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© 2002-2017, Squidco LLC


AMM: Fine (Matchless)


 

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product information:


UPC: 786497416127

Label: Matchless
Catalog ID: MRCD46
Squidco Product Code: 1677

Format: CD
Condition: New
Released: 2001
Country: Great Britain
Packaging: Jewel Tray
Recorded at the free radiCCAls festival at the McLellan Galleries, Glasgow, Scotland on 4th May 2000.


Personnel:

Eddie Prevost-perussion

Keith Rowe-guitar, electronics

John Tilbury-piano

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track listing:


1. Part One 8:42

2. Part Two 6:35

3. Part Three 4:29

4. Part Four 7:52

5. Part Five 12:05

6. Part Six 8:26

7. Part Seven 10:37




Related Categories of Interest:

Matchless
Improvised Music
European Improv, Free Jazz & Related
Matchless
Keith Rowe
Free Improvisation
Trio Recordings
Before April-2006

descriptions, reviews, &c.

"The album's title connotation is at least dual. This is a recording of a live performance done in conjunction with dancer Fine Kwiatkowski (who, incidentally, is not audible), and it's certainly "fine" in the qualitative sense. One hopes the aura of "finality" implicit in the title doesn't apply. This is one of AMM's quietest, most somber recordings, not as relatively sumptuous as Newfoundland but having a slightly harsher edge, even in its low volume. Eddie Prevost sticks almost entirely to rubbed or stroked surfaces, rarely if ever producing anything sounding like a struck percussion instrument or drum. He and Keith Rowe establish numerous and complex drones, a weaving together of sonic material aggressive and unnerving for all its reticence. AMM's music has been described as being "as like and unalike as trees," and indeed their ability, after more than 35 years as a functioning unit, to avoid routines and ruts while retaining an unmistakable "AMM-ness" is astonishing. Pianist John Tilbury, known for his penchant for Feldman-esque contributions, even manages to largely sidestep those, staying inside the piano or offering melodic fragments that almost invoke Debussy. When, in the last several minutes of the performance, the volume swells into a hall-filling hum and then subsides, it's almost as though the trio has taken a deep breath of satisfaction at both a job well done and at having found still virgin territory to explore. At a time when the electro-acoustic improvisatory scene was bursting at the seams with all manner of exciting musicians and avenues of discovery, the grizzled veterans of AMM were still able to carve out a unique and deeply beautiful space. Fine is yet another significant and stunning document of this ageless, wonderful group's journey."-Brian Olewnick, All Music


Artist Biographies:

"tabletop guitarist and painter. Rowe is a founding member of both the influential AMM in the mid-1960s (though in 2004 he quit that group for the second time) and M.I.M.E.O. Having trained as a visual artist, Rowe's paintings have been featured on most of his own albums. After years of obscurity, Rowe has achieved a level of relative notoriety, and since the late 1990s has kept up a busy recording and touring schedule. He is seen as a godfather of EAI (electroacoustic improvisation), with many of his recent recordings having been released by Erstwhile Records.

Rowe began his career playing jazz in the early 1960s-notably with Mike Westbrook and Lou Gare. His early influences were guitarists like Wes Montgomery, Charlie Christian and Barney Kessel. Eventually, however, Rowe grew tired of what he considered the form's limitations. Rowe began experimenting, slowly and gradually. An important step was a New Year's resolution to stop tuning his guitar-much to Westbrook's displeasure. Rowe gradually expanded into free jazz and free improvisation, eventually abandoning conventional guitar technique.

This change in his approach to guitar, Rowe reports, was partly inspired by a teacher in one of his painting courses who told him, "Rowe, you cannot paint a Caravaggio. Only Caravaggio can paint Caravaggio." Rowe reports that after considering this idea from a musical perspective, "trying to play guitar like Jim Hall seemed quite wrong." For several years Rowe contemplated how to reinvent his approach to the guitar, again finding inspiration in visual art, namely, American painter Jackson Pollock, who abandoned traditional painting methods to forge his own style. "How could I abandon the technique? Lay the guitar flat!"

Rowe developed various prepared guitar techniques: placing the guitar flat on a table and manipulating the strings, body and pick-ups in unorthodox ways to produce sounds described as dark, brooding, compelling, expansive and alien. He has been known to employ objects such as a library card, rubber eraser, springs, hand-held electric fans, alligator clips, and common office supplies in playing the guitar. A January 1997 feature in Guitar Player magazine described a Rowe performance as "resemble a surgeon operating on a patient." Rowe sometimes incorporates live radio broadcasts into his performances, including shortwave radio and number stations (the guitar's pick-ups will also pick up radio signals, and broadcast them through the amplifier).

AMM percussionist Eddie Prévost reports that Rowe has "an uncanny touch on the wireless switch", able to find radio broadcasts which seem to blend ideally with, or offer startling commentary on, the music. (Prévost, 18). On AMMMusic, towards the end of the cacophonous "Ailantus Glandolusa", a speaker announces via radio that "We cannot preserve the normal music." Prevost writes that during an AMM performance in Istanbul, Rowe located and integrated a radio broadcast of "the pious intonation of a male Turkish voice. AMM of course, had absolutely no idea what the material was. Later, it was complimented upon the judicious way that verses from The Koran had been introduced into the performance, and the respectful way they had been treated!" In reviewing World Turned Upside Down, critic Dan Hill writes, "Rowe has tuned his shortwave radio to some dramatically exotic gameshow and human voices spatter the mix, though at such low volume, they're unintelligible and abstracted. Rowe never overplays this device, a clear temptation with such a seductive technology - the awesome possibility of sonically reaching out across a world of voices requires experienced hands to avoid simple but ultimately short-term pleasure. This he does masterfully, mixing in random operatics and chance encounters with talkshow hosts to anchor the sound in humanity, amidst the abstraction." "

Some accounts report that Rowe's guitar technique was an influence on Pink Floyd founder Syd Barrett: "Taking his cues from experimental guitarist Keith Rowe of AMM, Barrett strived to push his music farther and farther out into the zone of complete abstraction."

Rowe has worked together with numerous composers and musicians, including Cornelius Cardew, Christian Wolff, Howard Skempton, Jeffrey Morgan, John Tilbury, Evan Parker, Taku Sugimoto, Otomo Yoshihide, Sachiko M, Oren Ambarchi, Christian Fennesz, Burkhard Beins, Kurt Liedwart, Toshimaru Nakamura, David Sylvian and Peter Rehberg.

-Wikipedia (https://en.wikipedia.org/wiki/Keith_Rowe)
7/25/2017

"John Tilbury (born 1 February 1936) is a British pianist. He is considered one of the foremost interpreters of Morton Feldman's music, and since 1980 has been a member of the free improvisation group AMM.

Tilbury studied piano at the Royal College of Music with Arthur Alexander and James Gibb and also with Zbigniew Drzewiecki in Warsaw. 1968 he was the winner of the Gaudeamus competition in the Netherlands.

During the 1960s, Tilbury was closely associated with the composer Cornelius Cardew, whose music he has interpreted and recorded and a member of the Scratch Orchestra. His biography of Cardew, "Cornelius Cardew - A life unfinished" was published in 2008.

Tilbury has also recorded the works of Howard Skempton and John White, among many others, and has also performed adaptations of the radio plays of Samuel Beckett.

With guitarist AMM bandmate Keith Rowe's electroacoustic ensemble M.I.M.E.O., Tilbury recorded The Hands of Caravaggio, inspired by the painter's The Taking of Christ {1602). In this live performance, twelve of the members of M.I.M.E.O. were positioned around the piano in a deliberate echo of Christ's Last Supper. The thirteenth M.I.M.E.O. member (Cor Fuhler) is credited with "inside piano" as he interacted and interfered with Tilbury's playing by manipulating and damping the instrument's strings, essentially doing piano preparation in real time. Critic Brian Olewnick describes the album as "A staggering achievement, one is tempted to call The Hands of Caravaggio the first great piano concerto of the 21st century."

Another notable recent recording of Tilbury's was Duos for Doris (like The Hands of Caravaggio also on Erstwhile Records), a collaboration with Keith Rowe. It is widely considered a landmark recording in the genre of electroacoustic improvisation (or "EAI").

In 2013 he collaborated with artist Armando Lulaj in FIEND performance at the National Theatre of Tirana (Albania)."

-Wikipedia (https://en.wikipedia.org/wiki/John_Tilbury)
7/25/2017

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