The music is extremely light-footed, and unlike some British free improv or AMM music, it is "free jazz" as its name suggests, in the sense that there are themes, there is rhythm, but the openness of texture, the gentle breaking of boundaries and the sonic explorations already hint at another kind of music. In that sense the title is apt, taking good jazz memories from the past, and taking the best of it to make the music of the future. No paradox here, just some forward thinking. - Free Jazz Blog --- Tony Moore - cello Eddie Prévost - drums Paul Rutherford - trombone Harrison Smith - tenor / soprano saxophone & bass clarinet --- Tracklisting: 1. A Fertile Valley - 4:46 2. Pulsate - 8:37 3. Summoning - 7:39  4. Octavian Law - 3:45 5. Vibrational - 9:56 6. Memories Of The Future - 7:24 7. Harmonious Relations - 7:23 8. Blurring Of Boundaries - 5:08 --- Recorded at a concert given at St George's, Brandon Hill, Bristol during 1992. 

"How do we push beyond the merely presentational? Market acceptability is surely a too limiting artistic objective. Maybe, no objective at all. Contrary to what so many commentators and educators promulgate, there is always somewhere else to go, to explore, to enlarge and to enhance. Being content with one's lot is aesthetic (and maybe political death). There are no fixed objectives as characterised and circumscribed by systems and conventions. Within these digitally configured sounds you will hear cross generational responses to these questions. Nathanial Catchpole (b. 1980), John Edwards (b.1964) and myself (b. 1942) Negotiating the challenges of uncertainty. What might seem to be (on repeated listening) a fixed pattern, was, in performance, a series of questions and choices. How much should we push, pull, nudge and test anticipated responses? And, how much should we try the patience of our fellow musicians and our audience? These considerations are not necessarily barriers to playful activity. They are always - joyfully - limits to surmount and other horizons to be viewed." - Eddie Prévost. --- John Edwards / double bass Nathaniel Catchpole / tenor saxophone Edwin (Eddie) Prévost / drums and bowed tam-tam --- Recorded at a concert given at Network Theatre, London 21st December, 2014 by Giovanni La Rovere. Mastered by Rupert Clervaux. Design by Myah Chun. 

Master drummer and improvisor Eddie Prévost is joined by Ross Lambert on guitar and Seymour Wright on alto, for two long pieces, together more than eighty minutes long. Its open textured approach, and the musicians' listening skills and subtle interaction make this a strong performance." - The Free Jazz Collective   "One shouldn't approach this record under the influence of an 'AMM MAN PLAYS JAZZ STANDARDS' headline. There's no headline, just a continuation of a long and thoughtful story whose chief premise is the denial of the single expressive self - though Prévost's unaccompanied performances, like the solo tam-tam record entelechy are fascinating documents - in favour of a collective exploration that changes the case of cogito (or invenio) ergo sum to the plural. None of these players would claim to be making a historic document, and one senses in them different kinds of diffidence to the act of making a record in the first place, but in its (mostly) quiet way the recording marks a modest epoch in the evolution of great music." - Brian Morton  --- Eddie Prévost / drums Ross Lambert / guitar Seymour Wright / alto saxophone --- Recorded live at Cafe OTO on 8th February 2009 by Shane Browne and Anna Tjan. Mixed and mastered by Sebastian Lexer. Cover art concept by Seymour Wright and designed by Myah Chun. 

Electronic performance duo Furt (aka Richard Barrett and Paul Obermayer) have been quietly dismantling the boundaries between improvisation and composition for some 16 years now. Barrett is a composer of dense, knotty works (often termed 'New Complexity') while Obermayer works in free improv trio Bark! --- Richard Barrett / electronics Paul Obermayer / electronics --- Front cover photograph by Richard Crow.  Track 1 - recorded in Berlin, December 2001Track 2 - produced in Watford, October 1997Track 3 - produced in AmsterdamTrack 4 - recorded in Amsterdam, 29 February 2000 (with slight edits)

"The new austerity on the first CD from the young exponents of the growing art of improvisation...in the year 2000, this approach in which traditional musical instruments are twisted into complex sound transformers which match the new sound sources available from the burgeoning electronics and computer sciences has become a medium in its own right." - Eddie Prévost. --- Yann Charaoui / cymbals and table top samplers John Lely / piano and prepared bal-bal tarang Seymour Wright / alto saxophone --- Tracklisting: 1. 2.28'53  2. 4.17'21 3. 20'10 4. 13.5'05 --- Recorded at Gateway Studios, Kingston-upon-Thames on 2nd August 2000 by Steve Lowe. Front cover '396' by Lester Wright. 

Pre-Scratch Orchestra Ensemble formed by / for the occasion of the four day 'Music Now' event at the Roundhouse, 1969. The motley crew perform Eddie Prévost's 'composition' 'Silver Pyramid'. Ensemble definitely features the AMM usual suspects, Cornelius Cardew, Howard Skempton, Hugh Davies and many others, but as for who is responsible for what is conceivably the sound of a door being ripped off its hinges and a fire engine, nobody knows. Is that LaMonte Young doing some sort of drone? Is that Cardew on a penny whistle? Why is the Roundhouse no longer a psychedelic engine room?   --- Music Now Ensemble / a lot of sound producing objects --- Recorded at The Roundhouse, London as part of a Music Now Festival on 4 May 1969. Front cover by Keith Rowe.

After the fragmentation and dissociation of elemens in the earlier works, Wolff here suggests, tentitively and meticulously, how sounds might be picked up and strung together again in new ways. The movement of the music is towards melody in its largest sense...this may not always be obvious, but then the times are not conducive to easy optimism." - Michael Parsons, 2002.  --- John Tilbury / piano Christian Wolff / piano Eddie Prévost / percussion --- Tracklisting: 1. For Prepared Piano - 1951 - 1:542. For Prepared Piano - 1951 ii - 1:513. For Prepared Piano - 1951 iii - 1:374. For Prepared Piano - 1951 iv - 1:515. For Piano l - 1952 - 7:086. For Piano ll - 1953 - 10:327. Suite (1) -1954 i - 3:198. Suite (1) -1954 ii - 1:539. Suite (1) -1954 iii - 2:1510. For Piano with Preparations -1957 i - 3:4311. For Piano with Preparations -1957 ii - 1:3212. For Piano with Preparations -1957 iii - 3:5513. For Pianist - 1959 - 12.1514. Duo for Pianists I - 1957 - 4:1115. Duo for Pianists II - 1958 - 11:0516. Duet I (or piano four hands) - 1960 - 7:2317. Trio II (for piano four hands and percussion) - 1961 - 15:39 --- Recorded at Gateway Studios, Kingston upon Thames, Surrey, England by Steve Lowe. Front cover by Tristram Wolff. 

French improvisational group, featuring: Frédéric Blondy, Bertrand Denzier, Jean Luc Guionnet, Jean-Sébastien Mariage, Edward Perraud. "Hubbub works on the sound matter and creates an expanded space inhabited by stripes, interlaced designs, resonances, tanglings, points and strokes, at the border of acoustic and electric worlds." "From a line, and from's it's slowness, that vibrates, that, trembles, I say, that it is, no more talkative, than a cloud, of its likeness, or than a, gust of wind, in the trees, Now, felling, compelled, to produce words, I say, that it is no, more silent, than a fearful dog, than a satisfied cat, or, than a disturbed, cow, then all bark, purr, or moo, One calls, and the world, answers, One keeps silent, and the world, calls us. This is to be, at the heart, of a line, that vibrates, that trembles, The line dwells, on the side, of the, w o r l d." HOIB liner notes.  --- Jean-Luc Guionnet / alto & soprano saxophones  Edward Perraud / drums, percussion Jean-Sébastien Mariage / guitar Frédéric Blondy / piano Bertrand Denzler / tenor saxophone --- Recorded on September 2002 at Le Grand Mix by Jean-Pierre Bouquet. Mixed and mastered by Jean-Pierre Bouquet. Liner Notes [Translation] by Patrick McGinley. Painting and text by Marc Perron-Bailly. Photography by Yvan Clédat. 

"Five men walk on stage, two carry saxophones, one a guitar, the pianist and drummer sit down at their instruments. It looks like a conventional notion of a band, the sole concession to the world of electronics the Gibson Les Paul, itself a guitar design that has changed little in the past sixty years. Every instrument carries with it the expectation of a characteristic envelope, the attack and decay of individual sounds. And then Hubbub starts to play and that visual presence remains in place, almost a tableau, as warm reminder and comforting insistence on the acoustic experience and the tradition of watching people play musical instruments rather than laptops, oscillators, synths and sampling machines. In Hubbub's hands every technique for the typically discrete sound is regularly exchanged for a drone." - Stuart Broomer, Point of Departure.  --- Frédéric Blondy / piano Bertrand Denzler / tenor saxophone Jean-Luc Guionnet / alto saxophone Jean-Sébastien Mariage / electric guitar Edward Perraud / drums & percussion --- Recorded in concert at Festival Muzzix, La Malterie, Lille, France on April 23rd 2010 & at Carré Bleu, Poitiers, France on February 12th 2010. 

2012 recording of AMM duo Prévost & Tilbury at Slovenia's Španski Borci. Surely both artists felt a certain respect playing in a place with references to the Spanish Civil War and no doubt it influences their playing here. Sparse and heavy.  "John Tilbury’s piano playing is quiet yet emphatic, the notes suspended and widely spaced. Eddie Prévost’s cymbals and bass drum skin moan and shimmer, apt but never obvious. Like an atom, it is mostly empty, but filled with potential power. Prévost and Tilbury’s freely improvised dialogue carries on an episodic discussion that has gone on since the days of Swinging London, sometimes restive, sometimes terribly fractured, and now spare and unerringly right. They police themselves, never imposing like the fascists that the Spanish fighters resisted." – Bill Meyer, January 2016 --- John Tilbury / piano Eddie Prévost / percussion --- Recorded by Izack Zupan at the festival Neposlusno (Sound Disobedience) in Ljubljana, Slovenia in 2012. Mastered by Rupert Clervaux. Artwork by Myah Chen.

Studio recordings from November 2003, with Parker playing only tenor saxophone.  "Imponderable evidence includes the subtleties of glance, of gesture, of tone." - Ludwid Wittgenstein. "But surely human society depends largely on trust in the virtues of others, often ascertained on imponderable evidence?" - Iris Murdoch.  --- Evan Parker / tenor saxophone Eddie Prévost / drums --- Tracklisting: 1. exhibit A - 14:35 2. exhibit E - 7:19 3. exhibit C - 14:59 4. exhibit D - 8:02 5. exhibit B - 13:59 --- Recorded at Gateway Studios, Kingston-upon-Thames, London, on November 10th 2003 by Steve Lowe. Front cover "collage" by Trevor Sutton. 

Apogee chronicles both a first-time meeting of AMM and MEV (Musica Eletronnica Viva), and one of the last performances of that longest-running version of AMM. apogee 1, 2 and 3 are studio recordings of the two groups together; the second pairs performances by each individual group: a thirty-nine-minute piece by AMM entitled 01.05.04, and a thirty-six-minute piece by MEV, also entitled 01.05.04 (perhaps mere date, but also May Day), both recorded at London's Freedom of the City Festival. MEV includes Alvin Curran, Frederic Rzewski, and Richard Teitelbaum. “AMM and MEV go back together almost as far as AMM itself. In 1969 or so, Earl Brown released an LP on Mainstream Records called Live Electronic Music Improvised which had AMM on one side and MEV on the other. It was a great and forward looking idea, but unfortunately the labels (on MOST but not ALL copies) somehow got reversed. That, if nothing else, tied us together for decades." - Richard Teitelbaum --- John Tilbury / pianoKeith Rowe / guitar & electronicsEddie Prévost / percussionAlvin Curran / electronicsFrederic Rzewski / pianoRichard Teitelbaum / keyboard --- 'apogee' 1, 2 and 3 recorded at Gateway Studios, Kingston-upon-Thames, Surrey, England on 30th April 2004. '01.05.04' were recorded at Freedom of the City festival, Conway Hall, London on 1st May 2004 by Sebastian Lexer. Artwork designed by Ian Walters.  To buy the physical CD, head to to Eddie Prévost's CD store, Matchless Recordings.

"Double album, double solos of two distinctive musicians, becoming duets in a relatively rare space between solo playing and ensemble. Reed and percussion start at different places, the working through breath, the other pulse of materials being struck, one typically characterised by line, the other by attack, producing in the first pitch configurations, in the second beat patterns (Prévost doesn't use the specifically pitched mallet instruments). Each player comes with a distinctive sonic identity, but they're frequently crossing. the main intersection is sonority. The saxophone can splutter, click and gesture, notably in the extreme registers and the rapid shifts between them, with just sound. Prévost makes long, sustained attackless sounds by bowing his cymbals and gong, and his invented string drum tosses up melodic fragments. Percussion drives and saxophone sings, Parker can drive just as hard and Prévost makes a singing sound. Sometimes you can't tell which of the two's sounds you're hearing." - Christian Wolff. --- Evan Parker / saxophones Eddie Prévost / percussion --- Recorded at Gateway Studio, Kingston, England by Steve Lowe on February 23rd and April 13th 1997. Artwork 'Djebel Nefousa' by Brenda Mayo.

The musicians who perform together on this CD are as unlikely a group of individuals that you are ever likely to find. Yoshikazu Iwamoto brings a cultural past that has deep aesthetic roots in Japanese Buddhism, while John Tilbury's classical European training brings a sensibility that has matured through contract with cultivated traditions of learning and discipline. Eddie Prévost by his presence draws everything together into an indivisible whole, through responses that have been honed from years of working in free or improvised music." - Frank Denyer --- Yoshikazu Iwamoto / shakuhachiJohn Tilbury / pianoEdwin Prévost / percussion --- Tracklisting:  1. Para' 1 (10:14)2. Para' 2 (9:52)3. Para' 3 (9:55)4. Para' 4 (11:20)5. Para' 5 (7:32)6. Para' 6 (12:09)7. Para' 7 (14:57)8. Para' 8 (2:11) 9. Para' 9 (18:20)10. Para' 10 (16:47)11. Para' 11 (4:24)12. Para' 12 (23:53)12. Para' 13 (10:00) --- Recorded at Gateway Studios, Kingston-upon-Thames, England, on Monday 3rd August 1998 by Steve Lowe. Front cover "untitled, ink on Japanese paper' by David Ryan.  

Dense, epochal cloud of unknowing. Essential.  "The only possibility is to surrender to the ebb and flow of the pervasive group sound, until, finally you are lost inside it, mesmerised by it. You notice that the detail in the music is fascinating, no less the overall shape of the performance, which remains just out of grasp, like a landscape too powerful to assimilate in its entirety." - Melody Maker  --- Christopher Hobbs & Eddie Prévost / percussion Cornelius Cardew / piano, cello  Lou Gare / saxophone, violin  --- Tracklisting:  1. Like A Cloud Hanging In The Sky? - 45:21 2. Coffin Nor Shelf - 45:36 3. Neither Bill Nor Axe Would Shorten Its Existence - 18:08 --- Recorded at the Crypt, Lancaster Road, London W11, 12th June 1968 by Bob Woolford. 

"From the music's opening gestures, the soundworld invokes all things interior and meditative. The improvisations certainly do not sound like AMM, but some of that legendary aggregate's sonic mystique is in evidence, as each sound seems to exist, for the most part, as a force to be reckoned with in and of itself. Drones ebb and flow as Butcher explores his astonishing brand of multiphonics and Prevost is right there with him every step of the way. Indeed, the two musicians create orchestral textures at many points throughout this absorbing set, stereo placement being the only way to tell who's making a particular sound." - All About Jazz --- Eddie Prévost - tam-tam and other percussion John Butcher - tenor and soprano saxophones ---  Recorded at Gateway Studios, Kingston-upon-Thames, England on July 17th 2005 by Steve Lowe. Front cover "Prospect of Whitby" by Terry Ellis. 

5 pieces for tam-tam. "Entelechy is virtually autonomous. The tam-tam was suspended upon its usual rectangular frame. In this instance a battery driven electric motor was set up alongside the tam-tam with wire threads fanning out from a small rotating wheel. I set this in motion and retired to the control room as the tam-tam (as it were) told its own story." --- Eddie Prévost - tam-tam  --- 1. Mixd - 18:09 2. Beaten - 6:24 3. Scraped - 6:12 4. Bowed - 5:57 5. Entelechy - 32:52

"After having listened carefully to the whistle of the blackbird, he tries to repeat it as faithfully as he can. A puzzled silence follows, as if his message required careful examination; then an identical whistles re-echoes. Mr Palomar does not know if this is a reply to his, or the proof that his whistle is so different that the blackbirds are not the least disturbed by it and resume their dialogue as if nothing had happened. They go on whistling, questioning in their puzzlement, he and the blackbirds.” - Mr Palomar (Italo Calvino) --- Tom Chant / tenor saxophone, bass clarinet John Edwards / double bass Eddie Prévost / drums --- Tracklisting: 1. twirls of modulation - 16:10 2. a bridge thrown over the abyss - 11:04 3. gripped by anguish - 14:31 4. a converation without head or tail? - 13:46 5. the blackbird's whistle - 11:21 --- Recorded at Gateway Studios, Kingston-upon-Thames, London by Steve Lowe on October 17th 2003.