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1 | D | 9:50 |
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2 | T | 10:11 |
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3 | S | 11:18 |
| 4 | R | 18:42 | |
| 5 | C | 8:55 | |
| 6 | E1 | 1:21 | |
| 7 | I | 7:37 | |
| 8 | E2 | 7:35 |
Studio recordings from January, 2004. d t s r c e i e.
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John Tilbury / piano, prepared piano and organ
Eddie Prévost / stringled barrel, tam-tam, percussion.
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"Some of their music is delicate and pointillistic with wide spaces between sounds, but there are also rich, thick webs and, as indicated, Cage/Kleeube Goldberg thunkity-thunk machines. The two men also provide a hefty helping of what seems to me missing from too many of the "non-I" recordings I hear: drama. (For those who don't like drama, there's sonic variety-which may or may not be acceptable these days: I don't know.) For all its multiplicity, however, unlike Tilbury's recent fiasco with Tippett and Riley, the vision is constant and coherent throughout. discrete moments is so so beautiful." - Walter Horn, bagatellen.com
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Recorded at Gateway Studios, Kingston on the 6th of January, 2004 by Steve Lowe. Front cover "Roadwork" by Brenda Mayo, 2002.
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
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
