Eddie Prévost

Eddie Prévost began his life in music as a jazz drummer. A recurring interest in this form has been maintained, although always with an experimental ethos. Along the way he has maintained his fifty-year plus experimental credentials with AMM and numerous other improvisation projects, including his now twenty-year long weekly workshop. But drumming has generally been backgrounded to his experimental percussion work. More though, is to be expected of his drumming in 2020 on forthcoming multi-CD album: The Unexpected Alchemy. A part of this Krakow festival recording features the drums and saxophone trio of Ken Vandermark, Hamid Drake, and Eddie Prévost. His most recent released recordings include AMM’s: An Unintended Legacy, and a duo with John Butcher - Visionary Fantasies, both on Matchless Recordings. Also, a solo percussion LP on the Earshots label called Matching Mix. Later, in 2020 he meets with Jason Yarde and Nathan Moore, while in March concerts and recording will hear him drumming with US guitarist Henry Kaiser and saxophonist Binker Golding.

“Prévost's free drumming flows superbly making use of his formidable technique. It’s as though there has never been an Elvin Jones or Max Roach.” - Melody Maker

“Relentlessly innovative yet full of swing and fire.” – Morning Star

Ute Kanngiesser

Ute Kanngießer is a London based cellist and composer from Germany. Over the years, she has carefully deconstructed her classical roots and almost exclusively performs unscripted, improvised music. Much of her work has evolved in relationship with other art forms such as film, poetry, dance and site specific work. She is interested in the vast expressive possibilities of her instrument in relation to body, space, and others, always looking to rediscover or redefine what is musical/lyrical in this moment in time.
Recent releases include Blue Monday - a collaboration with writer Zara Joan Miller - on New York label Reading Group.

John Tilbury

John Tilbury is renowned for his peerless interpretation of the piano music of Morton Feldman, John Cage, Christian Wolff and Howard Skempton. In addition to the performances and seminal recordings that he has made of these composers’ works, he has been an eloquent advocate of their music in his writing and speaking about them. The same is true of the attention he has paid to the music and ideas of Cornelius Cardew, the subject of his authoritative biography published in 2008, and with whom he played in the legendary improvisation groups the Scratch Orchestra and AMM. In the last ten years John Tilbury has performed a range of plays and prose pieces by Samuel Beckett.

Video by Helen Petts

Christian Wolff

Christian Wolff emerged in the 1950s on the New York experimental music scene and became a prominent champion of the aesthetics of musical indeterminism. His works, which became increasingly explicit in their political content as his career progressed, stress choice, artistic co-operation and interdependence, and an accommodating attitude toward the potential relationships between music, sound and silence. Wolff studied classics and comparative literature at Harvard University. Though active as a pianist and electric guitarist throughout his career, he was largely self-taught as a composer, and from the beginning his works relied more on careful aesthetic design than compositional “craft” in the traditional sense. Although his works of the 1950s already conveyed a decidedly “democratic” subtext, with their reliance on freedom and reaction (“parliamentary participation”), they did so through traditional notation and sometimes invoked, however obscurely, traditional forms. The flexibility of their realisations owed to Cage’s influence, while their sparse surfaces recalled Webern, and in some cases resonated with La Monte Young’s early works. His compositions from the late 1950s and 1960s placed increased effort on real-time cooperation between performers, who worked somewhat freely, within certain set parameters (set durations with unspecified pitches, for example), but were required to alter their performative decisions consequent to each other’s actions. Later works turned inwards to more specifically musical topics, perhaps due in part to Wolff’s somewhat self-effacing assessment of the composer’s role. As he observed in a 1991 interview: “Most political music, paradoxically enough, is for the converted; it’s an instrument of cohesion for a group that already knows what it wants.” – Jeremy Grimshaw, Allmusic

John Butcher

Butcher is well known as a saxophonist who attempts to engage with the uniqueness of time and place. His music ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and unusual acoustics. Since the early 80s he has collaborated with hundreds of artists – including Derek Bailey, Rhodri Davies, Andy Moor, Phil Minton, Christian Marclay, Eddie Prévost, Magda Mayas, Spontaneous Music Ensemble, Sophie Agnel, Gino Robair, Mark Sanders, John Tilbury, Okkyung Lee, John Edwards, Chris Corsano, Polwechsel and Steve Beresford.

Alongside long term projects he values occasional encounters; from large groups such as the WDR Sinfonieorchester & Butch Morris’ “London Skyscraper”, to duo concerts with Joe McPhee, Fred Frith, Akio Suzuki, Paal Nilssen-Love, Keiji Haino, David Toop, Angharad Davies, Otomo Yoshihide and Matthew Shipp.

Recent compositions include “Penny Wands” for Futurist Intonarumori, three HCMF commissions for his own groups, “Good Liquor Caused my Heart for to Sing” for the London Sinfonietta and “Tarab Cuts”, a response to recordings of early Arabic classical music which was shortlisted for a British Composer’s Award.

“English saxophonist John Butcher may be among the world’s most influential musicians, operating at the cutting-edge of improvisatory practice since the ‘80s. Whenever an acoustic musician starts to sound like a bank of oscillators, a tropical forest, a brook or an insect factory, Butcher’s influence is likely nearby.” – New York City Jazz Record.