei voices. These, his first solo recordings, comprise and anthology of this long study but at the same time there is a freshness here that suggests the research is far from over." - Evan Parker ---Eddie Prévost / percussion --- Tracklisting: 1. Squeal, Sough and Stidulate - 12:40 2. Octavian Law - 4:31 3. Rumble, Buzz, Pound and Crash - 7:22 4. Azurine - 9:03 5. Bermondsey Breakdown - 10:07 6. Loci of Change - 19:54 --- Recorded at Gateway Studios, Kingston, England on September 10th 1996 by Steve Lowe. Produced by Evan Parker. Artwork by Keith Rowe using photographs of Paige Mitchell and Keith Rowe.

Triple layered release to mark 30 years of AMM. Bumper .zip includes material from three distinct periods spanning a quarter of a century -Prévost, Rowe, Gare, Cardew and Hobbs in Denmark in 1969, the first recordings from the Prévost-Rowe-Tilbury trio in The Great Hall at Goldsmith's College, London, in 1982, and the same trio in New York in 1994.  "The description of AMM's music as laminal came from Evan Parker in a lecture he gave on improvisation during an Actual Music Festival at the ICA in London during August 1980. This he contrasted with the 'atmistic' apprach of other practicioners. The idea of layers superimposed on other layers has always seemed close to the actuality of AMM music." - Eddie Prévost.  Dedicated to Evan Parker. --- Tracklisting: The Aarhus Sequences 1-1 - 51:071-2 - 14:231-3 - 6:40 The Great Hall 2-1 - 36:452-2 - 38:56 Contextual 3-1 - 14:103-2 - 11:043-3 - 10:313-4 - 11:123-5 - 13:413-6 - 10:37

The recording of a concert given at the Muhlenberg College Arts Center Recital Hall Allentown, Pennsylvania, USA on Sunday 24th April 1994. The concert produced by improvisationalmusico, inc (a/k/a "improco") with assistance from the Pennsylvania Council on the Arts. -- Edwin (Eddie) Prévost / percussion John Tilbury / piano Keith Rowe / electric guitar --- Recorded at a concert given at Muhlenberg College Arts Center Recital Hall, Allentown, Pennsylvania, USA on Sunday 24th April 1994. Artwork by Keith Rowe - 'Allentown viewed from the AMM yellow truck (Elektra 1996) with reference to Georgia O'Keeffe, New York with Moon (1925)'.

‘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.

"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.

Digital copy of this much sought after Pogus LP issued in 1990, PLUS 'Treatise '84' - Rowe, Prévost & Tilbury's improvisation inspired and guided by Cornelius Cardew's graphic score. An entry in Cardew's Treatise reads, "Joining AMM was the turning point, both in the compositions of Treatise and in everything I have thought about music up to now. Before that Treatise had been an elaborate attempt at graphic notation of music (which I can only describe as a graphic score that produces in the reader, without any sound, something analogous to the experience of music), a network of nameless lines and spaces pursuing their own geometry untethered to themes and modulations, 12 note series and their transformations, the rules or laws of musical composition and all the other figments of the musicological imagination.   --- John Tilbury / piano Keith Rowe / guitar Eddie Prévost / drums --- Recorded at a concert given at the Arts Club, Chicago, USA on the 25th of May, 1984 by Denis O'Shea. The track 'Combine + Laminates' was first issued as an LP by Pogus Productions. Mastered by Thomas Dimuzio. Produced by Al Margolis and David Prescott. Artwork by Keith Rowe.

Recorded at a concert given at The Band on the Wall Manchester, England on 26th May 1994.  --- Marilyn Crispell / piano Eddie Prévost / drums --- Tracklisting: 1. Opening Time - 6:49 2. Slow Chaser - 3:59 3. Fragments - 2:48 4. Dogbolter - 2:05 5. Apart (I) - 2:33 6. As Our Tongues Lap Up The Burning Air - 6:29 7. Old Thumper - 1:08 8. Night Moves - 12:11 9. Bishop's Finger - 1:11 10. Irons - 3:47 11. Quiet Now - 3:37 12. Spitfire - 3:42 13. Last Orders - 8:20

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

76 minute piece recorded live in 1992, featuring the Rowe/Prévost/Tilbury trio -  tremendous atmospherics and one of their ultimate recordings. "It is surely too easy to resort to adjectives such as 'rumbling', 'juddering', 'thudding', 'rippling' and 'growling'. This music is so stunningly immediate, so palpable that it makes a nonsense of such musings." - Howard Skempton.  "AMM's singular shocking moment in Newfoundland is stretched to a taut 76 minute whole. Any one detail is packed with absorbing incident: dig an instance featuring distant-sounding chimes, the loose, dank and otherworldly knots of piano notes and the great, ghastly bowel-rattling laughter of Rowe's guitar-sprung electronics. And then a lost radio voice is fed through Rowe's pickup, temporarily anchoring the night in space and time. Rowe's ether-trawling catapults you back to the excitement of the dawn of broadcasting. Way back then, a listener was asked if h could hear the singing of Caruso. No, he replied, but 'I could occasionally catch the ecstasy.' Just picture that early, primitive listening pleasure, when radio hams strained to pick up music over transatlantic wires, unsure whether they were tuning into heavenly static or the voice of angels, and you begin to get close to the pleasure of AMM." -- Biba Kopf, The Wire. --- John Tilbury / piano Keith Rowe / guitar Eddie Prévost / drums ---   Recorded at the School of Music, NUM, St. John's, Newfoundland on 2nd July 1992 as part of Sound Symposium Six. Thanks to all the Sound Symposium team, especially to Don Wherry and Kathy Clark. Artwork by Keith Rowe and Howard Skempton.

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.

Rare Gare! There's nothing really else around to which The Nameless Uncarved Block can usefully be compared. It's another great AMM record, that's all, and that's enough." - The Wire --- John Tilbury / piano Eddie Prévost / percussion Lou Gare / tenor saxophone Keith Rowe / guitar, short-wave radio --- Recorded at concerts given in Zurich and Basel organised by the Taklos Festival, Switzerland, April 1990.