The Squid's Ear Magazine

  Rapid SSL

  PayPal

  Mastercard

  Visa

  Discover

  American Express



© 2002-2017, Squidco LLC


AMM: Two London Concerts (Matchless)

Two live recordings by master improvisers John Tilbury (piano) and Eddie Prevost (percussion) playing two emotional sets that are quiet at just the right times and allow for a balanced amount of white space, creating beautiful music.
 

Price: $17.95

**Adding this out of stock item to your basket with other in stock items may delay shipping or incur additional shipping charges.


Quantity:

Out of Stock


Shipping Weight: 2.00 units

Quantity in Basket: None

Log In to use our Wish List
product information:


UPC: 502049208527

Label: Matchless
Catalog ID: MRCD85
Squidco Product Code: 16798

Format: CD
Condition: New
Released: 2012
Country: Great Britain
Packaging: Cardstock gatefold foldover
E1 recorded at The Rag Factory, Spitalfields, London on March 6th, 2011 at 'As Alike as Trees' festival of improvised music. SE1 was recorded in concert at The Purcell Room, London on November 27th, 2011. Recorded by Giovanni La Rovere.


Personnel:

John Tilbury-piano

Eddie Prevost-percussion

Highlight an artist name or instrument above
and click here to Search
track listing:


1. E1 31:29

2. SE1 46:50




Related Categories of Interest:


Improvised Music
Free Improvisation
Matchless
Duo Recordings

sample the album:




descriptions, reviews, &c.

"A new AMM album then, always a welcome arrival, capturing two relatively recent London performances from the duo of Eddie Prévost and John Tilbury. one of which I attended, and the other I could not. Both capture really rather wonderful sets of music, the first, from the As Alike as Trees festival in March 2011 being the finest AMM set I have caught live in many a year, though I am fortunate enough to have heard quite a few, though the second recording here, from the Purcell Room in November of the same year is also a lovely set. The last AMM album before this one, Uncovered Correspondence was also a very fine album, the best since the group's reduction to a duo, and these new recordings I think show how Prévost and Tilbury have developed a style to their playing that no longer seems to seek ways to fill the spaces left in the music, as their first performances as a duo seemed to do. These new recordings, while as intensely emotionally charged as ever, if not more than ever, allow a lot more white space and air into proceedings. There is a sense of clarity and precision here that when coupled by the virtually telepathic understanding these two have leads to quite stunningly beautiful music.

The first piece, titled here E1 AMM, a reference to the London postal code of the recording venue, opens with Tilbury crashing his forearm slowly, and repeatedly onto the keys of his piano for a good few minutes as Prévost adds subtle, softly bowed metal percussion, matching the violence with serenity and immediately casting the performance into a state of continually precarious balance. This opening salvo, when seen live left me breathless, and while the removal of the visual elements tones down the intensity of the occasion quite a bit, the passion in the performance, and the uncertainty that such an opening presented both the audience and the musicians with is still audible here. The second recording, SE1 AMM is an undulating, perhaps more familiar affair with quiet, often very quiet passages allowed to build into a series of crescendoes. The passages that close the recording, which was made at a concert put on as part of a Cornelius Cardew celebration, consisting of Tilbury mostly alone, playing slowly, with immense solemnity and beauty are really extraordinarily beautiful, with Prévost joining him right at the very end with some of the gentlest, most poignantly restrained sounds I have ever heard from him. The understanding, the ability to form such perfectly formed, expressive music in the moment together is, in my opinion, unrivalled between two musicians today.

Of course, the instrumentation is as you expect from AMM. Tilbury plays the piano, inside and outside, and Prévost bows and strikes metal objects of various sizes, some of them pressed into the head of a snare drum. With the exception of some unusual, agitated sounds from Prévost here and there on the first piece, there is nothing in the instrumentation or the sounds the duo pull from them that breaks new ground on a particularly cosmetic, obvious level. This sounds exactly like an AMM album, but there is a sense of continual development here, the ongoing conversation, stark discussions in places but held with a fluidity that AMM have not had for a while. Its as if a new language has been learnt, and so now the frank conversations can be more easily held, albeit it with less phrasing, but with precisely the right words chosen and nothing more.

It is easy to throw the usual rapturous applause at anything AMM do, but there isn't a more fully refined and explored musical relationship than Prévost and Tilbury's, and while I seek and desire newly broken ground in how music sounds or is made as much as anyone there is still room to admire and celebrate the way two masters at their particular art go about creating something this thoughtful and beautiful. While familiarity breeds recognisable patterns and musical traits AMM continue to make music that oozes tension, beauty, anger, aggression and a vitality that is perpetuates itself in a thoroughly, nakedly human manner, and that's enough for me."-Richard Pinnell


Get additional information at Watchful Ear

Artist Biographies:

"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)
10/11/2017

"Eddie Prévost (Edwin John) (born Hitchin, Hertfordshire, England, 22 June 1942) is an English percussionist noted for founding and participating in the AMM free improvisation group.

Of Huguenot heritage, Prévost's silk weaving ancestors moved to Spitalfields in the late 17th century. Brought up by single parent mother (Lilian Elizabeth) in war-damaged London Borough of Bermondsey. He won a state scholarship to Addey and Stanhope Grammar School, Deptford, London, where to-be drummers Trevor Tomkins and Jon Hiseman also studied. Music tuition, however, was limited to singing and general classical music appreciation. Enrolled in the Boy Scouts Association (19th Bermondsey Troop) to join marching band. As a teenager began to get involved with the emerging youth culture music; skiffle, before being introduced to a big jazz record collection of a school friend with rich parents. With a bonus from the florist, for whom Prévost worked part-time after school, purchased his first snare drum from the famed Len Hunt drum shop in Archer Street (part of London's theatre land).

After leaving school at sixteen Prévost was employed in various clerical positions whilst continuing his musical interests. Although, by now immersed in the music of bebop, his playing technique was insufficient for purpose. New Orleans style jazz ('trad') offered scope for his growing musical prowess. He played in various bands mostly in the East End of London. It was during a tenure with one of these bands he met trumpeter David Ware, who also shared a passion for the hard-bop jazz music. In their early twenties they later formed a modern jazz quintet which ultimately included Lou Gare, who had recently moved to London from Rugby and was a student at Ealing College of Art and a member of the Mike Westbrook Jazz Orchestra.

AMM was co-founded in 1965 by Lou Gare, Eddie Prévost and Keith Rowe. They were shortly joined by Lawrence Sheaff. All had a jazz background. They were, however, soon augmented by composer Cornelius Cardew. Thereafter, Cardew, Gare, Prévost and Rowe remained as basis of the ensemble until the group fractured in 1972. Other more formally trained musicians were to enter the ranks of AMM after Cardew's departure. Those to make significant contributions were cellist Rohan de Saram and, in particular, pianist John Tilbury. The latter was a friend and early associate of Cardew and later became his biographer.

In contrast to many other improvising ensembles, the core aesthetic of the ensemble is one of enquiry. There was no attempt to create a spontaneous music reflecting, or emulating, other forms. The AMM sound-world emerged from what Cardew referred to as "searching for sounds". For Prévost, the following would become the core formulation which he would explore during his subsequent musical career and explain and develop in various writings (see bibliography) and workshop activities.

We are "searching" for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them.

In the 1980s, in response to various workshops and lectures, Prévost first formulated the twin analytical propositions of heurism and dialogue as defining concepts for an emergent musical philosophy, whilst acknowledging Cardew's construction (above). This line was explored and constantly redefined much through the London workshop experience, as his articles and his books show. (see below: The London Workshop). His 2011 book - The First Concert: an Adaptive Appraisal of a Meta Music - is described as a view "mediated through the developing critical discourse of adaptionism; a perspective grounded in Darwinian conceptions of human nature. Music herein is examined for its cognitive and generative qualities to see how our evolved biological and emergent cultural legacy reflects our needs and dreams. This survey visits ethnomusicology, folk music, jazz, contemporary music and "world music" as well as focusing upon various forms of improvisation - observing their effect upon human relations and aspirations. However, there are also analytical and ultimately positive suggestions towards future metamusical practices. These mirror and potentially meet the aspirations of a growing community who wish to engage with the world - with all its history and chance conditionals - by applying a free-will in making music that is creative and collegiate." (back cover of First Concert)History with AMM

When, in the early 1970s, Cardew and Rowe began to devote their time and energy to espousing the political doctrine of an English Maoist party a fracture occurred in the ensemble leaving the rump of Lou Gare and Eddie Prévost, who continued in a duo form making various concerts and festival appearances and leaving a legacy of two recordings. At the end of the decade a rapprochement was attempted and for a short while the quartet began playing together again. It did not last. Lou Gare departed and moved from London to Devon. While Cardew's commitment to politics made his complete withdrawal inevitable. It was during this period Prévost took an Honours Degree at Hatfield Polytechnic, exploring and developing his interests in history(especially East Asian) and philosophy. Musically, this left Rowe and Prévost playing together. Their recording for German ECM label "It had been an ordinary enough day in Pueblo, Colorado" is the single example of their duet period. By the late 1970s a reawakened association with John Tilbury was cemented into his permanent place in AMM. He is featured on all subsequent AMM performances and recordings (as is Prévost). In 2002 a more lasting schism occurred leading to Rowe departing from AMM and leaving Tilbury to continue with Prévost.Percussion

The investigative dynamic of AMM leads a musician to seek out new material. It is the fabric and constitution of stuff that is considered as more important than any historical or cultural heritage. It is Prévost's constant exploration's that has produced the range of sounds associated with his work, particularly within AMM and its extension to the many workshop ensembles. This philosophy leads to what Seymour Wright has so aptly described as the "awkward wealth" of investigation.(citation) It is a position of constant examination and artistic redress.Drumming

Drumming with AMM was principally replaced by discreet percussion work which by and large relied on sound and texture rather than rhythm. At the time of the Gare/Prévost period this position was reviewed. However, it was plain the AMM aesthetic, characteristic of the early formative period, was to have its effect. The "searching" method prevailed. And, whereas a saxophone and drums duet led to a more jazz-like expectation (amplified by Gare's reversion to a more rolling and modal post-Rollins kind of approach). Prévost's playing was noted to have acquired some unusual qualities. This lead one reviewer (Melody Maker) to remark in 1972: "His free drumming flows superbly making use of his formidable technique. It's as though there has never been an Elvin Jones or Max Roach."

Drumming however, was to take a back seat in Prévost's musical output as AMM developed and began to acquire and enhance its innovative reputation. And, apart from rare musical outings he did not commit himself, more fully, to the jazz drum kit again until 2007/08. Although, continuing to play percussion, a jazz-inflected project with Seymour Wright and Ross Lambert in an ensemble called SUM was the precursor of a period more devoted to drumming. Apart from various ad hoc ensembles, this led to various recordings including a series a CDs entitled Meetings with Remarkable Saxophonists. At date this consists of four volumes featuring Evan Parker, John Butcher, Jason Yarde and Bertrand Denzler respectively.The London workshop

Over the years Prévost has conducted many improvised music workshops. However, as a result of a seminar he conducted at The Guelph Jazz Festival, Canada in 1999, Prévost began to formulate a framework for a workshop based upon a more thorough working of AMM principles and practice. He wrote:

"I had, of course, already had long previous experience of improvisation and experimental music mostly through my participation in AMM and working closely with the composers Cornelius Cardew and Christian Wolff. From this experience I had begun a working hypothesis in my book 'No Sound is Innocent'. However, there is always more to discover. On my long flight across the Atlantic, I intuited more could be found out. Not through introspective, if rational, thought alone but, through discovery or experimentation: praxis. It can, of course, be very discomforting to watch a proposition die in practise. No theory is worth its salt unless it is fully tested. The best ideas - this experience suggests - emerge through activity. Hence, the working premise of the improvisation workshop had to be based upon an emergent set of criteria constantly tested within the cauldron of experience.

In November 1999 I made it known that a free improvisation workshop would start weekly in a room at London's Community Music Centre, near London Bridge. Originally, under the auspices of the London Musicians' Collective, [...] these premises were found and minimal lines of communication to possible interested parties were opened. The first Friday evening (not thought to be an auspicious evening of the week because people 'went out' to have a good time) duly arrived. The room was available precisely because no one ever hired it on a Friday! I waited. Edwin Prévost, The First Concert: an Adaptive Appraisal of a Meta Music, (2011) p.115/6

Since then the workshop has continued weekly. It has a strong collegiate atmosphere. Those who participate are themselves formulating and refining a programme of enquiry and empathy. The working premise is one of 'searching for sounds' (Cardew). The emphasis is upon discovery and not on presentation. It is a place to risk failure and develop an open and continuing processive relationship with the materials at hand and other people. As hoped and anticipated, Prévost's continual presence is no longer required. In his occasional absences senior colleagues (in particular Seymour Wright and Ross Lambert) more than adequately move the project along. To date there have been over five hundred people who have attended the weekly workshop in London, representing over twenty different nationalities. This activity is further augmented by occasional forums for discussion and London's Cafe OTO programmes ensembles drawn from the London workshop every month. There have also been occasional extended periods of collective workshop musical experimentation. And, in 2010 there was a residential workshop held in Mwnci Studios on the Dolwillym Estate, west Wales. (see various other texts: including Philip Clark's Wire piece)] There are now workshops based upon this general premise functioning in Hungary, Greece, Slovenia, Japan, Brazil and Mexico. Mostly started by alumni of the original workshop in London.Intermediate and experimental compositions

Cardew's 'Treatise' etc. Cardew's introduction to AMM in 1966 owes something to his search for musicians to perform his (then unfinished)193 pages long graphic score, 'Treatise'. The AMM musicians (at the time Lou Gare, Eddie Prévost, Keith Rowe and Lawrence Sheaff) seemed perfect candidates to embrace this bold work of imagination. And, with others (including later AMM member John Tilbury) all participated in the premier performance at the Commonwealth Institute on 8 April 1966 (check year!). But the initial impact of Cardew's induction into AMM was to bring a halt to his compositional aspirations. However, over the years since, AMM has had a long relationship with particular indeterminate and experimental works particularly those of Cardew - especially after his death in 1983. Most prominently 'Treatise'. Other favourites were 'Solo with Accompaniment', 'Autumn '60', Schooltime Compositions' and the text piece Cardew wrote particularly for AMM, 'The Tiger's Mind.' These pieces (which for a long time had been neglected within 'new' musical schedules), and occasionally others by Christian Wolff and John Cage, were sometimes played in conjunction with an AMM improvisation. Some concert promoters were, it seems, more interested in these pieces being played than the principal musical output of AMM. Hence, Prévost's ambivalence about the inclusion of such material in concert programmes. The creative search for primary performance material was diverted, in such works, in keeping with the demands of the notation or compositional scheme. This inevitably prevented the musician from (to use Cardew's own words) "being at the heart of the experiment". (Cardew, 'Towards an Ethic of Improvisation; CC R p. 127).Matchless Recordings and Publishing

In 1979 Prévost began the recording imprint of Matchless Recordings and Publishing. Although there had been some interest by commercial labels to take on the new improvising music of the late 1960s onwards, it proved not to be satisfactory or long-lasting. Together with a number of similar initiatives, e.g. Incus Records in Britain and ICP (?) in the Netherlands, Prévost sought to take control of their own work. In the early years this was slow and painstaking work. Some years little was produced and few small sales accrued. Gradually however, Matchless recordings began to be the documenting and disseminating base for a developing body of work. Most of the AMM output is featured on Matchless and this has diversified (more so in recent years) to include other associated artists and ensembles.[see matchlessrecordings.com] In 1995, following the same principal for internal control over the output, production and dissemination of material, the publishing imprint Copula was inaugurated. The first publication was Prevost's No Sound is Innocent. Later followed by Minute Particulars in 2004. 2006 saw the publication of Cornelius Cardew: A Reader (edited by Prévost) which was a collection of Cardew's published writings accompanied by commentaries by a number of musicians associated and inspired by Cardew. This volume was an essential companion to John Tilbury's comprehensive biography Cornelius Cardew: a life unfinished which was also published by Copula in 2008. The most recent book to appear on this imprint is Prévost's The First Concert: An Adaptive Appraisal of a Meta Music (2011).

Eddie Prévost is the cousin of the ex-docker shop-steward and left-wing political activist also named Eddie Prevost."

-Wikipedia (https://en.wikipedia.org/wiki/Eddie_Pr%C3%A9vost)
10/11/2017

Other Releases With These Artists:
Wolff, Christian / Eddie Prevost
Uncertain Outcomes [2 CDs]
(Matchless)
Tilbury, John / John Lely / Dirar Kalash & Christian Wolff
Seaside
(Another Timbre)
Oliveros, Pauline / Roscoe Mitchell / John Tilbury / Wadada Leo Smith
Nessuno
(Angelica)
Smith Quartet with John Tilbury
Morton Feldman: Music for Piano and Strings Volume 3 [DVD-AUDIO]
(Matchless)
Davies, Angharad / Rhodri Davies / Michael Duch / Lina Lapelyte / John Lely & John Tilbury
Goldsmiths
(Another Timbre)
Jorge, Paulo Alexandre Improbable Trio (w/ Tom Wheatley / Eddie Prevost)
Elements
(Creative Sources)
Bailey, Derek / John Tilbury
Playing with a Dead Person [VINYL]
(Bolt)
AMM
Spanish Fighters
(Matchless)
Guy, Barry / Eddie Prevost / Evan Parker / Keith Rowe
Supersession [REMASTERED, REPACKAGED, ADDITIONAL TEXT]
(Matchless)
Schlippenbach / Parker / Edwards / Prevost
3 Nights at Cafe Oto
(Matchless)
Feldman, Morton played by John Tilbury & Philip Thomas
Two Pianos And Other Pieces 1953-1969 [2 CDs]
(Another Timbre)
Chant, Tom / John Edwards / Eddie Prevost
All Change
(Matchless)
AMM (Tilbury / Prevost)
Place Sub. V
(Matchless)
Lexer, Sebastian / Evan Parker / Eddie Prevost
Tri-Borough Triptych
(Matchless)
Denzler, Bertrand / John Edwards / Eddie Prevost
"All-in-All [en tout en pour tout]" Meetings With Remarkable Saxophonists | Volume 4
(Matchless)
Prevost / Allum / Kanngiesser / Kasyansky / Lazaridou / Yoshikawa
Workshop Concert at Cafe Oto
(Matchless)
Yarde, Jason / Oli Hayhurst / Eddie Prevost
"All Together" - Meetings with Remarkable Saxophonists | Volume 3
(Matchless)
Edwards / Sanders / Tilbury
A Field Perpetually At The Edge Of Disorder
(Fataka)
Chang / Davies / Drouin / Durrant / Patterson / Tilbury
Variable Formations
(Another Timbre)
Various Artists
The All Angels Concerts [2 CDs]
(Emanem)
Smith Quartet with John Tilbury
Morton Feldman: Music for Piano and Strings Volume 2 [DVD-AUDIO]
(Matchless)
Butcher / Viltard / Prevost
"All But" - Meetings with Remarkable Saxophonists -- Volume 2
(Matchless)
Lexer / Prevost / Wright
Impossibility in its Purest Form
(Matchless)
Parker / Edwards / Prevost
"All Told" - Meetings with Remarkable Saxophonists -- Volume 1
(Matchless)
Rowe, Keith / John Tilbury
E.E. Tension And Circumstance
(Potlatch)
Various Artists
PRES Revisited. Jozef Patkowski In Memoriam
(Bolt)
Moser, Michael
Resonant Cuts: (2 CDs AND BOOK)
(Edition Rz)
Leandre, Joelle
Can You Hear Me - Live At The Ulrichsberger Kaleidophon [2 CDs]
(Leo)
Allum & Prevost
Penumbrae
(Matchless)
Feldman, Morton
Piano Three Hands, Intermission 5, Vertical Thoughts 2, Extensions 3, Four Instruments, Intermission 5, Piano Piece 1956 A + B, Intersection 3, Instruments 1
(Edition Rz)
AMM
Uncovered Correspondence: A Postcard From Jaslo
(Matchless)
Sakada
30 November 2002
(Confront)
AMM
Sounding Music
(Matchless)
Smith Quartet with John Tilbury
Morton Feldman: Music For Piano And Strings Volume 1 [DVD-AUDIO]
(Matchless)
Jennings / Cage / Tilbury / Lexer
Lost Daylight
(Another Timbre)
Free Jazz Quartet
Memories For The Future
(Matchless)
Invenio Ergo (Prevost / Lambert / Wright)
Sum [2 CDs]
(Matchless)
Polwechsel & John Tilbury
Field
(Hatology)
Schlippenbach, Alexander Von & Eddie Prevost
Blackheath
(Matchless)
Wright, Seymour & Eddie Prevost
Gamut
(Matchless)
AMM w/ John Butcher
Trinity
(Matchless)
Various Artists
That Mysterious Forest Below London Bridge
(Matchless)
Schmickler, Marcus / Tilbury, John
Variety
(A-Musik)
Tilbury, John
Plays Samuel Beckett
(Matchless)
Tilbury, John / Eddie Prevost
Discrete Moments
(Matchless)
Brown, Earle
Chamber Music
(Matchless)
AMM
The Crypt - 12th June 1968 The Complete Session
(Matchless)
AMM
Fine
(Matchless)
AMM
Tunes Without Measure or End
(Matchless)
AMM
Live in Allentown USA
(Matchless)
AMM
Combines + Laminates + Treatise '84
(Matchless)
AMM
Newfoundland
(Matchless)
AMM
To Hear and Back Again
(Matchless)
AMM
AMMMusic 1966
(Recommended Records)
Recommended & Related Releases:

Search for other titles on the Matchless label.