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1 | The Sound of Indifference | 46:52 |
..."as I listened more deeply to the recording, I became more and more conscious of the pauses and the offstage noises, and also of the lack of audience response. Many of the cues that improvising musicians respond to were not there. I began to recall the psychology of the event. The vast cavern of the then unmodified Roundhouse - a huge Victorian brick domes building that had previously been a railway turning shed - was (at least for our concert) all but devoid of an audience. In the silences and pregnant pauses that were a characteristic of our performances you can hear doors swinging open and closes, a child's voice echoes in the distance, and there are other indistinguishable human murmuring and nameless isolating clonks. At the end of our performance - nothing. No applause, no cat calls. Merely the sound of empty indifference." - Eddie Prevost.
"Music from half a lifetime ago - that was a very good creative time musically and maybe a new generation will appreciate what we are doing then and are still doing now. Playing with Eddie in that format, just the two of us, was my most rewarding experience after the breakup of the AMM quartet. I could not go back after the freedom of the duo." - Lou Gare.
"Music with unusual qualities… very searching and balanced… no free jazz excursions… just the AMM connection, but with only two acoustic instruments. All about colour and minimal energy. Beautiful! And a very early example of what is later during the 2000´s happening in the world of improvised music and minimal improv…" - Discaholic Corner.
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Lou Gare / tenor saxophone
Eddie Prévost / drums
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Recorded at the International Carnival of Experimental Sound, or ICES 72, held at the Roundhouse. Also released on CD by Anomalour Records in 2003.
A founder-member of AMM (1965-2022)
“[Eddie Prévost’s] is one of the greatest metallurgists that music has produced. […] sparks delicately arcing through the air, of slow lava ingesting its surroundings, of the shifting grind of tectonic plates across each other, of the rustle and glint of a firebird darting between shadows, and of ore smashing into the surface of the earth; but perhaps this language is overwrought: all that needs to be remarked upon is Prévost's industry, his diligence.”
Nathan Moore — liner note to AMM’s ‘Indúsria’
Matchless Recordings mrcd105.
But beyond this work Prévost has also maintained a relationship with the jazz drum-kit.
“His free drumming flows superbly making perfect use of his formidable technique, but his most startling feature is his stylelessness. It’s as though there has never been an Elvin Jones or a Max Roach.” - review of a set with saxophonist Lou Gare, Melody Maker (27.03.1975)
“Prévost, meanwhile, was simply miraculous; it was fascinating to watch him and to compare his approach with that of a Kern or a Nilssen-Love. I can only say that he was possessed of an uncanny, burning intentness that navigated the ensemble through passages of stark, sculpted beauty, grave concentration and full-on, bristling energy.”
Blue Tomato, Vienna 2012. In concert with Marilyn Crispell and Harrison Smith. Richard Rees-Jones
“An excellent release from one of the finest percussionists around, jazz or otherwise.” review of Prévost’s solo CD ‘Collider’
Matchless Recordings mrcd106 – Brian Olewnic, Squidsear (2022).
“Relentlessly innovative yet full of swing and fire.” – Morning Star
