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Lexer / Prévost / Wright – Impossibility in its Purest Form

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.

Available as a 320k MP3 or 16bit FLAC download.  

Tracklisting: 

1. Trilinear α - 16:46 (Prévost / Wright)
2. Trilinear β - 17:15 (Lexer / Prévost)
3. Trilinear γ - 13:46 (Wright / Lexer)
4. Impossibility In Its Purest Form - 23:26

Seymour Wright

Seymour Wright’s work is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique ­– actual and potential.

His solo work is documented on three widely-acclaimed collections - Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).

Current projects include: abaria with Ute Kanngiesser; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; @xcrswx with Crystabel Riley; GUO with Daniel Blumberg; The Experimental Library with Evie Ward; XT with Paul Abbott; a trans-atlantic duet with Anne Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne.

His writing has been published in C//A, Sound American and The Wire.

www.seymourwright.com

@xcrswx

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.

And, early 2020 should see the publication of his fourth book: An Uncommon Music for the Common Man: a polemical memoir.

“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

Sebastian Lexer

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.