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Matchless Recordings

Run by percusionist Eddie Prévost, Matchless contains contemporary and classic free jazz, improvisation and noise.

"AMM music may initially seem impenetrable, but it sure as hell penetrates you. Soon the desired state is instilled in the listener; a rapt vacancy somewhere between supreme concentration and utter absentmindedness." - Melody Maker On AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music. AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, AMM sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices." - Francis Plagne --- Cornelius Cardew / piano, cello and transistor radio Lou Gare / tenor saxophone and violin  Eddie Prévost / percussion Keith Rowe / electric guitar and transistor radio Lawrence Sheaff / cello, accordian, clarinet and transistor radio --- Recorded on the 8th and 27th June 1966 at Sound Techniques by Harry Davis and Jac Holzman.


Apogee chronicles both a first-time meeting of AMM and MEV (Musica Eletronnica Viva), and one of the last performances of that longest-running version of AMM. apogee 1, 2 and 3 are studio recordings of the two groups together; the second pairs performances by each individual group: a thirty-nine-minute piece by AMM entitled 01.05.04, and a thirty-six-minute piece by MEV, also entitled 01.05.04 (perhaps mere date, but also May Day), both recorded at London's Freedom of the City Festival. MEV includes Alvin Curran, Frederic Rzewski, and Richard Teitelbaum. “AMM and MEV go back together almost as far as AMM itself. In 1969 or so, Earl Brown released an LP on Mainstream Records called Live Electronic Music Improvised which had AMM on one side and MEV on the other. It was a great and forward looking idea, but unfortunately the labels (on MOST but not ALL copies) somehow got reversed. That, if nothing else, tied us together for decades." - Richard Teitelbaum --- John Tilbury / pianoKeith Rowe / guitar & electronicsEddie Prévost / percussionAlvin Curran / electronicsFrederic Rzewski / pianoRichard Teitelbaum / keyboard --- 'apogee' 1, 2 and 3 recorded at Gateway Studios, Kingston-upon-Thames, Surrey, England on 30th April 2004. '01.05.04' were recorded at Freedom of the City festival, Conway Hall, London on 1st May 2004 by Sebastian Lexer. Artwork designed by Ian Walters.  To buy the physical CD, head to to Eddie Prévost's CD store, Matchless Recordings.

Amm & Mev – apogee

"Some would argue that comfort is the last thing improvised music should give the listener; Eddie Prévost and John Tilbury would most probably concur. However,Uncovered Correspondence: a Postcard from Jasło is bafflingly comforting; not because it is bucolic, even though the ratio of cool calm passages to robust clangor is higher than usual on AMM’s recordings, but because the percussionist and the pianist have such a dependably refined and complementary rapport. This stands out more than usual because this concert recording is AMM’s first album since 2006’s that mysterious forest below London Bridge (Matchless) to feature Prévost and Tilbury as a duo. This rapport certainly didn’t evaporate on 08’s Trinity and 09’s Sounding Music (also on Matchless) that included adjuncts like John Butcher Christian Wolff and Ute Kanngiesser, but was instead absorbed in the larger ensembles. Isolated, Prévost and Tilbury’s emphasis on tone color and decay does not simply base-coat the music – it is the music in the main. Much the same was repeatedly said of AMM during Keith Rowe’s long tenure, but there seems to be something approaching a fundamental shift in AMM’s agenda since the noise-privileging guitarist’s departure – a new regard for beauty, though not in an ordinary sense of the word. Each of the three “Paragraphs” (the presumably Cardew-inspired designation of structure folds neatly into the correspondence theme) has exquisite moments where the chiming quality of Tilbury’s spare keyboarding dovetails with the more spectral timbres produced in the piano’s interior (he is always impressively nimble at producing roughly antiphonal exchanges with himself) or the metallic sheen of Prévost’s bowed cymbals. Not all of these passages simply hover in the stillness of the hushed concert hall; the album ends with a surprising and affecting outpouring before slipping into silence. While there is nothing dilutive or simplified about Uncovered Correspondence: a Postcard from Jasło, it is the most inviting album AMM has ever made." - Bill Shoemaker.  --- Recorded at the concert hall of the Jasielski Dom Kultury in southern Poland on 15th May 2010 by Karol Moszczyński. Edited, mixed and mastered by Sebastian Lexer. Front cover - Jaslo market, 1915. Reproduced here with kind permission of Jerzy Rucinsky. 

Amm – Uncovered Correspondence

"The richness of the music is quite extraordinary: it is sombre, elegiac, often exuberant, sometimes playful; there are occasional allusions to world musics as well as references to pointillism and Webern, there is delicacy and finesse, elegant phrasing, fragmentation, bell like sonorities of great beauty; there are flights of fancy and wild stretches of near anarchy." - John Tilbury'Camden' recorded during the Freedom of the City festival, Sharpe House, London on May 6th 2012'Deptford' recorded at a concert at Old Deptford Town Hall, Goldmiths' College, London on 25th May 2012'Dalston' recorded at a concert at Cafe Oto, London on 15th January, 2013 --- Recordings by Giovanni La Rovere (tracks 1, 2 & 3) and Rick Campion (track 1). All tracks mixed and mastered by Sebastian Lexer. Notes by John Tilbury.  Review in The Wire magazine, October 2013: "Hearing Evan Parker make music with Eddie Prévost, on the first of these three lengthy duets recorded in three different London boroughs, is like watching a pair of tai chi masters sparring. Parker’s tenor and Prévost’s bowed and struck percussion draw buoyancy from each other’s energy as they alternately push and yield. Together they move with feline lightness, agility and balance, even when the music’s mood is stormy and turbulent. The event was Freedom Of The City 2012; the venue, Cecil Sharp House in Camden Town, London. The character and dynamics of that occasion change continuously, but there’s never a sense that this exhilarating music is getting locked into a formal shape or falling under the shadow of its performers’ individual identities. Two other engrossing duets on TriBorough Triptych feature pianist Sebastian Lexer: with Prévost at Old Deptford Town Hall, South London, and with Parker on soprano at Dalston’s Cafe Oto. Lexer’s playing is disciplined and rather sparing, although he clearly enjoys pianistic practices and sonorities, not least perhaps for their historical weight, an element of resistance he can work with or against, just as Parker and Prévost parry the associations clinging to their own chosen instruments. But Lexer’s piano+ set-up involves a personally developed software to analyse and adjust the acoustic output, eliciting textures and durations unexpected from a grand piano, enhancing its scope and introducing an air of instability that calls for sharp reactions. Parker and Prévost are kept in states of heightened attentiveness, and the sustained outcome is lucid and graceful music making." - Julian Cowley  --- Tracklisting: 1. Camden (Parker/Prévost) 28:24 2. Deptford (Lexer/Prévost) 26:04 3. Dalston (Lexer/Parker) 24:55

Parker / Prévost / Lexer – Tri-Borough Triptych

This is the first recording made in a series of concerts at The Network Theatre, Waterloo, London, in which Eddie Prévost invited notable saxophonists to make music with him.  --- John Edwards / double bass Evan Parker / tenor saxophone Eddie Prévost / drums  --- Recorded at the Network Theatre, Waterloo, London, on the 30th May 2011 by Giovanni Le Rovere. Mixing and editing by John Butcher. Cymbol photography by Tom Mills. Design my Myuh Chun.  --- Review: The first was All Told with arch-bassist John Edwards and the huge and brilliant breath of the Bristolian tenor saxophonist Evan Parker. “I want life!” exclaims Prevost of his endless quest for improvisation in the album’s sleeve notes, and “a metamusical approach; one which revels in personal discovery and surprises as well as being sensitive and active towards incoming signals from others.” It is a commentary and metaphor for art as life, and this record is full with it, the three musicians playing as an amalgam, unifying their powerful technical dexterity with an intense and reflective beauty, humanity and generosity towards each other and their listeners. Edwards’s musical mastery is also in every way remarkable, as if he is the pulse of all that we hear, while Parker’s assertion of breath-with-end gives us a simile, an onomatopoeia of continuing life and hope enveloped in aural radiance. As for Prevost, in his drums is an insistence of the real, of the touching, tapping, hammering, striking, pounding, ringing of the detail of work and action which is everywhere in our lives, in every second, awake or asleep, the sonic edge of production. Like his Huguenot forebears, he works in a world of workshops: but his workshops are the workshops of drums. Chris Searle — Morning Star 26th January, 2016

Edwards / Parker / Prévost - Meetings with Remarkable Saxophonists Vol.1 - All Told