 |
1 | Unity First | 7:43 |
| 2 | To Hear | 21:42 | |
| 3 | Back Again | 25:40 | |
| 4 | Kunstmusik | 13:49 | |
| 5 | Duett | 9:20 |
A reissue of what is chronologically the 3rd full AMM album, following AMM:1966 and The Crypt. Recorded during the years of 1973-75, this marks an unusual and little recognized period in the group's history. For about 5 years, Keith Rowe (and his guitar and electronics) had left the group (along with Cornelius Cardew), leaving AMM as a working duo of Eddie Prévost (drums) and Lou Gare (tenor saxophone). That makes this the most jazz-like version of AMM, but as Martin Davidson noted in the original liner notes, this is not jazz; "absolutely nothing (melody, harmony, rhythm, tempo) was predetermined." This DL includes bonus material added to the 1994 CD release.
---
Lou Gare / tenor saxophone
Eddie Prévost / drums
---
Tracklisting:
1. Unity First - 7:40
2. To Hear - 21:39
3. Back Again - 13:48
4. Kunstmusik - 13:48
5. Duett - 9:18
---
Unity First was recorded at the Unity Theatre, London, on 1st April 1975 by Martin Davidson. To Hear and Back Again (originally released on vinyl) were recorded at West Square Electronic Music Studio, London on 30th November 1974 by Barry Anderson and John Dodd. Kunstmusik and Duett were recorded at the Academie der Kunste, Berlin in June 1973. Recording engineer unknown.
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
