One of the founders in 1965 of UK free music monument AMM and its consistent member since then, percussionist Eddie Prévost has the knack of drawing musicians into his sound world. This is the case with French pianist Marjolaine Charbin, with whom he recorded these sets of lowercase improv following her attendance at his ongoing London workshops.

Firmly rooted in sound development for its own sake, Pr֖évost and Charbin sculpt uncommon textures from all part of their respective instruments during two lengthy tracks. Recorded three months apart, the pieces are not so much duets as parallel evolutions. As the percussionist deliberately works his way up from near silence to dense and intense vibrations, skinning drum tops but consistently emphasizing the shrieks and drones from unyielding metallic pressure on cymbals, the pianist reacts with her singular strategy.

Holding her own, she initially cut through the static drone from Prévost's cymbals, gongs, triangles and other metal add-ons with keyboard stops and clips, inner-string strums, soundboard ringing and bellicose bottom board raps. Unexpectedly though, midway through the second meeting she introduces textures from the full range of the piano, carefully outlining single notes and creating an entire thematic melody. In both instances, a climax is reached as angled and undulating piano plucks and string stops complement the almost obdurate screeching buzz from strident cymbal pressure, then dissolves into responsive integration and equilibrium.

For nearly 60 years, during affiliations with multiple associates, Prévost has created unprecedented theory and practice of music. The accomplishment of this CD is how he does so while encouraging equally individual responses from other players such as Charbin.