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viewing 1 To 25 of 26 items
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DVD-AUDIO
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MRDVD02
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Featured works: Patterns in a Chromatic Field (1981) and Piano, Violin, Viola, Cello (1987). "As these performances of Patterns in a Chromatic Field and Piano, Violin, Viola, Cello amply demonstrate, however well we think we know Feldman through his statements, his music is impossible to carry in your head and remains essentially unknowable. 'Essentially' in the sense of: that is the essential thing about it. The basics are simple enough. Composed in 1981, Patterns in a Chromatic Field is for cello and piano. Feldman prefaces his note with: 'Take an object/Do something to it/Do something else to it/Do something else to it' before outlining the patterns he places within a 'chromatic field': the raw data of pitch groups, time signatures and chord durations. Piano, Violin, Viola, Cello was his last piece. The motifs are arguably sparser, and certainly there are less of them than Feldman typically used; but the relationship between text and sound remains characteristically inscrutable. The published score has 34 pages paginated with orderly consistency: three systems, each with nine bars. But this visual uniformity bears no correlation to what we hear. Displaced, changing time signatures and double-bar repeats torpedo the rationality of the grid. Into that equation factor in those imponderables of structure and sound I mentioned in relation to Patterns in a Chromatic Field, and a fundamental truth about Feldman's music emerges -- however faithfully one analyses his scores, however forcefully Feldman persuades us that his music could be a sonic adjunct to the New York School painters he admired, experiencing his sounds is always quite different. " --Philip Clark
Format: DVD-audio disc, can only be played on a DVD player or computer. European PAL format only, region free.
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MRCD84
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Sebastian Lexer (piano) and Christoph Schiller (spinet).
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2CD
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MRCD80
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Performed by Frédéric Blondy - piano; Bertrand Denzler - tenor saxophone; Jean-Luc Guionnet - alto saxophone; Jean-Sébastien Mariage - electric guitar; Edward Perraud - drums & percussion. "Since 1999, Hubbub has played in France, England, Belgium, Switzerland, Canada, USA, Portugal, Serbia and Austria, at Festivals like FIMAV (Victoriaville), VTO (Toronto), Freedom of the City (London), NPAI (Parthenay), Fruits de Mhère (Brassy), Densités (Fresnes-en-Woëvre), Jazz à Mulhouse (Mulhouse), Jazz em Agosto (Lisbon), Ulrichsberger Kaleidophon (Ulrichsberg) or Ring Ring (Belgrade) and has released the CDs UB/ABU on For 4 Ears (Günter Müller's label), Hoop Whoop and Hoib on Matchless Recordings (Eddie Prévost's label) as well as a DVD-R on ? dans l'O (Patrick B?uf's label). The new Hubbub album is a double CD called Whobub with a live recording and a studio recording."
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MRCD79
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Jennifer Allum (violin) and Edwin Prévost (bowed percussion) perform on four tracks: "Investigative Study" in three parts (recorded July 13, 2010 at The Welsh Chapel, London) and "Dolwilym Penumbra" (recorded Oct. 12, 2010 at the Mwnci Studios, Wales). "The co-bowed industry recorded here sounds exactly as you will discover, contingent on your subsequent listens. It interrogates, employs and deploys a common system -- the bow and its range of purchase. The bows here-used follow parallel clines of provenance, from the generic to the unique. Jennifer Allum alternates two, a 17th century German and a 'conveyor-belt' bow. Eddie Prévost switches between a similarly mass-produced model and two boys of historic largesse, gifts from his friends, and erstwhile AMM colleagues, Lou Gare and Lawrence Sheaff."
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CD
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MRCD76
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"The late Paul Rutherford, Harrsion Smith, Tony Moore (cello) and Eddie Prevost; this is a newly discovered recording of a concert given in Bristol in 1992."
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2CD
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MRCD75
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"'Experimental jazz' with Seymour Wright (alto saxophone), Ross Lambert (ele.guitar), Eddie Prevost (drums). Live at Café Oto, 8th February 2009."
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MRCD74
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"The piano is doomed, in my opinion, said the younger.
The piano-tuner also, said the elder.
The pianist also, said the younger." -- Samuel Beckett in Watt
"I no longer share Beckett's gloomy prognosis." -- John Tilbury, May 2009
"I am impressed by the varying degrees of intentionality and the spatial deployment of sounds (isolated, remote, etc.) which enrich Lexer's music. Shades of Cardew and Wolff. For example, in an ensemble the piano sound can be effectively subsumed, not obliterated, into the context; different degrees of presence, from the soloistic to a situation where its contribution is barely perceived but none the less telling -- overheard rather than heard, working in the nooks and crannies, fleetingly emerging from time to time. Lexer aims to expand performance by making studio techniques available on stage and including electro-acoustic techniques in live performance -- making the physically impossible possible. Decay and the way it is extended and metamorphosed through electronic treatment. Lexer's music comprises and juxtaposes the whole repertoire of tones, and noises, associated with the piano. All those sounds just faintly associated with the piano are brought into focus and brought to musical life. The piano creates its own delicate accompaniment of quasi aleatoric, electronic noises; these subsidiary 'noises' are always interesting. Lexer's piano is a kind of Pandora's Box; this intrigues me." -- John Tilbury
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MRCD72
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Seymour Wright (alto saxophone); Eddie Prévost (roto toms). Recorded at Trinity School of Music, Greenwich, England on 2nd April 2008. "The idea of music can inhibit musical development. The musical practice that Seymour and I share, and aspire to develop, is the experimental. It is an open engagement with the materiality, in our case especially materials that can make sounds. It is, I suggest, a mixing of materiality without general sensibility of enquiry. We wish to know the nature of things, we wish to invest ourselves into the nature of things. We observe responses to sounds and we want to develop a processive philosophy in which the investigative ethic is given full rein. We know from our experience that new human relationships can develop within such a collaborative practice. This is the art to which we apply our imaginations." --Eddie Prévost
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MRCD70
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New Matchless 3 track compilation, including a new 25-minute AMM (Prévost/Tilbury) track. Also features the quartet of: Chant/Lambert/Lexer/Milton (Tom Chant: soprano and tenor saxophones; Ross Lambert: guitar; Sebastian Lexer: piano and laptop; Matt Milton: violin) and the trio of Coleman/Wastell/Wright (Jamie Coleman: trumpet; Mark Wastell: Indian harmonium; Seymour Wright: alto saxophone. Total playing time (68:28). An Interlace/Ongaku presentation at Shunt Lounge, London Bridge on 9th November 2006.
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MRCD68
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Studio duo recordings from 2006 by AMM's Eddie Prévost (drums) & Alan Wilkinson (alto & baritone saxophones); Wilkinson is a vetern UK improvisor, best know from the Hession/ Wilkinson/Fell trio. "It is hard to think of an album of saxophone and percussion duos without thinking of John Coltrane's and Rashied Ali's Interstellar Space. It is a magnificent piece of music, and a constant challenge to those who have followed. But it also acts as a barrier, not necessarily to musicians, certainly to those who listen to and cherish music. Coltrane's late opus numbers were the product of a spiritual quest that seemed tinged with a Faustian urge to know everything. The association with Ali took him out beyond the basic time-codes of jazz, then Western music, then any other systematised metrical language. To some extent, without in any way explicitly addressing Interstellar Space, Prévost and Wilkinson have responded to it by bringing their language back into a human realm, to a space in which the specifics of making a particular sound at a particular moment is more important than the metaphysical import of those sounds, and to the excluded middle of what can only be called 'ethical' music-making. That is not to say, music with a moral function or conclusion, but rather music that addressed itself to the fundamental ethical question, which is how we address each other, how we communicate needs, desires, concerns and ambitions, and how we make that language available to others as an ongoing discourse."
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2CD
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MRCD63
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A series of solo saxophone performances, featuring: John Butcher, Nathaniel Catchpole, Kai Fagaschinski, Lou Gare, Evan Parker and Seymour Wright. Recorded at a concert given at 291 Gallery, Hackney, London, England on 9th January 2005 an ONGAKU: enjoy_sound production.
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CD
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MRCD60
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Third CD from this French improvisational group, featuring: Frédéric Blondy, Bertrand Denzier, Jean Luc Guionnet, Jean-Sébastien Mariage, Edward Perraud. 2nd release on Matchless, they also have a CD on For Four Ears. "From a line, and from's it's slowness, that vibrates, that, trembles, I say, that it is, no more talkative, than a cloud, of its likeness, or than a, gust of wind, in the trees, Now, felling, compelled, to produce words, I say, that it is no, more silent, than a fearful dog, than a satisfied cat, or, than a disturbed, cow, then all bark, purr, or moo, One calls, and the world, answers, One keeps silent, and the world, calls us. This is to be, at the heart, of a line, that vibrates, that trembles, The line dwells, on the side, of the, w o r l d."
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MRCD56
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Studio recordings from Nov. 2003. With Tom Chant: (tenor saxophone/bass clarinet) and John Edwards: (double bass). In respect to Italo Calvino's Mr. Palomar.
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MRCD55
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Nathaniel Catchpole (tenor saxophone); Jamie Coleman: (trumpet); Alex James (piano); John Edwards (double bass); Eddie Prévost (drums).
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MRCD54
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Improvisations by large London based ensemble: Nathaniel Catchpole (tenor saxophone/elk calls); Jamie Coleman (trumpet); Alex James (piano); Ross Lambert (guitar/pocket trumpet/preparations); John Lely (piano); Sebastian Lexer (piano/computer); Marianthi Papalexandri (moving objects); Eddie Prévost (percussion); Seymour Wright (alto saxophone).
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MRCD53
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Improvisations by Paris based ensemble: Frederic Blondy, Bertrand Denzler, Jean-Luc Guionnet, Jean-Sebastian Mariage and Edward Perraud.
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MRCD49
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Sakada is: Mattin (computer feedback), Rosy Parlane (computers and radio) and Eddie Prevost (percussion). "Undistilled was recorded at live performances in London and Rotterdam in 2002. Components are a restricted range of percussion (Eddie Prevost), electronic sounds confected earlier for intuitive, tweaked release (Rosy Parlane), and nervous hyper-attention to every noise present, allowing spontaneous digital transfiguration of some (Mattin). The product is a formidably dense mesh of textures and a subtle alignment of urgency and stasis, persistence and interruption. A sound-body exalting in its raw and varied outer abrasions, tormented by heaving intestinal bass and pierced irregularity by silver screeches, yet somehow concealing a few inner surfaces of all but languid smoothness. Needless to say (or to continue demonstrating), it Is wholly incommensurable with any attempt at verbal description."
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2CD
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MRCD51
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Early Christian Wolf piano music (written 1951-61), performed by: John Tilbury & Christian Wolff (pianos), Eddie Prevost (percussion). Studio recordings from 2001/2. "During the period when these works were composed (1951-61), Christian Wolff was closely associated with John Cage. Morton Feldman, Earle Brown and David Tudor (they are sometimes referred to together as the New York School'). Feldman later remarked that he was profoundly indebted to Christian Wolff ('I think of him as my artistic conscience')... First impressions may be of a music unlike any other: abrupt, delicate, astringent, enigmatic, disconcerting. The effect is as of isolated objects in space, sounds which seem to come from nowhere and lead nowhere, appearing and disappearing unpredictably, framed by silences. Attention is drawn to the immediacy of each sound. The ear is finely tuned to precise details, a microscopic world in close-up. Expectations derived from other kinds of music are not much help here; one is encouraged to listen afresh, with special alertness, as in unfamiliar territory, searching for clues. Technically, the music arises directly from the mechanical action of the piano and emphasises its percussive character. The sounds are not joined up in familiar ways, the pedal is not used to give continuity, there is no legato phrasing, no illusion of the 'singing line'; instead there is a sharpness of attack, a stark exposure and isolation of individual sounds. The use of preparations enhances this impression: a method developed by Cage in the 1940s of transforming the sounds of the piano by the insertion of small objects (screws,, coins, wedges, wood, rubber and other materials) between the strings. The sounds are altered in a variety of ways, in terms of pitch, timbre and resonance; new timbral qualities are discovered, reaching out into the diverse sound world of percussion instruments."
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2CD
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MRCD47
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"CD1 features: Bark!, Eddie Prevost solo, Particles, Romuald Wadych and Denis Dubovtsev. CD2 features: The Eddie Prevost Trio (with Tom Chant and John Edwards), Yann Charaoui, John Lely and Seymour Wright, John Tilbury and Evan Parker." "The Evening: The little official, institutional or media recognition (to examine the equivalence which is taken for granted between these three adjectives reveals plenty of horrors) which is (not) enjoyed by free improvisation sends its defenders into habitual errings of groupuscular logic. There's nothing new under the sun, in the arena of polemics concerning the presumed parallels (or lack thereof) with (free) jazz, everyone is right and wrong at the same time, because there is no one improvised music or one (free) jazz, and from the start one can say everything about nothing or vice versa -- it is rare to hear Eddie Prévost's remark to Derek Bailey cited: 'They criticised us by saying 'that's not jazz' -- in an important sense, these remarks were completely erroneous.' The founder of AMM is not dogmatic. We cannot now explore in depth the implications of this spiny 'in an important sense', but Eddie Prévost's music will illustrate it this evening some ten years down the road." --Philippe Alen
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MRCD43
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Eddie Prevost (drums) with Tom Chant (soprano saxophone) and John Edwards (double bass). Recorded at at Gateway Studios, England on 8/28/00.
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MRCD42
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Yann Charaoui (cymbals and table top samplers), John Lely (piano and prepared bal-bal tarang), Seymour Wright (alto saxophone). "The new austerity on the first CD from the young exponents of the growing art of improvisation...in the year 2000, this approach in which traditional musical instruments are twisted into complex sound transformers which match the new sound sources available from the burgeoning electronics and computer sciences has become a medium in its own right." -- Eddie Prévost.
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MRCD08
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"Peter McPhail (soprano saxophones, flute); Tony Moore (double bass); Eddie Prevost (drums). Re-release of an LP first issued in 1986 together with additional material.
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2CD
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MRCD38
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Such is the trio of Yoshikazu Iwamoto (shakuhachi), John Tilbury (piano), Eddie Prévost (percussion). This double CD consists of one 151-minute continuous piece of beautiful Morton Feldman-inspired minimal driftage. "In this recording session, right from the start one confronts aural magic. John Tilbury is one of the most outstanding interpreters of Morton Feldman's music and one hears a certain Feldmanesque sensibility in the extraordinary way the piano sounds are placed in time and the unique quality of his touch. How wonderfully this complements Yoshikazu Iwamoto's contributions that seem to encase the spirit of bamboo and to draw us into the silence at the heart of the Buddhism. Eddie Prévost by his presence, draws everything together into an indivisible whole, through responses that have been honed from years of working in free or improvised music, where the freedom and openness have always triumphed over narrower and more provincial stylistic considerations. It offers an inspiration to our own aspirations as listeners to find what it is to be simply human...it requires a quieter courage, the courage of kindliness, sensitivity, thoughtfulness, mutual respect, listening as well as playing, supporting, taking a chance, working together. These are all qualities at the heart of the music recorded on this CD. We should cherish them." -- Frank Denyer.
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MRCD37
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Eddie Prevost (drums) & Veryan Weston (piano). Recorded in England, 5/98, mixed by Evan Parker. "'Beauty as an Ear Thing' is a meticulous exploration of texture, full of soft explosions, the reverberant ring of spinning metals, and overtones that glow like embers, dying into silence; this music wouldn't be misplaced on an AMM disc. 'Clustered' rebuilds something out of the emptiness. The dislocated rhythmic feel is like an abstraction of something Monk and Max Roach might have played together. 'Fingers and drums' also conveys the sense of inventing almost from scratch, asking 'what material?' and digging into it to find out. Finally, 'Hammer and Tonic' a roaring thing, leaps from the starting gate as if all questions were resolved long ago..." -- Steve Lake.
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MRCD21
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Improvising ensemble from UK in a somewhat similar vein to AMM.
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viewing 1 To 25 of 26 items
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