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1 | Trilinear Alpha (Eddie Prevost-Seymour Wright) | 16:46 |
| 2 | Trilinear Beta (Sebastian Lexer-Eddie Prevost) | 17:15 | |
| 3 | Trilinear Gamma (Seymour Wright-Sebastian Lexer) | 13:45 | |
| 4 | Impossibility In Its Purest Form | 23:26 |
Leveraging the concept of the geometrically impossible Penrose Triangle, the trio of Sebastian Lexer (piano), Eddie Prevost (percussion) and Seymour Wright (sax) perform three permutations of duos and one full trio.
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"On Impossibility In Its Purest Form, the trio of Prévost with prepared pianist Lexer and saxophonist Wright sound like they are working within the confines of the listener’s own cranium. Like craftsmen, they gently prepare and scrape at those bony surfaces, filling gaps, adding minimal embellishment. The more open-minded will find the restrictiveness paradoxically liberating, the trio ultimately carving out a door to a whole world of colour, shade and texture." - The Liminal
"Each performance begin in nothingness, eventually finds a kind of convergence, then elongates that moment, stretching it in time and space until there is room in one’s awareness for little else. In a sense dauntingly abstract, the work is also visceral, with both Wright (he can sound like a duck without being specifically mimetic) and Prévost exploring harsh reed and bowed metal sounds, in contrast to the refined and unpredictable little sounds that Lexer seems to prefer. That harshness may articulate either the struggle of a music that is made out of nothingness and which will return to it, or the impossibility of the moment and the insistence on its potential for habitation." - Point of Departure
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Recorded at The Welsh Chapel, Southwark Bridge Road, London in July and October 2011.
Seymour Wright is a saxophonist. His work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique – actual and potential.
Seymour's solo music is documented on three widely-acclaimed collections - Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).
Current projects include: @xcrswx with Crystabel Riley; abaria with Ute Kanngiesser; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; GUO with Daniel Blumberg; XT with Paul Abbott; The Creaking Breeze Ensemble; a trans-atlantic duet with Andy Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne.
@xcrswx
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
Sebastian Lexer rewires the ultimate nineteenth-century drawing room mechanism with twenty-first-century technology to create a music that hovers inbetween times, exploiting the tension between the automatic and the intentional, making any firm sense of space thrillingly uncertain.
