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viewing 1 To 20 of 20 items
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LP
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BT 018LP
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2023 repress! First vinyl reissue of the landmark 1967 debut album by AMM, AMMMusic. Remastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. Exact replica sleeve by Stephen O'Malley. "Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager, Peter Jenner (the title of Pink Floyd's 'Flaming' is a tribute to AMM's 'Later During a Flaming Riviera Sunset'). Formed in 1965 by three players from the emerging British jazz avant-garde -- Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare -- AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaff, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe's prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies. On AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew's purposeful piano chords, radios beam in snatches of orchestral music. AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, AMM sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices." --Francis Plagne
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CD
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MRCD85
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John Tilbury (piano) and Eddie Prévost (percussion). "E1 was recorded at The Rag Factory, Spitalfields, London on Sunday 6th March 2011 at 'As Alike as Trees' festival of improvised music. SE1 was recorded at a concert given at The Purcell Room, London, on Sunday 27 November 2011. It was part of 'The Engine Room,' Morley College's Festival and Conference celebrating the life, works and legacy of Cornelius Cardew."
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CD
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MRCD78
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"The performance represented by this CD took place on 15th of May 2010 in the concert hall of the Jasło Cultural Centre in southern Poland. The concert began with John Tilbury using the piano to produce a gamelan-like quality, which was quickly followed by Eddie Prévost bowing a cymbal producing subtle metallic sounds. One could feel an electric atmosphere of concentration and note the exceptional care and elegance with which the performers selected even the tiniest details of the complex sound structure. Intriguing phrases from the prepared piano and sonorous tones from percussion instruments wafted around the huge expanse of the hall -- whose excellent acoustics let the audience immerse themselves in the music -- savouring the subtle sounds emerging from the silence. The changes within the slow stream of improvisation occurred in such a natural way introduced by either musician by turn. Sometimes a highly abstract motif seemed to be a logical development rather than a step into the unknown -- which in reality it was. The dominant impression was that such an advanced level of intuitive understanding between the two performers was the result of many years of collaboration. In my view each sound produced during the concert was not only 'desirable' but also essential (inevitable) and created its own profound aesthetic justification. Especially noteworthy was the compelling way in which both musicians made use of silence, whose role in AMM is as important as sound. The performance of a shorter or longer period of silence entailed the same creative intervention as did playing a sound or motif. The moments when the sound structure intensified and thickened became less frequent yet did not disappear completely." -- Andrzej Serwa, August 2010
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CD
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MRCD77
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Recorded at the "Freedom of City" festival, Conway Hall, London on 5/3/09. John Butcher (tenor & soprano saxophones), Ute Kanngiesser (cello), Eddie Prévost (percussion), John Tilbury (piano) and Christian Wolff (piano, bass guitar, melodica).
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CD
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MRCD71
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Eddie Prévost (percussion); John Tilbury (piano) with John Butcher (soprano and tenor saxophone). Recorded at Trinity College of Music, Greenwich, England on January 13, 2008. "The tinniest sound is amplified by intention. Other noises are transformed into counterpoint. The music begins. Tentative suggestions are offered, politely ignored, admonished or not noticed. Serendipitous slips of the wrist are canonized -- pursued by conflagrations and spectacular shell bursts. Momentum is achieved. The music has an energy with which the musicians can wrestle, deflecting its trajectory or being thrown inconsequentially aside. Tempo defied temporality. Logic limps away. As suddenly as the turbulence arose, it subsides, hovering portentously, unpredictable and uncontrollable in all those ways a serialist doesn't trust. The musician waits, trying to anticipate and out-think the unthinking but thinkable direction the sounds will take. Construction overtakes the constructionist, who can only nod approvingly as the piers and girders of musical form slot automatically into place. Here is the invisible handshake, enjoined before a motion was ever formulated. The music makes itself -- just as man makes himself. Here are volition, intention, determination tempered by acceptance of eventuality. Here is definition by action. I am what I am because I do what I do, acted upon and acting upon. The sound returns. The contra-bass drum resounds, its deep vibration sympathizing with the solar-plexus. The echo grows weaker and richer at the same time, as its lingering residue settles into the crevices of perception. The drummer raises the beater; then slowly and with conscious care withdraws the intention. No more sound is need." --Eddie Prévost
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CD
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MRCD64
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First AMM CD in a while, featuring the new duo AMM (Keith Rowe is no longer a member). Eddit Prévost on percussion and John Tilbury on piano. "AMM at UEA. Eddie Prévost and John Tilbury recorded at a concert given at The School of Music, University of East Anglia, Norwich, England on 14th February 2005." From Simon Waters' liner notes: "Despite availing themselves of entirely different technologies, they can produce sounds which are almost identical, or fuse sounds through awesome real-time skill and intimate awareness of their vastly different resources: a moment where John's piano clusters isolate and make explicit the pitches in Eddies bowed cymbal is one magical example here."
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CD
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ICES 001CD
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"The International Carnival of Experimental Sound, or ICES '72 for short, was an ambitious festival sprung from the mind of Harvey 'Job' Matusow (1926-2002). Jumping off from his associations with the influential Source magazine, Harvey brought together over 300 artists from more than 21 countries to perform in London, England over the course of two weeks in August of 1972. Based on the theme of Myth, Magic Madness and Mysticism, he assembled an amazing diversity of performers working in diverse range of audio-visual arts. Encompassing happenings, films, dance, a train ride, and the phantom soft pool table, the focus was on sound -- specifically that of artists who were both composers and performers. Most of the concerts were held at The Roundhouse, a cavernous structure that was formerly a railroad engine house. Now, for the first time in 30 years, these recordings can be heard. This first CD in a series documenting the festival features the complete concert given by legendary free improvising group AMM. Represented here by Eddie Prevost and Lou Gare, they offer up powerful explosions of saxophone and drums punctuated with their famous AMM silences. This is the first time this material is available, aside from two short excerpts were published as the only 7" release on Evan Parker and Derek Bailey's Incus Records (and a very rare and desirable record that has become)."
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CD
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MRCD46
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"Recording of the concert they gave with together with the dancer Fine Kwiatkowski at Musique Action festival produced by CCAM, Vendoeuvre-les-Nancy, France on 24th May 2001." One continuous 59 minute piece by the Tilbury/Rowe/Prévost trio.
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CD
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MRCD44
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"Rowe/Tilbury/Prévost. Recorded in Glasgow, Scotland May 2000, at the free radiCCAls festival, curated by Evan Parker. First AMM CD since 1996 recording. One continuous 58-minute piece."
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CD
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MRCD35
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...we took coffee with Rick and Jennifer Reed. The Recording of a concert given at Rice University, Houston, TX, USA on Friday 19th April 1996. A stupendous continuation of the 90's AMM sound, ala previous documents such as Newfoundland, Live In Allentown and From A Strange Place. Shifting patterns consistently emerge; via Prévost's bowed percussion; via Rowe's distinct prepared guitar emanations that so distinctly verify the interior nature of electricity; via Tilbury's near-hallucinatory piano lines which seem to take on three dimensional status on this recording. Ultimately, it's AMM. Whose albums have been described as "alike or unalike as trees." This is another one, but it's not like the others. Music that you can play at almost any volume, at any time, forever.
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3CD
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MRCD31
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"A three CD set marking thirty years in the making of AMMmusic. Three concert performances: Aarhus, Denmark, 1969. London, 1982. New York, 1994. Featuring variously: Cornelius Cardew, Lou Gare, Christopher Hobbs, Eddie Prévost, Keith Rowe and John Tilbury. Includes an illustrated booklet with commentaries by Jim O'Rourke, Victor Schonfield, Malcolm LeGrice and John Tilbury." Tremendous historical document of all exclusive material to this box, perfectly packaged, desperately awaited. "AMM moves on or comes together on any plane: it could be volume, speed or density as much as pitch. The most peaceful and united parts might be the ones which are the busiest and most crowded. AMM uses all the dimensions of musical space to create the feeling that sound is a solid object in solid space -- complete with size, shape, performance. It depends where they are sitting, what they are focusing on, how long and at what stage they can concentrate, and how widely or narrowly. There is no whole or center, only parts. AMM reveals the behaviour of sound, and its anomalies. Low sounds absorb high ones, loud sounds blot out soft ones, but most sounds placed side by side either co-exist, reach out to each other or merge. Sometimes you can hear one sound being squeezed until it splits into two or more. The melody need not be sound changing: it could simply be sound being" --Victor Schonfield.
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CD
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MRCD30
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Recording of a concert given at the Muhlenberg College Arts Center Recital Hall, Allentown, PA, on Sunday 4/24/94. The trio of Keith Rowe (guitar), John Tilbury (piano) & Eddie Prévost (percussion). One beautiful 60-minute piece in the style of expansive, spatial-detailed improvisation that they have so fully mastered in recent years -- the purest in absolute sound.
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CD
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MRCD26
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CD issue of material previously available as an LP on Pogus, with an additional 32 minute track, called "Treatise '84" ("an improvisation inspired and guided, rather than dictated or controlled by Cornelius Cardew's graphic masterpiece"). New artwork and additional notes by Prévost compared to the LP. Recorded live at the Arts Club, Chicago on 5/25/95, this is the trio of Tilbury, Rowe & Prévost.
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CD
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MRCD06
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Studio recording from 1982, with the addition of a previously unavailable 31 minute piece from 1983 added (from the o/p LP version). This marks the recording debut of John Tilbury (piano) in the group, plus the now reunited core of Prévost and Keith Rowe (guitar, electronics). Absolutely stunning improvisational "noise" from a very serious standpoint ensemble.
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CD
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MRCD13
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Recorded live in London on 1/10/87. Prévost, Rowe, Tilbury, and Rohan de Saram (cello). The organic control of sound on this disc is spectacular; pretty much a must for serious listeners worldwide.
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CD
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MRCD20
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Live in Zurich 1990. 74 minutes of Gare/Prévost/Rowe/Tilbury, showing they have hardly run into a creative wall in their 3rd decade of existence.
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CD
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MRCD03
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A reissue of what is chronologically the 3rd full AMM album, following AMM:1966 and The Crypt. Recorded during the years of 1973-75, this marks an unusual and little recognized period in the group's history. For about 5 years, Keith Rowe (and his guitar and electronics) had left the group (along with Cornelius Cardew), leaving AMM as a working duo of Eddie Prévost (drums) and Lou Gare (tenor saxophone). That makes this the most jazz-like version of AMM, but as the liner notes (by Martin Davidson) make clear in fascinating detail, this is not jazz; "absolutely nothing (melody, harmony, rhythm, tempo) was predetermined." This CD add three pieces of previously unavailable material. Unique document in their saga, but not necessarily the place to start.
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CD
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MRCD23
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76 minute piece recorded live in 1992, featuring the Rowe/Prévost/Tilbury trio; tremendous atmospherics and one of their ultimate recordings. "AMM's singular shocking moment in Newfoundland is stretched to a taut 76 minute whole. Any one detail is packed with absorbing incident: dig an instance featuring distant-sounding chimes, the loose, dank and otherworldly knots f piano notes and the great, ghastly bowel-rattling laughter of Rowe's guitar-sprung electronics. And then a lost radio voice is fed through Rowe's pickup, temporarily anchoring the night in space and time. Rowe's ether-trawling catapults you back to the excitement of the dawn of broadcasting. Way back then, a listener was asked if h could hear the singing of Caruso. No, he replied, but 'I could occasionally catch the ecstasy.' Just picture that early, primitive listening pleasure, when radio hams strained to pick up music over transatlantic wires, unsure whether they were tuning into heavenly static or the voice of angels, and you begin to get close to the pleasure of AMM." -- Biba Kopf, The Wire.
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2CD
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MRCD05
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This monstrous, early set of noise is now available in complete form (31 previously non-LP minutes on this dbl CD - total of 110 minutes). Dense, original, crucial to the history of massive sound presentation and its aesthetics. Recorded 12th June, 1968. "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.
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CD
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RER AMMCD
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Limited restock. Monumental debut recording (originally issued by the Elektra recording company in far different times). "The classic first recording from 1966, with Cornelius Cardew, Eddie Prevost, Lou Gare, Keith Rowe and Lawrence Sheaf. One of the first attempts to bring Noise improvisation (radios, scraped guitars, prepared pianos) into popular culture. Essential and historic."
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viewing 1 To 20 of 20 items
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