"Born Ilford,East London, 22 August 1955; soprano, alto and baritone saxophones, voice.

After a short period in Manchester, deciding that the possibilit of a career in librarianship was not for him, Alan Wilkinson moved to Leeds in 1975 to undertake a Fine Arts degree, concentrating on painting. Shortly after completing his degree he began playing the alto saxophone and joined the group Crow with Mathew Coe (aka Xero Slingsby), Richard Ward, and long-time associate, drummer Paul Hession. Following a short tour of Belgium and Holland, he decided to quit painting and concentrate on the saxophone. In 1979 he formed the group Art, Bart & Fargo with Hession and tenor sax player Pete Malham,experimenting with playing a wide range of other instruments, mainly percussion, and mixing composition with pure improvisation. After playing in England, Belgium and Germany the trio disbanded after three years.

In 1982 Wilkinson attended the Improvised Music Summer School in South Wales and this introduced him to musicians such as Peter Brötzmann, Barry Guy, Fred Van Hove, Keith Tippett, Phil Wachsmann and Radu Malfatti among others. This led directly to gigs on the London improvised music scene, a trio with Paul Hession and Japanese pianist Akemi Kuniyoshi, and many gigs with drummer Steve Hubback in a wide variety of combinations. In 1983, in duo with Hession, he appeared at the 10th annual Free Music festival in Antwerp, Belgium and at the Holland Art Initiative in Eindhoven. The same year he was among the original organisers of the Termite Club in Leeds, specialising in improvised and experimental music and performing arts. A trio with Steve Noble and Tony Moore existed from 1985 to 1988, having toured in Britain, Belgium, Holland and Denmark and in 1985 Wilkinson also joined the large improvising ensemble The Ubiquity Orchestra. From 1987 to 1989 Wilkinson's activities included a widely toured quartet with Willi Kellers, Christoph Winckel and Alex Maguire (through to 1992); a tour of England and Wales with Phil Durrant, Thebe Lipere, Will Evans, Louis Moholo and Keith Tippett; gigs with Mick Beck's large group Feet Packets; and a tour of England with Alex Maguire's nine-piece Cat o'Nine Tails.

Alan Wilkinson has been invited to play in Derek Bailey's Company on a number of occasions, firstly in 1987 on a tour of Switzerland and Italy with Steve Noble, Barre Phillips and Ernst Reijseger; again in 1988 at the ICA in London in a Company Week which included Dennis Palmer, LaDonna Smith, Gregg Bendian and Milo Fine; and in 1993 he helped organise and participated in Company Week at the Place Theatre with, among others, Don Byron, Robyn Schulkowski, Ikue Mori and Phil Minton. Other associations have included a stint with the John Law Quartet; playing with the London group Ya Basta; Real Time, with artist Gina Southgate and drummer Mark Sanders joined occasionally by Maggie Nicols or Susanna Ferrar. He has also played solo gigs since 1991.

Alan Wilkinson is probably best known as a member of the take no prisoners Hession/ Wilkinson/Fell trio formed with the addition of Simon Fell to the longstanding duo in 1989. Though perhaps correctly typified as a high energy power trio - starting loud and then opening the throttles - and the recorded evidence goes some way to support this proposition, there are not only areas of respite in the playing but also an interest in fitting the group into new situations. For example, in 1996 a short UK tour took place in June with US guitarist Joe Morris (with a CD forthcoming on Incus); and in November the trio appeared in an incendiary, ear-numbing, exhausting and hugely enjoyable interchange with Derek Bailey at the annual Termite Festival in Leeds: a gig that the organiser's attempted unsuccessfully and on several occasions to end prematurely (this being Sunday night in a pub in the UK), finally resorting to flashing the room lights and talking loudly; Derek Bailey, having been sat head down in concentration for the uninterrupted 40 minutes of the second piece then looking up blinking, seemingly surprised at the near panic. The following night, Wilkinson and Fell undertook a four date tour of the UK with a quartet completed by Peter Brötzmann and Willi Kellers, reprising a similar tour by the same musicians in 1994."

"NO Moore's guitar playing combines elements wrenched from the short history of the electric guitar, from the Blues to Free Improvisation, and combines them with a love of early electronic experimentalism, synthesis, and musique concrète. The result is an often surprising sound world for electric guitar, encompassing both a loose respect for its traditions and an absolute commitment to the new and the consequences that follow."

"After taking up the bass, around 1987, John Edwards co-formed The Pointy Birds who went on to win awards for their music for The Cholmondeleys and Featherstonehaughs dance troupes. The group appeared at festivals in Glasgow, Edinburgh, Moers, Leverkusen, Copenhagen. Around 1990, Edwards played his first gigs with London improvisers such as Roger Turner, Lol Coxhill, Maggie Nicols, Phil Minton.

Between 1990 and 1995 Edwards was a member of three touring groups simultaneously: B-Shops For The Poor, The Honkies and GOD. During this period he also became an increasingly regular player on the London improvised music scene and performed his first solo gigs; he composed and performed music theatre with the bass and cello duo The Great Explorers, street-busked a lot and appeared at many more festivals in Germany, Estonia, France, Italy, Czech, etc.

Since 1995 John Edwards has become a "mainstay" of the London scene, playing with just about everybody, an activity that has seen him clocking up between 150 and 200 gigs a year. He has become regular player with Evan Parker, in many groupings, and with Tony Bevan, Veryan Weston, and Elton Dean, often in collaboration with Mark Sanders on percussion. He has become a more frequent player on the European (and festival) scene, appearing at Taktlos, Ulrichsburg, Nickelsdorf, Budapest, New Zealand and in the USA. He continues to work on solo performances."

"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."