Tri-Borough Triptych

Parker / Prévost / Lexer

1 Camden 28:24
2 Deptford 26:09
3 Dalston 24:56

"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

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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 

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Tracklisting:

1. Camden (Parker/Prévost) 28:24

2. Deptford (Lexer/Prévost) 26:04

3. Dalston (Lexer/Parker) 24:55

 

Eddie Prévost

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

Evan Parker

"If you've ever been tempted by free improvisation, Parker is your gateway drug." - Stewart Lee 

Evan Parker has been a consistently innovative presence in British free music since the 1960s. Parker played with John Stevens in the Spontaneous Music Ensemble, experimenting with new kinds of group improvisation and held a long-standing partnership with guitarist Derek Bailey. The two formed the Music Improvisation Company and later Incus Records. He also has tight associations with European free improvisations - playing on Peter Brötzmann's legendary 'Machine Gun' session (1968), with Alexander Von Schlippenbach and Paul Lovens (A trio that continues to this day), Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, and Barry Guy's London Jazz Composers Orchestra (LJCO). 

Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. 

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.