Recordings from 'Freedom of the City - festival of radical improvised musics', 2001.
Tracklisting and personnel:
1. 2:30 pm Bark! - 24:38
Phillip Marks / drums
Rex Casswell / electric guitar
Paul Obermayer electronics
2. 3:15 pm Eddie Prévost - 19:19
3. 3:45 pm Charaoui / Lely / Wright - 21:02
Seymour Wright / alto saxophone
Yann Charaoui / snare drum, vocals
John Lely / piano, electronics
4. 7:30 pm Eddie Prévost Trio
John Edwards / double bass
Eddie Prévost / drums
Tom Chant / soprano saxophone
5. 8:15pm Particles - 17:06
Romuald Wadych / bass guitar, effects
Tim Goldie / drums
Ross Lambert / electric guitar
Sandy Kindness / tenor saxophone
6. 8:45pm Wadych and Dubovtsev - 4:52
Romuald Wadych / bass guitar
Denis Dubovtsev / soprano saxophone
7. 9:15pm Tilbury and Parker - 20:03
John Tilbury / piano
Evan 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
Available as 320k MP3 or 16bit FLAC
Eddie Prévost plays with immense fire, grace and invention. Founder of the essential AMM, collaborator of the greatest improvisers internationally, since the 60's he has kept a continuous contact with the scene and always manages to invent anew his contribution to "meta-music".
“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
Northern Irish (and London-based) guitarist and ‘magnetic and vibrating sources’ player Ross Lambert, has in his own words, the following fundamental and simultaneous approaches to live performance: to play as though it was both the first time and also the last; and to able to differentiate between what is good and worth conserving and what is not. Ross has been involved in, initiated and been a connector between a very wide variety of improvisatory music since his first exposure and (immediate) commitment to it, in Sheffield via Derek Bailey during the mid-1980s. Although under-recorded (he claims ‘by choice’), Ross has worked with a huge number of musicians from around the world, including Tetuzi Akiyama, Ami Yoshida, Jean-Luc Guionnet, Paul Hession, Rhodri Davies, John Butcher and Evan Parker, as well as his close friends Eddie Prevost, Seymour Wright, and Sebastian Lexer.
"If you've ever been tempted by free improvisation, Parker is your gateway drug." - Stewart Lee
Evan Parker has been a consistently innovative presence in British free music since the 1960s. Parker played with John Stevens in the Spontaneous Music Ensemble, experimenting with new kinds of group improvisation and held a long-standing partnership with guitarist Derek Bailey. The two formed the Music Improvisation Company and later Incus Records. He also has tight associations with European free improvisations - playing on Peter Brötzmann's legendary 'Machine Gun' session (1968), with Alexander Von Schlippenbach and Paul Lovens (A trio that continues to this day), Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, and Barry Guy's London Jazz Composers Orchestra (LJCO).
Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time.
John Tilbury is renowned for his peerless interpretation of the piano music of Morton Feldman, John Cage, Christian Wolff and Howard Skempton. In addition to the performances and seminal recordings that he has made of these composers’ works, he has been an eloquent advocate of their music in his writing and speaking about them. The same is true of the attention he has paid to the music and ideas of Cornelius Cardew, the subject of his authoritative biography published in 2008, and with whom he played in the legendary improvisation groups the Scratch Orchestra and AMM. In the last ten years John Tilbury has performed a range of plays and prose pieces by Samuel Beckett.