The Squid's Ear Magazine


9!: None (-t) (Matchless)

The transnational ensemble of acoustic improvisers Nathaniel Catchpole on tenor saxophone, Elk calls, Jamie Coleman on trumpet, Alex James on piano, Ross Lambert on guitar, pocket trumpet, preparations, John Lely on piano, Sebastian Lexer on piano, Marianthi Papalexandri on moving objects, Eddie Prevost on percussion, and Seymour Wright on alto saxophone.
 

Price: $17.95



Quantity:

In Stock

Quantity in Basket: None

Log In to use our Wish List
Shipping Weight: 4.00 units

Sample The Album:


product information:

Personnel:



Nathaniel Catchpole-tenor saxophone, Elk calls

Jamie Coleman-trumpet

Alex James-piano

Ross Lambert-guitar, pocket trumpet, preparations

John Lely-piano

Sebastian Lexer-piano

Marianthi Papalexandri-moving objects

Eddie Prevost-percussion

Seymour Wright-alto saxophone


Click an artist name above to see in-stock items for that artist.




UPC: 786497527172

Label: Matchless
Catalog ID: MRCD54
Squidco Product Code: 25392

Format: CD
Condition: New
Released: 2003
Country: UK
Packaging: Jewel Case
Tracks 1-7 recorded at Gateway Studios, Kingston-upon-Thames on October 19th, 2002; other tracks recorded at Goldsmiths' College, London on January 25th, 2003.

Descriptions, Reviews, &c.

The transnational ensemble of acoustic improvisers Nathaniel Catchpole on tenor saxophone, Elk calls, Jamie Coleman on trumpet, Alex James on piano, Ross Lambert on guitar, pocket trumpet, preparations, John Lely on piano, Sebastian Lexer on piano, Marianthi Papalexandri on moving objects, Eddie Prevost on percussion, and Seymour Wright on alto saxophone. The first seven tracks are recorded in the studio in Kingston-upon-Thames in the UK in 2002, with three tracks captured live at Goldsmiths' College in London, 2003.


Artist Biographies

"UK tenor saxophonist Nathaniel Catchpole is a member of groups 9!, Conditions:, and Steve Reid Ensemble."

-Squidco 2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

UK trumpeter Jamie Coleman is a membmer of 9!, Coleman / Kasyansky / Wright, The Cinematic Orchestra, and Zero 7. He can also be heard on the Matchless compilation That Mysterious Forest Below London Bridge.

-Squidco 2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Pianist Alex James is a member of 9!, Conditions, and The Cinematic Orchestra.

-Squidco 2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Northern Irish guitarist Ross Lambert (19xx) has been involved in, initiated and been a connector between a wide variety of improvisatory music since his first exposure and immediate commitment to it in Sheffield via Derek Bailey during the mid-eighties. Although his work is painfully under-documented, he has collaborated with a huge number of musicians, including Ami Yoshida, Evan Parker, John Butcher, Jean-Luc Guionnet, Tetuzi Akiyama and Rhodri Davies - as well as his close friends Seymour Wright, Sebastian Lexer and Eddie Prévost."

-Inexhaustible Editions (http://inexhaustible-editions.com/artists/)
2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"I am a composer and musician based in London, UK. I write music and words, play objects and electronics, and curate music events.

I am interested in the variety of sounds, correspondences and experiences that can emerge through the use of limited sets of musical building blocks. My pieces explore sound, silence, proportion, process, perception and listening.

I am co-author, with James Saunders, of Word Events: Perspectives on Verbal Notation (Continuum 2012), a book about text scores.

Together with composers Tim Parkinson and Markus Trunk, I curate Music We'd Like to Hear, a concert series described by TEMPO as 'an oasis of thoughtful and idealistic music-making'."

-John Lely Website (http://johnlely.co.uk/)
2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

Sebastian Lexer is a UK pianist, improviser, researcher, and software engineer. His recordings can be heard on Matchless Records, Another Timbre, Fataka, and Dromos Records. He attended Goldsmiths College, University of London between 1995-2000.

-Squidco 2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Marianthi Papalexandri-Alexandri (b. 1974) is a Greek-born composer and sound artist working in Berlin, Germany, Ithaca, NY and Zurich, Switzerland. Papalexandri's works interweave the borderlines of sound art, musical composition, visual objects and performance and explore the factors that link these art forms. It is a work that challenges the production and perception of sound by questioning the instrument as a sound-generator as well as the type of sound production and behavior of the performer. The world of sound and the visual appearance of Papalexandri's works are in continuous interaction, while being uncompromisingly precise, pure and economical in their means.

Papalexandri obtained her BMus degree in music and MMus degree in composition ( MMus) from Goldsmiths College, University of London. Following postgraduate studies and research at the Universität für Musik und darstellende Kunst in Vienna (2008). She completed her doctoral studies in music composition (Ph.D.) at the University of California, San Diego (2008). In August 2016 Papalexandri joined the Cornell University Department of Music as Assistant Professor of Composition and Sound Art.

Over the last seven years, Papalexandri has created a series of works centered upon mechanical constructions, that allows her to acoustically activate musical instruments, objects and architectural elements and space presented in the context of composition, music performance, sound installation and sculpture. She is known internationally for her subtle sound constructions employing few means, which she makes both herself and together with Swiss-born kinetic artist Pe Lang. Their recent kinetic sound sculpture, Speaking of Membranes, is in the collection of Emma, Espoo Museum of Modern Art, Finland.

Selected by the Japan Media Art Festival and supported by Pro-Helvetia, Papalexandri's work have been exhibited internationally, including Asmolean Museum, Oxford, Museum of Musical Instruments Berlin; The Scheldonian Theatre, University of Oxford, Japan Art Fair, ISEA Hong Kong; Speelklok Museum, Ultrech; Long Night of Museums, Stuttgart; Standing Pine Gallery, Nagoya, Japan; Gallery Anhava, Helsinki; Mario Mazzoli Gallery, Berlin; Art Taipei; New Stephen Lawrence Gallery, London; ICI Institute of Cultural Inquire, Berlin; Kunsthalle Freiburg, Germany; Center d'Art Monica, Barcelona; Kunsthal Aarhus, Denmark; San Francisco Art Institute; Tokyo Yebis International Festival for Art; Biennale del Disegno di Rimini, Italy; Transmediale, Berlin, Martin-Gropious- Bau Museum, Berlin, Donaueschingen Festival- Museum Art Plus, and Venice Biennale of Architecture.

Papalexandri's music has been commissioned and premiered all over the world by ensembles, such as Neue Vocalsolisten, Klangforum Wien, Ensemble SurPlus, Ensemble Mosaik, Yarn /Wire, Ensemble Dal Niente, Ensemble Scenatet, the San Francisco Contemporary Music Players, the Wet Ink Ensemble, Quartet New Generation, Orkest de Volharding, the London Improvisers Orchestra, the Hellenic Ensemble of Contemporary Music, Ensemble dissonArt, Hidden Mother, Ensemble This/Ensemble That, amongst others, and featured in festivals such as MaerzMusik Festival, Berlin; the ISCM World Music Days, Stuttgart; Ultrashall, Berlin; ZKM, Karlsruhe; impuls, Graz; De Bijloke, Yerba Buena Center for the Arts, San Francisco; Dialogue Festival, Salzburg; Carlsbad Music Festival, Los Angeles; ECLAT Festival, Stuttgart; SPOR Festival, Aarhus; Audiograft Festival, Oxford; Concertgebouw Brugge; Athens Concert Hall; Tzlil Meudcan Festival, Tel Avil; Darmstadt; Gaudeamus Festival, Amsterdam; Issue Project Room, New York; Wien Modern and MATA New York.

The recipient of the Humboldt-University of Berlin: Cluster of Excellence International Fellowship (2015), Papalexandri has been honored by numerous awards, residencies and grants, including the Ernst Von Siemens Foundation Commission (2016), the Berlin Senate Sound Art Grant (2016), the Swedish Arts Council Composition Grant (2016 & 2015), the Berlin Senate Composition Grant (2011), a residency at the Akademie Schloss Solitude, Stuttgart (2011-2012), the International IMPULS Composition Award (2009), a residency at the Electronic Music Studios, Sweden (2008), the Dan David Prize for Contemporary Music (2007), the Darmstadt Stipendienpreis (2006), the Erickson Composition Fellowship (2004), the Kurt Weill Composition Fellowship and the Gluck Art Fellowship (2004). In 2017 Papalexandri will be a sound artist in residence at the International House of Artists Villa Corcodia Bamberg Germany and at St John's College, University of Oxford.

Current commissions include works for cellist Séverine Ballon - ECLAT festival, Chamber Curious Players, Quiet Music Ensemble, Klangforum Wien and a solo CD album to be released in 2018 by Japanese record label Matter."

-Marianthi Papalexandri Website (http://marianthi.net/marianthi.html)
2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"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)
2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Seymour Wright - saxophonist, investigator, artist - lives in London. His practice is about the saxophone - music, history and technique ­- actual and potential; an on-going, rigorous and exhaustive exploration of the instrument. The energy of this learning is applied to various collaborations and contexts to access/share what he has called the 'awkward wealth of investigation'. His work is documented on two widely acclaimed self-released collections Seymour Wright of Derby (2008) and Seymour Writes Back (2015). As well as STEPS, his current collaborations include lll人 (with Daichi Yoshikawa and Paul Abbott), GUO (with Daniel Blumberg) and XT (with Paul Abbott)."

-Cafe Oto (https://www.cafeoto.co.uk/artists/seymour-wright/)
2/28/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. (-n) 1 (-t) 12:45

2. Tone (-n) 5:24

3. Non, Et 4:48

4. (-n) O (-n) Et 3:48

5. (-n) Onet 8:12

6. Tenon 7:25

7. N (One) T 8:01

8. No (Net) 7:32

9. To Ne N 6:14

10. Ten:On 9:37

Related Categories of Interest:


Matchless
Improvised Music
Free Improvisation
Large Ensembles
London & UK Improv & Related Scenes
Objects and Home-made Instruments

Search for other titles on the label:
Matchless.


Recommended & Related Releases:
Charbin / Prevost
The Cry of a Dove Announcing Rain (Two Afternoon Concerts at Cafe OTO)
(Matchless)
Two unfolding, extended sets from a 2022 concert at Cafe OTO by AMM legendary percussionist Eddie Prévost and French pianist based in London, Marjolain Charbin, the pianist playing inside and out her of instrument augmented by objects, Prévost creating sonic environments through cymbal bowing and scraping, as the duo evolve into high motion and withdraw into suspenseful beauty.
Butcher / Prevost
High Laver Levitations Vol 1: Unearthed
(Matchless)
Long-time collaborators and iconoclastic improvisers, drummer Eddie Prévost and saxophonist John Butcher, met at All Hallows Church, in High Laver, Essex in 2023, using the natural ambience of the space to capture these three improvisations, Prévost playing primarily on a drum kit and both in a more jazz-oriented sax and drum duo, extended by both players' exceptional technique.
Wooley, Nate / Mutual Aid Music
Four Experiments [4 CD BOX SET]
(Pleasure of the Text Records)
Engaging an expanded version of the ensemble from his Mutual Aid Music, trumpeter Nate Wooley provides scores for his players in various configuration that challenge concepts of group composition, instrumental sound and resonance, idealized tones and the human voice, the development of melody and harmony in compositions, &c.; performers include Wooley, Seymore Wright, John McCowen, Gabby Fluke-Mogul, Cory Smythe, Luke Stewart, Eric Wubbels, &c.
AMM (Rowe / Prevost + Tilbury)
Last Calls
(Matchless)
To celebrate drummer/percussionist Eddie Prévost's 80th birthday, Café Oto hosted four concerts once a week in June, 2022, each a differing configuration from Prévost's history; this final concert reconvened for an extended improvisation between Prévost & guitarist Keith Rowe, with a "Postscript" from pianist John Tilbury recorded at his home in January, 2023.
Butcher / Charbin / Kanngiesser / Prevost
The Art Of Noticing
(Matchless)
"To celebrate drummer/percussionist Eddie Prévost's 80th birthday, Café Oto hosted four concerts once a week in June, 2022, each a differing configuration from Prévost's history; this 2nd concert brings together Prévost, Marjolaine Charbin (piano), Ute Kanngiesser (cello) and John Butcher (sax), the same group that recorded the contemporary album Sounds of Assembly on the Meena label.
Lely, John / Apartment House
Meander Selection
(Another Timbre)
A diverse set of compositions by London composer, performer and improviser John Lely performed by the UK ensemble Apartment House, demonstrating the spectrum of Lely's work across string quartets, solo piano works, a solo electronic piece, and a work for violin, two violas & cello; works of cohesive direction across a variety of approaches and interests.
Lely, John / Apartment House
Meander Selection
(Another Timbre)
A diverse set of compositions by London composer, performer and improviser John Lely performed by the UK ensemble Apartment House, demonstrating the spectrum of Lely's work across string quartets, solo piano works, a solo electronic piece, and a work for violin, two violas & cello; works of cohesive direction across a variety of approaches and interests.
Prevost, Eddie
Collider: Or, Whose Drum is it, Anyway?
(Matchless)
A series of impressive improvised solo drum performances by AMM/Matchless leader Eddie Prévost performed at Network Theatre in London, 2012, three pieces with each demonstrating a different characteristic of his remarkably creative and technically virtuosic playing, first with drum sticks, then with "Hands, brush, hands", and finally "Sticking it too".
Musson / Moore / Brice / Prevost
Under the Sun
(Matchless)
Quartet, the masterful grouping of Rachel Musson on tenor sax, NO Moore on electric guitar, Olie Brice on double bass and Eddie Prévost on drums, an improvising ensemble of wonderfully unpredictable momentum, from passages of quiet introspection to thunderous density, but always with attentive listening and imaginative responses, heard in this spectacular 2021 concert at Iklektic.
Ikeda, Ken / Massimo Magee / Eddie Prevost / Joshua Weitzel
Easter Monday Music
(577 Records)
Two extended free electroacoustic improvisations in the AMM/London Improvisation Workshop vein, recorded live at London's Cafe OTO: first a prelude in the duo of Massimo Magee on electronics & saxophone and Joshua Weitzel on the 3-string Japanese shamisen; then expanded to a quartet with percussionist Eddie Prevost and Ken Ikeda on synthesizer.
Edwards, John / N.O. Moore / Eddie Prevost / Alan Wilkinson
EMPoWered
(577 Records)
A live performance from London's I'klectik by British musicians John Edwards (double bass), N.O. Moore (guitar), and Eddie Prévost (drums), who have a long-standing history as a trio known for both energetic playing and extraordinary introspection, here expanded with saxophonist Alan Wilkinson for two outstanding performances of technical mastery and deep communication.
Allum, Jennifer / John Butcher / Ute Kanngiesser / Eddie Prevost
Sounds of Assembly
(Meenna)
Assembled in London to improvise music for Stewart Morgan's film Eddie Prevost's Blood, this release adds much more material beyond the soundtrack, in a superb example of free and charged creative improvisation seeking unique combinations of expression, from Jennifer Allum on violin, John Butcher on saxophones, Ute Kanngiesser on cello and Eddie Prevost on percussion.
XT (Wright / Abbott)
Deorlaf X [VINYL]
(Otoroku)
An unusual sax and drum duo from saxophonist Seymour Wright and percussionist Paul Abbott, taking recordings from a dozen years of their work together and assembling, mixing and re-recording them into these two impressive works of "mutated multiphonics and triggered percussion" offset with periods of reflection; startling, unexpected, amusing, awe inspiring.
Brice, Olie / Binker Golding / Henry Kaiser / N.O. Moore / Eddie Prevost
The Secret Handshake with Danger Vol. One
(577 Records)
A merging of free jazz and free improvisation in the UK/US West Coast quintet of legendary AMM drummer Eddie Prévost, guitarist Henry Kaiser on "ismguitar", N.O. Moore on "guitarisism", Blinker Golding on saxophone and Olie Brice on double bass, in a rollicking album of electric jazz recorded in the studio in London for two exhilarating "Doors" of quick shifting improv.
Crispell / Prevost / Smith
ConcertOTO
(Matchless)
American pianist Marilyn Crispell joined London Improviser's Orchestra saxophonist & clarinetist Harry Smith and AMM drummer Eddie Prévost for this 2012 concert at London's Cafe OTO, playing in a melodic free jazz mode of passionate interaction and deep communication, resulting in an unforced and naturally masterful set of thoughtfully lyrical improvisation.
Kordik / Lucas / Prevost
High Laver Reflections
(Matchless / Earshot)
The Earshots duo of Daniel Kordik on modular synthesizer and Edward Lucas on trombone reprise their meeting a year earlier with free improvising percussionist and AMM legend Eddie Prévost, drawn by the natural resonance of the All Saints Church in Essex, England, recording these electroacoustic improvisations of astonishing sonic properties and astounding technique.
Moore / Prevost / Yarde
Nous
(Matchless)
A concert by drummer Eddie Prˇvost, electric guitarist N.O. Moore, and saxophonist Jason Yarde on alto & soprano recorded at the Vortex Jazz Club, in London, Moore deploying effects and Yarde using electronics to create subtexts of sounds, especially on the extended 25 minute "Impossible Meaning" where unusual structures meld with the acoustic free playing.
Prevost, Eddie
An Uncommon Music For the Common Man [BOOK]
(Matchless)
Percussionist, Improviser and AMM founding member Eddie Prévost's fourth book presents a fascinating series of reflections and challenging insights on music in its various forms, and the development of improvised music at the intersection of contemporary compositional and conceptual forms; alongside a personal history of Prevost's life and his relationship with music.
Formanex w/ AMM / Christian Wolff / Keith Rowe / Ralf Wehowsky / John Tilbury / Phill Niblock / ONsemble / Seth Cluett / Radu Malfatti / Michael Pisaro / Julien Ottavi / Kasper T. Toeplitz
20 Years Of Experimental Music [10 CDS]
(Mikroton Recordings)
Their first release in 2000 performing Cornelius Cardew's "Treatise", for 20 years the Formanex quartet of sound artists, conceptualists and experimenters Anthony Taillard, Christophe Havard, Emmanuel Leduc, and Julien Ottavi are heard here in collaborations with Keith Rowe, Kasper T. Toeplitz, Ralf Wehowsky, Seth Cluett, Michael Pisaro, Radu Malfatti, &c.
Parker, Evan / Eddie Prevost
Tools Of Imagination
(Listen! Foundation (Fundacja Sluchaj!))
An awe-inspiring concert between two of London's free improvisation legends, recording at Pardon To Tu [Teatr Nowy Clubroom] in Poland--percussionist Eddie Prevost and saxophonist Evan Parker on tenor sax--in an hour-long performance that starts with Prevost's reverberant bowed metal, as the two build and recede with profound concentration and masterful skill.
Butcher, John / Eddie Prevost
Visionary Fantasies
(Matchless)
A series of inspired solo and duo performances from AMM founder, percussionist Eddie Prevost and free improvising saxophonist John Butcher, captured live at London's Iklectik in 2018, splitting the album between solo and duo work as the two morph their instruments into incredible sonic devices, with intense concentration and dialog nothing short of fantastic.
Ikeda / Prevost
The Whole Moon Rests in a Dewdrop on the Grass
(Matchless)
Performing live at Cafe OTO in London, 2018, Japanese sound artist and composer Ken Ikeda comes together with percussionist and Matchless label-leader Eddie Prevost for a concert of resonant, rich improvisation, Ikeda's electronics complementing Prevost's bowed cymbals as the duo builds to a diverse offering of powerful yet controlled sonic uproar; stunning.
Moore / Edwards / Prevost
Darkened, yet shone
(Matchless)
Combining free improvisation, free jazz, rock, and electronic/EA-improv, the trio of Eddie Prevost (drums), NO Moore (guitarist), and bassist John Edwards are caught live at IKLECTIK in London, 2017, for a concert that changes pace from vigorous riffs to unconventional introspection, with masterful playing and profound technique, an exceptional performance.
Parker, Evan / Seymour Wright
Tie the Stone to the Wheel
(Fataka)
A meeting between two accomplished saxophonists recorded live at Kernel Brewery, in London in 2014, and at The Studio in Derby, with Seymour Wright on alto saxophone and Evan Parker on both alto and soprano, criss-crossing and combining in exuberant and astonishing ways.
AMM
Spanish Fighters
(Matchless)
Recorded at the festival Neposlusno (Sound Disobedience) in Ljubljana, Slovenia in 2012, the AMM duo of Eddie Prevost on percussion and John Tilbury on piano perform an extend improvisation of tension and dynamic, delicately balancing sound in a rich dialog.
Schlippenbach / Parker / Edwards / Prevost
3 Nights at Cafe Oto
(Matchless)
Presenting 3 CDs, a DVD, and a solid 80-page book of images and text, capturing 3 nights at Cafe Oto from the trio of Evan Parker (tenor sax), John Edwards (double bass), and Eddie Prevost (drums), joined one night by Alexander v. Schlippenbach, and another night by Christof Thewes.



The Squid's Ear Magazine

The Squid's Ear Magazine

© 2002-, Squidco LLC