"The music you hear on this DL has a distinct urgency and excitement. It moves forward in a complicated, constantly mutating web of stylistic references to musical precedents within jazz and twetieth century music, overlapped in a restless search for new textures, moods, dynamic interludes, and possible resolutions. Some listeners may feel - as others have done in the past - that sections of the Quartet's music sounds like be-bop heard at a distance or in a dream. There is certainly something in this perception. But the likeness never goes beyond mood or the resemblance of incidental allusion. Perhaps there are changes of the instrument temporarily foregrounded in the ensemble that are reminiscent of devices for handling over solos in jazz, including be-bop.But you need only listen to the rhythmic and harmonic mutations and uncertainties, or to the continuously re-defined relationships the four instruments enter into with one another, to be made aware that the music never becomes stylistic imitation or pastiche" - Alan Durant.
DL re-release of material previously issued as an LP, together with additional music. Part 1 was recorded at the Bracknell Jazz Festival on the 3rd of July, 1983. Part 2 was recorded at Porcupine Studios London by Ted Taylor. Front cover artwork by Simon Picard
Available as a 320k MP3 or 24bit FLAC download.
1. Continuum - 39:33
2. I'm in the Mood for Semantic Theory - 6:57
3. Unpredictable Paths - 11:28
4. Pair of Braces - 7:59
5. Convection - 12.02
Larry Stabbins is a contemporary of jazz pianist Keith Tippett and played in his legendary 50 piece orchestra Centipede as well as many other of Tippett’s projects over several decades in which he has worked with most of the giants of European free jazz and improvisation. He also played in the seminal pop group Weekend and was co-leader of Latin soul jazz band Working Week, writing what many consider the original acid jazz track, ‘Stella Marina’ with another legend, Jalal Nurridin of New York’s ‘The Last Poets’. - See more at: http://www.tru-thoughts.co.uk/artists/stonephace#sthash.3SMCAahi.dpuf
Eddie Prévost began his life in music as a jazz drummer. A recurring interest in this form has been maintained, although always with an experimental ethos. Along the way he has maintained his fifty-year plus experimental credentials with AMM and numerous other improvisation projects, including his now twenty-year long weekly workshop. But drumming has generally been backgrounded to his experimental percussion work. More though, is to be expected of his drumming in 2020 on forthcoming multi-CD album: The Unexpected Alchemy. A part of this Krakow festival recording features the drums and saxophone trio of Ken Vandermark, Hamid Drake, and Eddie Prévost. His most recent released recordings include AMM’s: An Unintended Legacy, and a duo with John Butcher - Visionary Fantasies, both on Matchless Recordings. Also, a solo percussion LP on the Earshots label called Matching Mix. Later, in 2020 he meets with Jason Yarde and Nathan Moore, while in March concerts and recording will hear him drumming with US guitarist Henry Kaiser and saxophonist Binker Golding.
And, early 2020 should see the publication of his fourth book: An Uncommon Music for the Common Man: a polemical memoir.
“Prévost's free drumming flows superbly making use of his formidable technique. It’s as though there has never been an Elvin Jones or Max Roach.” - Melody Maker
“Relentlessly innovative yet full of swing and fire.” – Morning Star
Veryan Weston (born 1950) was awarded ‘Young Jazz Musician of 1979’ by the Greater London Arts Association. In the '80s, Veryan worked internationally with Lol Coxhill (with whom he made his first recordings – Ogun 525 and Random Radar), the Eddie Prévost Quartet and Trevor Watts – an innovator who, in his band Moiré Music, used a unique combination of African rhythmic structures with the European musical tradition (Arc 02).
In the '90s, collaborations with Phil Minton included the Ways duos, Songs from a Prison Diary awarded the Cornelius Cardew composition prize, a quartet performing extracts from Joyce’s Finnegans wake (with Phil, John Butcher and Roger Turner), and 4Walls with Luc Ex and Michael Vatcher. And most recently - Ways for an Orchestra commissioned by the Angelica Festival (Bologna, Italy - 2017)
Collaborations with Jon Rose on the ‘Temperament Project’ use improvisation with different acoustic keyboards and violins with selected tunings derived from science, history and the imagination. Most recent project has included Hannah Marshall with the Tuning Out Tour (EMANEM double 4141).
He also collaborated with Caroline Kraabel (EMANEM 4048), John Edwards and Mark Sanders (EMANEM 4028, 4214, and 4205), the Trio of Uncertainty with cellist Hannah Marshall and violinist Satoko Fukuda (EMANEM 4141), Luc Ex in Sol6 (Red Note 15) which included saxophonist Ingrid Laubrock and Hannah Marshall in a trio called Haste. (EMANEM 5025).
‘Tessellations’ is an ongoing composition project based around research on pentatonic scales and has produced: 1. Tessellations for piano (EMANEM 4095), 2 a commissioned piece for Austrian singers - the Vociferous Choir (EMANEM 5015), 3 a string quartet, and 4 'The Make Project' – a Toronto-based project commissioned by Canadian Arts (Released – January 2018).
Peripheral excursions: Carla Bley's Escalator Over the Hill big band project, and Cobra with John Zorn in Berlin, Lindsay Cooper memorial project with Henry Cow (2014).
Veryan has worked with Trevor Watts for more than 40 years; their paths have crossed frequently because of shared musical interests particularly in rhythmic ideas. Now their music has one focus – improvisation, also a thread throughout Veryan’s work which reveals new aspects of an ever-changing musical identity depending on who he is playing with. Website with links - http://veryanweston.weebly.com/
Since coming to London in the early 70’s Marcio Mattos has performed, recorded and broadcast both in Britain and abroad with most exponents of the Improvised Music world: Evan Parker, John Stevens, John Surman, Roswell Rudd, Dewey Redman, Roscoe Mitchell and Marylin Crispell amongst many others.
He has also worked with the dance companies Ballet Rambert and The Extemporary Dance Theatre Company as well as electro-acoustic music groups such as the West Square Electronic Music Ensemble, where he developed his own electronic treatment of the double bass and cello both in recording and live performance. It was at West Square he started working with Philipp Wachsmann and Ian Brighton initially, in the trio BM&W and then later, with the addition of percussionist Trevor Taylor, the quartet String Thing.
Such is the diversity of his playing, this highly “in demand” musician was also in many of the late Elton Dean formations, as well as being a long-standing member of numerous Eddie Prevost ensembles. His capability, attitude and flexibility led to his involvement in various international projects, mainly in Europe, including the “Bardo State Orchestra” - a project with Tibetan monks and Jim Dvorak, various projects with Georg Graewe, Tony Oxley’s Celebration Orchestra, “AXON” with Phil Minton/ Fred van Hove and Martin Blume and “LINES” with Phil Wachsmann/ Jim Denley/ Martin Blume and Axel Dorner.
His current projects include, a duo with Shakuhachi player Shiku Yano, the string quartet “Gocce Stellari” with Charlotte Hug, John Edwards and Phil Wachsmann and ‘ABAETETUBA’ with Panda Gianfratti, Thomas Rohrer and Rodrigo Montoya as well as his continued involvement as a permanent member of ‘LIO’, the London Improviser’s Orchestra.
Marcio Mattos is a much travelled and experienced improviser who can readily adapt and excel in every musical environment both on Double Bass and Cello. His “success”, in this respect, is primarily due to the high level of commitment he makes in every situation faced. His presence can be heard in very many released CD’s and especially in his latest solo recordings, “SOL[os]’ (EMANEM 5035)
“Mattos is a creative genius…his invention is unparalleled, as is his musicianship.” – Marc Medwin, review in ‘The Squid’s Ear