For more information about the label, go to www.matchlessrecordings.com.

AMM Before driving to the chapel we took coffee with Rick and Jennifer Reed (MRCD35)

Eddie Prévost/Keith Rowe/John Tilbury.

The Recording of a concert given at Rice University, Houston, TX, USA, on 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.

“It is a sense of suspended time that marks out their musical world. Combined with the quality of attention and the virtuosic command that is evident in each stroke, it is almost hallucinatory in effect.” — Resonance

AMM Combines + Laminates + Treatise '84 (MRCD26)

Eddie Prévost/Keith Rowe/John Tilbury.

CD issue of material previously available as an LP on Pogus, with an additional 32-minute track, "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 serious music by serious musicians, that defines a mode of music.” — Electric Shock Treatment (UK)


AMM The Crypt - 12th June 1968 (MRCD05) 2 CDs

Cornelius Cardew/Lou Gare/Christopher Hobbs/Eddie Prévost/Keith Rowe.

Dense, original, crucial to the history of massive sound presentation and its aesthetics. This early set is now available in complete form (31 previously non-LP minutes on this double CD, totalling of 110 minutes). The Complete Session with material not released before.

“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 (UK)

AMM Fine (MRCD46)

Eddie Prévost/Keith Rowe/John Tilbury.

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.





AMM Generative Themes (MRCD06)

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 Eddie Prévost and Keith Rowe (guitar, electronics). Absolutely stunning improvisational "noise" from a very serious standpoint ensemble. Re-released in 1994 with additional material.

“Together they play completely free of clichés, improvised music of the highest class which takes the listener into an extra-ordinary sound world.” — ME Sounds (Germany)

AMM The Inexhaustible Document (MRCD13)

Eddie Prévost, Keith Rowe, John Tilbury, and Rohan de Saram (cello).

Recorded live in London on 1/10/87. The organic control of sound on this disc is spectacular; pretty much a must for serious listeners worldwide.

“A music desolated by a beauty so bleak and alien to received definitions of the term, yet somehow familiar.” —The Wire

AMM Laminal (MRCD31) 3-CD Set

"A three CD set marking thirty years in the making of AMMmusic. Three concert performances (one per disc): 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.

AMM Live in Allentown USA (MRCD30)

Eddie Prévost/Keith Rowe/John Tilbury.

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.

“Live in Allentown is an exceptionally fine addition to an already admirable and incomparable canon.” —The Wire

AMM The Nameless Uncarved Block (MRCD20)

Lou Gare/Eddie Prévost/Keith Rowe/John Tilbury.

74 minutes live in Zurich, 1990, showing they have hardly run into a creative wall in their third decade of existence.

‘There’s nothing really else around to which The Nameless Uncarved Block can usefully be compared. It’s another great AMM record, that’s all, and that’s enough.” — The Wire



AMM Newfoundland (MRCD23)

Eddie Prévost/Keith Rowe/John Tilbury.

76-minute piece recorded live in 1992. Tremendous atmospherics. One of their ultimate recordings.

“If there are episodes of vagueness and insecurity among the ecstasies, it’s the honesty of the moment that makes them real.” — Pulse (USA)

AMM Norwich (MRCD64)

Eddie Prévost, percussion; John Tilbury, piano.

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."

AMM To Hear And Back Again (MRCD03)

Lou Gare/Eddie Prévost.

Recorded during the years of 1973-75, this marks an unusual and little recognized period in the group's history. For about five 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 adds three pieces of previously unavailable material.

“The two forgotten giants of jazz.” — Melody Maker (UK)

AMM Tunes without Measure or End (MRC044)

Eddie Prévost/Keith Rowe/John Tilbury.

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.





Bark! Swing (MRCD41)

Electroacoustic ensemble featuring Rex Caswell (electric guitar), Phillip Marks (percussion) and Paul Obermayer (electronics). From Richard Scott's liner notes: "... the music appears as a kind of conversational game, built of molecules and fragments, dots and dashes, calls and responses, moves and counter-moves...it is quite severe music, sometimes ugly and disturbing, but it's also always striving to be beautiful. At its best, when its shapes evolve patiently and inevitably into clear and tangible orders, vistas and architextures, the result is really quite magnificent."



Earle Brown Chamber music (MRCD52)

Dal Niente projects: Simon Allen - vibraphone, marimba, percussion harmonicas, varioussound-producing media; Peter Bevan - trombone; Bridget Carey - viola; Tania Chen - piano; Robert Coleridge - piano; Francesca Hanley - flute; Nicolas Hodges - piano; Mieko Kanno - violin; Lore Lixenburg - voice; Zoe Martlew - cello; Mannon Morris - harp; Fiona Ritchie - vibraphone, marimba; David Ryan - clarinet, bass clarinet; Nancy Ruffer - flute; Andrew Sparling - clarinet, bass clarinet; John Tilbury - piano; Earle Brown - conductor. Recorded 1999-2002.

A collection of early works by Brown, written 1952-64. Includes: Folio; Corroboree (for three pianos); Four Systems (multi-timbral realisation); Tracking Pierrot (for ensemble).

John Butcher with Eddie Prévost interworks (MRCD66)

John Butcher - tenor/soprano saxophones with Eddie Prévost - tam-tam and other percussion. Studio recordings from July, 2005.






Cornelius Cardew Chamber Music 1955-1964 (MRCD45)

Recorded by Apartment House directed by Anton Lukoszevieze, 2001. First commercially released recordings of many of Cardew's early compositions.

Cornelius Cardew Piano Music 1957-1970 (MRCD29)

John Tilbury, piano.

Long overdue recording (made in 1996) of some of Cardew’s pre-political period music. February Pieces, Volo Solo, Unintended Piano Music are just some of the works which reflect Cardew’s then aesthetic preoccupation with sonorities and touch. The piano is exhaustively and lovingly explored. Tilbury, who was one of Cardew’s closest musical associates, collaborates in Cardew’s search for a creative relationship with musician and materials and succeeds magnificently.



Yann Charaoui/John Lely/Seymour Wright 396. (MRCD42)

Yann Charaoui cymbals and table top samplers, John Lely piano and prepared bal-bal tarang. Seymour Wright - alto saxophone.

"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

Conditions A Bright Nowhere (MRCD55)

Conditions is Nathaniel Catchpole, tenor saxophone; Jamie Coleman, trumpet; Alex James, piano; John Edwards, double bass; Eddie Prévost, drums. Recorded in 2003.

Conspiracy Intravenous (MRCD21)

Improvising ensemble from UK.

Marilyn Crispell and Eddie Prévost Band On The Wall (MRCD25)

Great 1994 piano/drum duets, of an intense, physical nature.

“Never has free-jazz pianist Crispell played so aggressively and part of the credit goes to the English drummer Eddie Prévost, who works his kit with a manic intensity, prodding Crispell into improvisations so toughly executed that you can imagine damaged piano keys flying into the nightclub air...When the drums fade out Crispell often decelerates into a slow ballad style ... this ranks with her most dashing, vivacious and varied recordings.” — The Boston Phoenix (USA)



Paul Dunmall Soliloquy (MRCD15)

Paul Dunmall - multi-tracked saxophones. 1986.

“This record is one of the best of its kind, with mesmerising depth and great sincerity.“ — Ear Magazine (USA)

Free Jazz Quartet Premonitions (MRCD18)

Paul Rutherford, trombone; Harrison Smith, tenor and soprano saxophones/bass clarinet; Tony Moore. cello; Eddie Prévost, percussion. 1989.

“This is some of the finest free improvisation I’ve heard recently. Strongly recommended.” — Option

Furt Defekt (MRCD50)

Furt is the long-running duo of Richard Barrett and Paul Obermayer, electronics. They have been performing together since 1986. This CD collects five pieces recorded over the years 1997-2001; "Plint" is a studio piece derived entirely from piano-duo improvisations. "Gute Nacht" uses seven songs from Schubert's Winterreise as its point of departure. "Volksmusik" features the voice of Charlie Chaplin. The 45-minute "Ultimatum" is dedicated to Karlheinz Stockhausen.

Lou Gare no strings attached (MRCD65)

Lou Gare - solo tenor saxophone. Studio recordings from July, 2005.

Lou Gare was a founding member of AMM and played on their seminal early records Ammusic 1966 and The Crypt. These are the first recordings of his solo sax playing.

Hubbub Hoib (MRCD60)

CD from a French improvisational group, featuring Frédéric Blondy, Bertrand Denzier, Jean Luc Guionnet, Jean-Sébastien Mariage, Edward Perraud.

"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, world."

Hubbub Whoop Hoop (MRCD53)

Improvisations by Paris-based improvisational ensemble of Frederic Blondy, Bertarnd Denzler, Jean-Luc Guionnet, Jean-Sebastian Mariage and Edward Perraud.

Tony Moore Observations (MRCD22)

16 cello improvisations from 1993.

“This is improvised chamber music that manages to draw on the intimacy of the tradition without sounding overly cerebral or precious ... The results are a thoroughly captivating charged and inspired session.” — Cadence (USA)





Tony Moore/Josep Vallribera Assessments and Translations (MRCD28)

Double-tracked cello improvisations arising from collaborations with gesto-grafia artist Vallribera.

Musica Elettronica Viva & AMM Apogee (MRCD61) 2 CDs

The first CD features a joint recording of the six musicians of Musica Eletttronica Viva and AMM together: Alvin Curran, Eddie Prévost, Keith Rowe, Frederic Rzewski, Richard Teitelbaum and John Tilbury. It was recorded April 30th, 2004. The second CD contains separate performances that MEV and AMM gave at the 'Freedom of the City' festival, London on May 1st, 2004.

"After the generally low dynamic levels and relatively slow pace of the AMM trio set on 1 May, the MEV trio opened with the blast of Alvin Curran playing the sho far, a trumpet made from a ram's horn, a 'defiantly primitive', prototypical music, fit to leave the walls of the Conway Hall, like some new Jericho, pitched down fiat. If I spoke earlier of the way in which AMM might deal, in Reeve and Kerridge's phrase, with the internal, microscopically-enlarged body surface which becomes a landscape—and the same is true of some of Teitelbaum and Curran's quieter use of radically pitch-shifted and extended samples—particularly that ululating operatic-theatrical voice, coming to sound almost like something from AMM's label-mates FURl—then this is the extrovert mode, which refuses any easy accommodations. Which division is inherent; as Bourdieu explains, the culture which unifies via the medium of communication is also the culture which separates via the culture of distinction, and which legitimates distinctions. It may be, as Adorno remarks, that a work of art is great insofar as it registers a failed attempt to reconcile such objective antinomies; failure then being in the highest sense the measure of success." — Harry Gilonis

9! none (t) (MRCD54)

Improvisations by large London-based ensemble of Nathaniel Catchpole (tenor saxophone/elk calls); Jamie Coleman (trumpet); Alex James (piano); Ross Lambert (guitar/pocket trumpet/preparations); John Lely (piano); Sebastian Lexer (piano/computer); Marianthi Papalexandri (moving objects); Eddie Prévost (percussion); Seymour Wright (alto saxophone). Recorded 2002/03.




Organum Veil of Tears (MRCD24)

David Jackman aided and abetted by Michael Prime, Dinah Jane Rowe, Roger Sutherland, Jim O’Rourke and Robert Hampson.

“...water dripping, clanking, whooping, alongside chimes, subdued flute and what sounds like a mechanical whale ... all that’s important to Jackman is the sheer sensuality of the sound ... potent, affecting and utterly gorgeous.” — Electric Shock Treatment (UK)

Organum and Eddie Prévost Flayed/Crux (MRCD27)

CD issue of an LP previously issued on Silent Records in 1985. "Crux" is an Organum track, featuring Andrew Chalk on bowed gong, David Jackman on drone flute and bowed piano, Dinah Jane Rowe on drone flute and Stephen Stapleton on chair. It's a pretty classic piece to say the least. "If you like the dronescapes of traditional Far Eastern musics, you'll love 'Crux'; if you wigged out to La Monte Young at his most conceptual, you'll do much the same with this. Better still, you may love 'Crux' having previously heard none of these supposed influences; you're simply wired for sound." --David Ilic.

"Flayed" features mainly Prévost on drums, general percussion and acme thunderer whistle, while Jackman added some bowed gongs and electronic sounds.

“... anyone used to Prévost’s other ventures might get quite a shock ... huge flurries of hyperactive, thunderous drumming. Crux creates similarly resonant, intense soundscapes.” — Electric Shock Treatment (UK)

Evan Parker and Eddie Prévost Imponderable Evidence (MRCD57)

Subtitled "the subtleties of glance, of gesture, of tone." Studio recordings from Nov. 2003. Evan Parker, tenor saxophone; Eddie Prevost, drums.






Evan Parker and Eddie Prévost Most Materiall (MRCD33) 2 CDs

1997 studio recording of Parker (saxophones) and Prévost (percussion).

"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

“Essential listening for anyone interested in the work of either man.” The Penguin Guide to Jazz on CD [4th edition, 1998] (UK)

Tom Phillips Irma (MRCD16)

An opera performed by AMM plus soloists: Coxhill/Lorraine/ Minton/Mitchell/Pederson/Phillips/Prévost/Rowe/Tilbury.

“For those that love the genre, this is a tour de force.” — Option (USA)






Eddie Prevost Entelechy (MRCD67)

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."

Eddie Prévost Loci of Change (MRCD32)

Solo percussion recording from 1996. 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.

“... radiates an unhurried, contemplative authority ...creates rich, multi-layered soundscapes (without overdubbing) which are distinctly modern yet tap (pun intended) into something primordial and mysterious.” — Rubberneck (UK)

Loci of Change opens with one of the richest sounds in modern music, the sound of Eddie Prévost scraping. From there the album opens into a riot of precisely coloured percussion in which Prévost’s arsenal of techniques are given full rein... utterly captivating.” — Resonance (UK)

Eddie Prévost Material Consequences (MRCD48)

A solo percussion CD from AMM's Eddie Prevost. Studio recordings from 2001. From Prévost'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."

Eddie Prévost Silver Pyramid (MRCD40)

An historic recording. Eddie Prévost's Silver Pyramid performed by the Music Now Ensemble directed by Keith Rowe, London, 1969. The ensemble includes Cornelius Cardew, Keith Rowe, Lou Gare, Eddie Prévost and others. 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." — Eddie Prévost

(Bar code: 7 86497 44412 0)

Eddie Prévost and Veryan Weston Concert, V (MRCD37)

Prévost (drums) and Weston (piano). Recorded in England in 1998; mixed by Evan Parker.

"'Beauty as an Ear Thing' is a meticulous exploration of texture, full of soft explosions, the reverberant ring of spinning metals, and overtones that glow like embers, dying into silence; this music wouldn't be misplaced on an AMM disc. 'Clustered' rebuilds something out of the emptiness. The dislocated rhythmic feel is like an abstraction of something Monk and Max Roach might have played together. 'Fingers and drums' also conveys the sense of inventing almost from scratch, asking 'what material?' and digging into it to find out. Finally, 'Hammer and Tonic' a roaring thing, leaps from the starting gate as if all questions were resolved long ago..." — Steve Lake.

"It is fascinating to listen to them as they challenge not only each other but the fundamental nature of their own instruments: often as not, Weston plays the piano with the old 88 tuned drums mentality, while Prevost expresses himself melodically. There is motion here, buoyancy, light and air. Do not miss out on this concert." — Cadence (USA)

Eddie Prévost Band Live Vols 1 & 2 (MRCD01/02)

Geoff Hawkins, tenor saxophone; Gerry Gold, trumpet/horn; Marcio Mattos, double bass; Eddie Prévost, drums. Single CD reissue of 1977 LPs.

“Stark,sometimes angry but beautiful. Absorbing and fascinating music that can only work in the free and open interaction between people.” — Black Music and Jazz Review (UK)

Eddie Prévost Quartet Continuum + (MRCD07)

Larry Stabbins, tenor and soprano saxophones; Veryan Weston, piano; Marcio Mattos. double bass; Eddie Prévost, drums. Re-mixed re-release of the LP Continuum, which featured the performance made at the Bracknell Jazz Festival, 3rd July 1983, together with 30 minutes of hitherto unreleased studio material recorded in 1985.

"It moves forward in a complicated, constantly mutating web of stylistic references to musical precedents within jazz and twentieth century music, overlapped in a restless search for new textures, moods, dramatic interludes, and possible resolutions. Some listeners may feel—as others have over the years-- that sections of the Quartet's music sounds like bebop heard at a distance or in a dream." — Alan Durant.

"The original release of Prévost’s 1983 Bracknell appearance represents one of the few ‘must haves’ of British free jazz." — Rubberneck (UK)

Eddie Prévost Trio The Blackbird's Whistle (MRCD56)

Tom Chant, tenor saxophone and bass clarinet; John Edwards, double bass; Eddie Prévost, drums. Recording from November 2003.

Eddie Prévost Trio Touch (MRCD34)

Tom Chant, soprano saxophone; John Edwards, double bass; Eddie Prévost, drums. From 1998.

"This trio, quite intuitively (because I never spelt out what I hoped would happen) works in a subtle, attentive way: examining what the music is and where it is going all within the process of playing; feeling the sound to be complementary and in contrast to other sounds; feeling the stuff of the instruments, and sensing the presence of other creative beings. This is part of the extraordinary and gloriously uncertain matrix of what making and listening to music should be about."— Eddie Prévost.

“The collective improvisations on Touch all have a beautiful transparency in which each band member makes his presence felt without obscuring the others. ... This is one of Prévost’s finest albums as leader, featuring music that’s full of surprises, and human warmth and vulnerability as well as daring and tough-mindedness.” — Opprobrium (NZ)

Eddie Prévost Trio The Virtue in If (MRCD43)

Tom Chant, soprano saxophone; John Edwards, double bass; Eddie Prévost, drums. Recorded in 2000.







Resound Resoundings (MRCD08)

Peter McPhail, alto and sopranino saxophones and flute; Tony Moore, double bass; Eddie Prévost, drums. Re-release of an LP first issued in 1986 together with additional material.

"The three can move like the Golden Circle trio, but there’s a lonelier tone here too. McPhail’s flute echoes the shakuhachi’s lone hiccup that follows through into his alto and sopranino. Moore’s thick whirl makes for coherence. And, Prévost has leant how to make the drums sing." — The Wire

Keith Rowe A Dimension of Perfectly Ordinary Reality (MRCD19)

1990 solo CD by guitarist Rowe.

"Rowe is a master of an invented instrument made out of electric guitar, amplifier, speakers, various accessories (mostly quite ordinary), radios and himself... The playing interweaves and overlays human and electric forces in such a way that they become extensions of one another. As solo performance it involves a remarkable virtuosity, in the ingenuity inventing the system and its components, the ways in which they are deployed, the sustained energy and presence of the sound produced." — Christian Wolff.

"... in the epic Dantean sense, sheer hell. And where better to look for an exciting time?" — The Wire

Keith Rowe and Jeffrey Morgan Dial: Log-Rhythm (MRCD36)

"A duo consisting of AMM's guitar-played-by-household-utensils-ist Keith Rowe and alto saxophonist Jeffrey Morgan. This CD is a recording of a concert held at The Loft, in Cologne Germany on October 14, 1997, abound with great textures/sonics & certainly a textbook case for abstract-guitar invention in a real time/reactive setting. Earnest." — Hrvatski.

"Morgan is a fascinating resonant continent and simply one of the most original and innovative saxophonists of today. The microchronometric flashing reactions of Rowe illuminate this prodigious palimpsest: radio scraps, muffled rockets, bitter electric blizzards. Vibrant asteroids, absorbing record, spellbinding music." — Improjazz (Fr.)


Sakada Undistilled (MRCD49)

Sakada is Mattin (computer feedback), Rosy Parlane (computers and radio) and Eddie Prevost (percussion).

"Undistilled was recorded at live performances in London and Rotterdam in 2002. Components are a restricted range of percussion (Eddie Prevost), electronic sounds confected earlier for intuitive, tweaked release (Rosy Parlane), and nervous hyper-attention to every noise present, allowing spontaneous digital transfiguration of some (Mattin). The product is a formidably dense mesh of textures and a subtle alignment of urgency and stasis, persistence and interruption. A sound-body exalting in its raw and varied outer abrasions, tormented by heaving intestinal bass and pierced irregularity by silver screeches, yet somehow concealing a few inner surfaces of all but languid smoothness. Needless to say (or to continue demonstrating), it Is wholly incommensurable with any attempt at verbal description."

Dave Smith First Piano Concert (MRCD14)

John Tilbury, piano. 1988.

Solo piano works covering a broad selection of styles.

“These 12 miniatures for solo piano ain’t jazz, but they ain’t bad either. In fact, they’re thoroughly charming pieces that reflect the influence of a variety of other musics, but remain very much within the realm of contemporary classical.” — Cadence (USA)

Such The Issue At Hand (MRCD38) 2 CDs

Such is the trio of Yoshikazu Iwamoto, shakuhachi; John Tilbury, piano; Eddie Prévost, percussion. This double CD consists of one 151-minute continuous piece.

"In this recording session, right from the start one confronts aural magic. John Tilbury is one of the most outstanding interpreters of Morton Feldman's music and one hears a certain Feldmanesque sensibility in the extraordinary way the piano sounds are placed in time and the unique quality of his touch. How wonderfully this complements Yoshikazu Iwamoto's contributions that seem to encase the spirit of bamboo and to draw us into the silence at the heart of the Buddhism. 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, where the freedom and openness have always triumphed over narrower and more provincial stylistic considerations. It offers an inspiration to our own aspirations as listeners to find what it is to be simply human ... it requires a quieter courage, the courage of kindliness, sensitivity, thoughtfulness, mutual respect, listening as well as playing, supporting, taking a chance, working together. These are all qualities at the heart of the music recorded on this CD. We should cherish them." — Frank Denyer.

“Sometimes, when a free improvisation is particularly successful, one first ceases to be conscious of the musicians at work, then our perception of the instruments fades, until we are left with nothing but the music. That’s what happens when Such begins to play.” — Avant (UK)

“Beguiling experimental music which crosses all boundaries.” — The Observer (UK)) 

(Bar code: 7 86497 37452 6)

Supersession Supersession (MRCD17)

Evan Parker, soprano/tenor saxophones; Keith Rowe, guitar/electronics; Barry Guy, double bass; Eddie Prévost, percussion. 1988.

“Music-making of formidable integrity (in all senses of the word) which offers seemingly infinite and inexhaustible prospects.” — The Wire

John Tilbury John Tilbury Plays Samuel Beckett (MRCD62)

John Tilbury with Christina Jones and Sebastian Lexer.

Cascando (a radio piece for music and voice). Music composed and performed by John Tilbury with electronic modulations by Sebastian Lexer. Rough for Radio 1 (for music and voices). Music composed and performed by Sebastian Lexer, Eddie Prévost, Christina Jones and John Tilbury. Studio recordings from 2004/5.




John Tilbury and Evan Parker Two Chapters and An Epilogue (MRCD 39)

Tilbury (piano), Parker (tenor and soprano saxophones). Studio recording from 1998.

"These musicians have chosen to eschew the given media of jazz, from whence Evan Parker received much of his initial inspiration, and the classical world from which John Tilbury received his early and formative training, in order to become autonomous human beings who can engage creatively and practically—not only with the world of sound, but with the the world of philosophy, and thence reflect upon a civil society. Why make are if not wanting to indicate other worlds and to transcend this one?" — Eddie Prévost.

"Blistering fast sax tootling from Parker and raindrop-falling piano from Tilbury are contrasted against lower register clumps of reverberation and flaky, polyphonic seagull impersonations. It’s a glorious, immersive experience." — The Wire

John Tilbury and Eddie Prévost Discrete Moments (MRCD58)

Studio recordings from Jan, 2004. John Tilbury: piano, prepared piano and organ; Eddie Prevost: stringled barrel, tam-tam, drums and other percussion.
(Bar code: 7 86497 54592 6)

Various [see below] Horn Bill (MRCD63) 2 CDs

A series of solo saxophone performances by John Butcher, Nathaniel Catchpole, Kai Fagaschinski, Lou Gare, Evan Parker and Seymour Wright. Recorded at a concert given at 291 Gallery, Hackney, London, 9th January 2005 at an ONGAKU: enjoy_sound production.





Various [see below] The Matchless Day (MRCD47) 2 CDs

Recordings from "freedom of the city" festival of radical improvised musics held at Conway Hall, London, May 2001.

CD 1: Bark! (Rex Caswell, Phillip Marks and Paul Obermayer); Eddie Prévost solo; Charaoui/Lely/Wright.

CD 2: Eddie Prévost Trio (with Tom Chant and John Edwards); Particles (Romuald Wadych, Sandy Kindness, Tim Goldie and Ross Lambert); Wadych/Dubovtsev; John Tilbury/Evan Parker.

"The Evening: The little official, institutional or media recognition (to examine the equivalence which is taken for granted between these three adjectives reveals plenty of horrors) which is (not) enjoyed by free improvisation sends its defenders into habitual errings of groupuscular logic. There's nothing new under the sun, in the arena of polemics concerning the presumed parallels (or lack thereof) with (free) jazz, everyone is right and wrong at the same time, because there is no one improvised music or one (free) jazz, and from the start one can say everything about nothing or vice versa -- it is rare to hear Eddie Prévost's remark to Derek Bailey cited: 'They criticised us by saying 'that's not jazz' -- in an important sense, these remarks were completely erroneous.' The founder of AMM is not dogmatic. We cannot now explore in depth the implications of this spiny 'in an important sense', but Eddie Prévost's music will illustrate it this evening some ten years down the road." — Philippe Alen

Christian Wolff Early Piano Music (1951-1961) (MRCD51) 2 CDs

Early Christian Wolf piano music (written 1951-61), performed by John Tilbury and Christian Wolff (pianos), Eddie Prevost (percussion). Studio recordings from 2001/2.

CD1: Solo (Tilbury). For Prepared piano, 1951; For Piano I, 1952; For Piano II, 1953; Suite (I), 1954; For Piano with Preparations, 1957; For Pianist, 1959.

CD2: for two pianists and a percussionist (Tilbury, Wolff, Prévost). Duo for Pianists I, 1957; Duo for Pianists II, 1958; Duet I (for piano four hands), 1960; Trio II (for piano four hands and percussion), 1961.

"During the period when these works were composed (1951-61), Christian Wolff was closely associated with John Cage. Morton Feldman, Earle Brown and David Tudor (they are sometimes referred to together as the New York School'). Feldman later remarked that he was profoundly indebted to Christian Wolff ('I think of him as my artistic conscience')... First impressions may be of a music unlike any other: abrupt, delicate, astringent, enigmatic, disconcerting. The effect is as of isolated objects in space, sounds which seem to come from nowhere and lead nowhere, appearing and disappearing unpredictably, framed by silences. Attention is drawn to the immediacy of each sound. The ear is finely tuned to precise details, a microscopic world in close-up. Expectations derived from other kinds of music are not much help here; one is encouraged to listen afresh, with special alertness, as in unfamiliar territory, searching for clues. Technically, the music arises directly from the mechanical action of the piano and emphasises its percussive character. The sounds are not joined up in familiar ways, the pedal is not used to give continuity, there is no legato phrasing, no illusion of the 'singing line'; instead there is a sharpness of attack, a stark exposure and isolation of individual sounds. The use of preparations enhances this impression: a method developed by Cage in the 1940s of transforming the sounds of the piano by the insertion of small objects (screws,, coins, wedges, wood, rubber and other materials) between the strings. The sounds are altered in a variety of ways, in terms of pitch, timbre and resonance; new timbral qualities are discovered, reaching out into the diverse sound world of percussion instruments."

Christian Wolff Percussionist Songs (MRCD59)

Music by Wolff performed by Robyn Schulkowsky (percussion) and Wolff. Studio recordings from 2003.

"Christian Wolff invites us to join him on a journey to his magical world. A world where music we never imagined before exists. This is one of the spaces John Cage was talking about when he asked us to 'let sounds be sounds'. So they are. And there is so much music to be discovered there." — Robyn Schulkowsky