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LP
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EAR 013LP
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"'In October 2018 we took several recordings in and around Eddie Prévost's home village of Matching Tye in Essex, where he has been living for the past fifty years. The majority of the pieces that made it to this LP took place in All Saints Church, High Laver, the burial site of John Locke. This fact was notable in the choice of title for this set of recordings, and it seemed necessary to put forward Eddie's own take on Locke that he offered in our correspondences: 'Scholars of Locke's philosophy will be familiar with the idea of mixing labour with materials as a fore-running notion of possessive individualism and basis for private property. Such 'mixing' is a persuasive description of a creative act. But the theory is more worthy of a social dimension.' As for the individual titles for each of the studies on the LP, each takes ideas and elements from music past. For example, MaxPlus makes a nod towards bebop pioneering drummer Max Roach who offered an earlier hit-hat study. Eddie utilises such examples, offering further creative insights which can then be woven back into the common wealth of sound. The final track, returning to the bowed cymbal method of the first, was recorded outdoors on a breezy green, and is pictured on the back cover of the sleeve. It was an attempt to capture the playing in its 'metamusical' relationship with the untempered sounds of the external environment. Eddie has written about Metamusic in his book The First Concert (Copula, 2011): invoking childlike 'protomusical' behaviour, or the sense of music that a person might possess before the inevitable influences come to play any role in their productive, and appreciative, musical development. Ross Lambert provided a few words alongside his cover drawing entitled 'The Metamusician': "The eyes would symbolise for me things like searching, examining, closeness or friendship I think; engagement with the world. Decisions in making the image were completely intuitive, this is just me looking for the meaning, post-analysing, post rationalising.' -Daniel Kordik & Edward Lucas, March 2019"
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CD
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MRCD67
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Mesmerizing solo percussion album for tam-tam, from the founder of AMM. Studio recordings from 2005. Here is Eddie's description of how the title track of this CD came about: "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 to watch and listen with the recording engineer (Sebastian Lexer) as the tam-tam (as it were) told its own story. Various processes came into play. The fanning wires beat the edge of the tam-tam and began to set up numerous overtone patterns -- due in part to the irregular shape of the wheel motion. These were enhanced, diverted and changed by a gradual oscillating motion as the rotating beaters began to push the tam-tam on its suspending rope (creating a gentle swinging movement), and by the gradual diminishing power of the motor. This process was played out until the batteries were depleted. As a composer, I am struck by the similarities that this approach has to certain experimental tendencies in the world of composition. Various pieces spring to mind that are concerned with setting up a physical situation and then allowing it to play itself out, with no more than a gentle nudge from the performer. Steve Reich's 'Pendulum Music,' Takehisa Kosugi's 'Micro 1' and Alvin Lucier's 'Music on a Long Thin Wire' are all works concerned with revealing the potentiality of materials and allowing those materials to sound themselves, where, after initiating the process, the performer steps back and listens with the rest of the audience."
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Book
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MR COPULA2
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Eddie Prevost (AMM)'s 2nd book of writings to be published by Matchless. Subtitled: "Meanings in music-making in the wake of hierarchal realignments and other essays." Paperbound, 178 pages. The first half of the book is a series of essays relating to the subtitle; the 2nd half if a collection of additional essays (written 1984-2002) on: The Ganelin Trio, John Zorn, Keith Rowe & John Tilbury, etc. -- including various album liners notes, magazine articles, etc.
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CD
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MRCD48
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A solo percussion CD from AMM's Eddie Prevost. Studio recordings from 7/61/01. From Eddie's liner notes: "My work on the accompanying CD has particular connections with my experience within AMM. There is a strong concern with tonal, textural and tactile qualities, and the relationships we have with sound. These might be considered as the aural equivalents of fabric and shading. There is also, of course, a strong polyrhythmic component to this music. However, the dynamic priority is definitely dialogical....Alone in the studio, it is just me trying to breathe life into the materials I have chosen to have at hand. The gongs, chimes, bells, strings, skins and resonating boxes are a rich environment."
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CD
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MRCD40
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"Eddie Prévost's Silver Pyramid -- directed by Keith Rowe. An historic recording from a Music Now festival, London 1969. Features the Music Now Ensemble including Cornelius Cardew, Keith Rowe, Lou Gare, Eddie Prévost and others." One continuous scraping, atmospheric 74-minute live piece, part of a Roundhouse festival which also featured works by Sonic Arts Group, John Cage, Christian Wolff, LaMonte Young, Terry Jennings, Alvin Lucier, Robert Ashley, etc. The piece is based on a silver pyramid art icon designed by Prévost ("a wooden framed structure covered with shimmering, reflecting material that shot light out at every angle"). This piece anticipated the imminent arrival of the Scratch Orchestra and is a vital missing link in the documentation of the AMM-associated free-sound continuum. "I listen to the silvery threads of sound catching a near glimpse of this or that person. Keith is prowling and growling the whole time -- worrying at the music, there are metallic scrapings, cello sounds (that I think must have come from Cornelius) and wistful whistling on penny flutes." -- Prévost.
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CD
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MRCD32
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First ever solo percussion release by the founding member of AMM, recorded in 1996. "Such complex layering is a characteristic of AMM music and it is to AMM music that the most immediate comparisons must be made. The 'landscape' pieces presented here evoke most nearly the unhurried, laminal, deep listening qualities of AMM music. Comparisons and parallels may be found with the big drum cultures of Africa and Japan, the Korean ajaeng and komungo, the invented instruments of Harry Partch, the low-tech electronics of Hugh Davies and Paul Lytton: but these are comparisons of detail, the broad structural concerns are the same ones to be heard in classic AMM performance... The surprise lies in the technical achievement involved, since such an evocation is no easy task for a solo performer. To reveal the nuts and bolts of how this astonishingly rich, complex, many coloured multi-layered music is made is perhaps as crass and unnecessary as explaining how Ad Reinheardt maintained such control over nine shades of black pigment or how Sonny Rollins can alter the tone colour of the tenor saxophone to sound like a flute or a baritone. Of course there is a technical explanation involving motorised beaters and plectra, strings, bows, hollow bridges of metal and wood, etc. -- these are the inventions which EP has always been so good at. The resulting music is the discovery."
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CD
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MRCD01/02
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AMM's drummer Eddie Prévost has also led some fine British free jazz groups; these LPs (from 1977) feature: Geoff Hawkins (tenor sax), Gerry Gold (trumpet), Marcio Mattos (bass) & Prévost (drums). This CD reissues the deleted LPs from the 70s.
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