Out of stock
CD
AMM with John BUTCHER
“Trinity”
Eddie Prévost, percussion. John Tilbury, piano. With John Butcher, soprano and tenor saxophone. Recorded at Trinity College of Music, Greenwich, England on 13th January 2008. Recording and mastering Sebastian Lexer. Cover design ’Lamberton Court’ by Andrew Prévost.
12,00€
Out of stock
CD
AMM
“Norwich”
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."
13,00€
Out of stock
CD
AMM
“Fine”
“AMM (John Tilbury, Keith Rowe, Eddie Prévost) with Fine Kwiatkowski... Music for dance, another great and somehow different work from the masters. Every sound counts.”
12,00€
Out of stock
CD
AMM
“Tunes without measure or end”
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.
13,00€
Out of stock
CD
AMM
“Before driving to the chapel we took coffee with Rick and Jennifer Reed”
Keith Rowe, John Tilbury, Eddie Prévost. Concert in Houston, Texas. 1996.
14,00€
Out of stock
CD
AMM
“Live in Allentown USA” (1994)
Prévost-Rowe-Tilbury. “Live in Allentown is an exceptionally fine addition to an already admirable and incomparable canon.” The Wire
12,00€
Out of stock
CD
ORGANUM – Eddie PRÉVOST
“Crux + Flayed”
“Crux an Organum track. Flayed a drumming sequence played by Eddie Prévost.
“....... 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 (U.K.)
“....... 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 (U.K.)
13,00€
Out of stock
CD
AMM
“Combine + Laminates + Treatise” (1984)
“A re-issue of the Pogus LP format with additional material taken from the same concert at the Arts Club, Chicago, USA, 25th May 1984
The difference in the music included on this CD version is the addition of Treatise 84. This, as the audience was aware, was an improvisation inspired and guided, rather than dictated or controlled by Cornelius Cardews graphic masterpiece. There is, of course, no way that this work could be identified as a composition in the accepted sense. There is no universal correlation between the symbols on the page and the sounds the musicians make. Cardew gave no indications as to what any of his graphics might represent. Later, in the Treatise Handbook he offered thoughts upon how such a musical engagement might develop. Nothing however was prescriptive.
Dated entry in Treatise Handbook :
5th January 1966. Joining AMM was the turning point, both in the compositions of Treatise and in everything I have thought about music up to now. Before that Treatise had been an elaborate attempt at graphic notation of music (which I can only describe as a graphic score that produces in the reader, without any sound, something analogous to the experience of music), a network of nameless lines and spaces pursuing their own geometry untethered to themes and modulations, 12 note series and their transformations, the rules or laws of musical composition and all the other figments of the musicological imagination.” Eddie Prévost
The difference in the music included on this CD version is the addition of Treatise 84. This, as the audience was aware, was an improvisation inspired and guided, rather than dictated or controlled by Cornelius Cardews graphic masterpiece. There is, of course, no way that this work could be identified as a composition in the accepted sense. There is no universal correlation between the symbols on the page and the sounds the musicians make. Cardew gave no indications as to what any of his graphics might represent. Later, in the Treatise Handbook he offered thoughts upon how such a musical engagement might develop. Nothing however was prescriptive.
Dated entry in Treatise Handbook :
5th January 1966. Joining AMM was the turning point, both in the compositions of Treatise and in everything I have thought about music up to now. Before that Treatise had been an elaborate attempt at graphic notation of music (which I can only describe as a graphic score that produces in the reader, without any sound, something analogous to the experience of music), a network of nameless lines and spaces pursuing their own geometry untethered to themes and modulations, 12 note series and their transformations, the rules or laws of musical composition and all the other figments of the musicological imagination.” Eddie Prévost
14,00€
Out of stock
CD
ORGANUM
“Veil of tears”
“Collection of recent tracks, recorded by the Organum core of David Jackman, Michael Prime, Dinah Jane Rowe and Jim O’Rourke; further mastering of sound cluster presentation and development.”
15,00€
Out of stock
CD
AMM
“The nameless uncarved block” (1990)
Lou Gare, Eddie Prévost, Keith Rowe, John Tilbury.
15,00€
Out of stock
CD
AMM
“The inexhaustible document” (1987)
Rohan de Saram (cello). Eddie Prévost. Keith Rowe. John Tilbury. “A music desolated by a beauty so bleak and alien to received definitions of the term, yet somehow familiar.” The Wire
12,00€
Out of stock
Out of stock
CD
AMM
“To hear and back again” (1973-75)
Lou Gare (tenor sax) and Eddie Prévost (drums).
“1. And Back to Hear Again.
The music herein, like most of the vital music of the last thirty years, is totally improvised. Such non hierarchic and non idiomatic music is beyond pigeon holes, even though it usually gets pigeon holed as abstract and/or jazz.
Of course, all music is essentially abstract. Even such relatively realistic pieces as Charles-Valentin Alkans LE CHEMIN DU FER and Meade Lux Lewis HONKY TONK TRAIN BLUES do not necessarily reveal what they are depicting unless one knows the title. (They certainly do not have any extra appeal to railway buffs!). The analogy to the visual arts is usually raised to justify calling improvisation “abstract”. Visual arts are called abstract if they do not resemble the real world out there. If any music resembles the sound sequences of the real world out there (apart from trains) it is surely totally improvised music, making it the least abstract of all. If one thinks in terms of the real susbstance of music, which is arguably its emotional content (whatever that may be), then total improvisation gives musicians the most unrestricted scope of expressing their emotions, so once again it is the least abstract of musics since it allows for the fullest expression of the substance.
The most succinct definition of jazz that I have come across is that of Peter Riley Afro-American group instrumental part improvised music. Total improvisation hardly fits in with this, especially as so few Afro-Americans seems to have taken any part or interest in it, and since it contains virtually nothing of the Afro-American tradition that permeates all of jazz. Most total improvisation is inherently non idiomatic or pan idiomatic, and therefore should really not be lumped together with any particular idiom. Some improvisation, like that on this disc, does sound somewhat like jazz, but then so do some of the compositions of George Gershwin and Igor Stravinsky. In both cases the methodology - either total improvisation or total composition - is decidedly non jazz.
It is true that jazz was a major influence on the world of total improvisation, and many (perhaps most) of the practitioners came from a jazz background. However, other musics also had important inputs. For instance, there is the area of music usually known by such egocentric names as classical, legitimate, serious and straight, as if there was nothing else worthwhile. (Since this is by far the most popular area of music worth listening to, I usually refer to it as popular music) Shortly after the middle of this century, several composers were producing scores that amounted to improvise but pay me royalties. Groups like AMM decided, quite reasonably, to improvise and keep any royalties themselves, rather than give them to any absentee composer. The musicians became both the composers and the interpreters, and the recordings became the score preserving the music - recorded sound having made scores somewhat redundant. It should also be remembered that AMM has included musicians who were otherwise composers (Cornelius Cardew and Christian Wolff) or interpreters (Rohan de Saram and John Tilbury) of classical, legitimate, serious, straight music.
2. Back And Again Hearing Two In 1963, Lou Gare answered a saxophonist wanted advertisement in a then music trade paper, and as a result became a member of Eddie Prévost's Band. He later joined Mike Westbrook’s band, which at that time also included Keith Rowe and Lawrence Sheaff. Meanwhile, Gare, Rowe and Sheaff also began to make music with Prévost, and in 1965 they left Westbrook, called themselves AMM, and were subsequently joined by Cornelius Cardew. Virtually all the resemblances to a jazz group were soon discarded as more and more emphasis was placed on total group improvisation - they being one of the very first groups to take this direction. There was a decided preference for bowing and live electronics (including radios) in which the overall sound was so unified that it was often impossible to isolate any individual contributions.
Sheaff’s tenure with the group ended in 1967 (after which he dropped out of music making altogether), and AMM became the quartet it remained for a further four years, sometimes augmented either by Christopher Hobbs or Christian Wolff. By 1970, the electronics had been dropped by everyone except Rowe, who alone was left to create the dense mass of sound that seeped around the others contributions. This became a sort of sonic cushion and/or springboard, rather like (in their very different ways) a baroque continuum or a jazz rhythm section.
At the end of 1971, Cardew and Rowe departed for other things leaving just the tenor saxophone and percussion of Gare and Prévost - an acoustic duo in the age of electronics they had presaged. The absence of Rowe’s swirling veil meant that this duo was the most naked version of AMM - there was nothing for Gare and Prévost to hide behind or amongst. It was also the AMM with the most jazz like sound, revealing that this highly original pair of individuals had long absorbed their early influences of Sonny Rollins and Max Roach. However, as before, the methodology was unlike jazz - absolutely nothing (melody, harmony, rhythm, tempo) was predetermined. (Even the use of Gare’s beautiful tune BURNISHED GOLD at the start of BACK AGAIN was improvised on the whim of the moment.)
The two 1974 recordings are unique in that they include natural unedited AMM silences. These were an integral part of the music of both this duo and the preceding quartet - an influence (like the use of radios, not used by this duo) of John Cage (who was probably the first to package silence). In this era when every space is stuffed with noise (sometimes called disco, muzak or internal combustion engines), these silences will probably be the most difficult part of this music for most people. One needs to stop to think whether it is really necessary to say something when there is nothing to say. (And whether the world would be a much better place if all jukeboxes and all muzak tapes were full of recordings of 4’33”).
By contrast, in between the silences, the music sometimes reaches the ferocity usually associated with the more energetic varieties of free jazz, but without that genre’s all too frequent loss of balance. Things never get out of control, and one is always aware of the saxophone’s melodic lyricism and the percussion’s arhythmic propulsion. Gare and Prévost were (and are) superb exponents of the art of creating something substantive of out nothing.
It was not always tenor and percussion, however. Every so often, Gare would produce and bow a gong (lying on its belly and filled with large stones) and other little instruments would appear. An example of this different area of exploration (also related to certain aspects of the earlier, larger AMM) can be heard on one of the three previously unissued performances include herein.
In 1976, Cardew and Rowe rejoined AMM for some rehearsals that were not very successful. This time it was Cardew and Gare that left, leaving Prévost and Rowe to form the second AMM duo. They were eventually joined by John Tilbury to make the trio that has been the nucleus of AMM ever since. Other musicians who have augmented this trio include Rohan de Saram, Ian Mitchell and, from 1989 to 1991, Lou Gare. With hindsight, the 1971-76 duo of Gare and Prévost can be seen as a unique version of AMM that continued the magnificent tradition of constantly evolving AMMmusic in an untypically Roweless manner.
And To Gain A Hearback In common with virtually all writings about music, the above probably reveals more about the writer than about the music. But then music as good as this speaks for itself.” Martin Davidson 1993
“1. And Back to Hear Again.
The music herein, like most of the vital music of the last thirty years, is totally improvised. Such non hierarchic and non idiomatic music is beyond pigeon holes, even though it usually gets pigeon holed as abstract and/or jazz.
Of course, all music is essentially abstract. Even such relatively realistic pieces as Charles-Valentin Alkans LE CHEMIN DU FER and Meade Lux Lewis HONKY TONK TRAIN BLUES do not necessarily reveal what they are depicting unless one knows the title. (They certainly do not have any extra appeal to railway buffs!). The analogy to the visual arts is usually raised to justify calling improvisation “abstract”. Visual arts are called abstract if they do not resemble the real world out there. If any music resembles the sound sequences of the real world out there (apart from trains) it is surely totally improvised music, making it the least abstract of all. If one thinks in terms of the real susbstance of music, which is arguably its emotional content (whatever that may be), then total improvisation gives musicians the most unrestricted scope of expressing their emotions, so once again it is the least abstract of musics since it allows for the fullest expression of the substance.
The most succinct definition of jazz that I have come across is that of Peter Riley Afro-American group instrumental part improvised music. Total improvisation hardly fits in with this, especially as so few Afro-Americans seems to have taken any part or interest in it, and since it contains virtually nothing of the Afro-American tradition that permeates all of jazz. Most total improvisation is inherently non idiomatic or pan idiomatic, and therefore should really not be lumped together with any particular idiom. Some improvisation, like that on this disc, does sound somewhat like jazz, but then so do some of the compositions of George Gershwin and Igor Stravinsky. In both cases the methodology - either total improvisation or total composition - is decidedly non jazz.
It is true that jazz was a major influence on the world of total improvisation, and many (perhaps most) of the practitioners came from a jazz background. However, other musics also had important inputs. For instance, there is the area of music usually known by such egocentric names as classical, legitimate, serious and straight, as if there was nothing else worthwhile. (Since this is by far the most popular area of music worth listening to, I usually refer to it as popular music) Shortly after the middle of this century, several composers were producing scores that amounted to improvise but pay me royalties. Groups like AMM decided, quite reasonably, to improvise and keep any royalties themselves, rather than give them to any absentee composer. The musicians became both the composers and the interpreters, and the recordings became the score preserving the music - recorded sound having made scores somewhat redundant. It should also be remembered that AMM has included musicians who were otherwise composers (Cornelius Cardew and Christian Wolff) or interpreters (Rohan de Saram and John Tilbury) of classical, legitimate, serious, straight music.
2. Back And Again Hearing Two In 1963, Lou Gare answered a saxophonist wanted advertisement in a then music trade paper, and as a result became a member of Eddie Prévost's Band. He later joined Mike Westbrook’s band, which at that time also included Keith Rowe and Lawrence Sheaff. Meanwhile, Gare, Rowe and Sheaff also began to make music with Prévost, and in 1965 they left Westbrook, called themselves AMM, and were subsequently joined by Cornelius Cardew. Virtually all the resemblances to a jazz group were soon discarded as more and more emphasis was placed on total group improvisation - they being one of the very first groups to take this direction. There was a decided preference for bowing and live electronics (including radios) in which the overall sound was so unified that it was often impossible to isolate any individual contributions.
Sheaff’s tenure with the group ended in 1967 (after which he dropped out of music making altogether), and AMM became the quartet it remained for a further four years, sometimes augmented either by Christopher Hobbs or Christian Wolff. By 1970, the electronics had been dropped by everyone except Rowe, who alone was left to create the dense mass of sound that seeped around the others contributions. This became a sort of sonic cushion and/or springboard, rather like (in their very different ways) a baroque continuum or a jazz rhythm section.
At the end of 1971, Cardew and Rowe departed for other things leaving just the tenor saxophone and percussion of Gare and Prévost - an acoustic duo in the age of electronics they had presaged. The absence of Rowe’s swirling veil meant that this duo was the most naked version of AMM - there was nothing for Gare and Prévost to hide behind or amongst. It was also the AMM with the most jazz like sound, revealing that this highly original pair of individuals had long absorbed their early influences of Sonny Rollins and Max Roach. However, as before, the methodology was unlike jazz - absolutely nothing (melody, harmony, rhythm, tempo) was predetermined. (Even the use of Gare’s beautiful tune BURNISHED GOLD at the start of BACK AGAIN was improvised on the whim of the moment.)
The two 1974 recordings are unique in that they include natural unedited AMM silences. These were an integral part of the music of both this duo and the preceding quartet - an influence (like the use of radios, not used by this duo) of John Cage (who was probably the first to package silence). In this era when every space is stuffed with noise (sometimes called disco, muzak or internal combustion engines), these silences will probably be the most difficult part of this music for most people. One needs to stop to think whether it is really necessary to say something when there is nothing to say. (And whether the world would be a much better place if all jukeboxes and all muzak tapes were full of recordings of 4’33”).
By contrast, in between the silences, the music sometimes reaches the ferocity usually associated with the more energetic varieties of free jazz, but without that genre’s all too frequent loss of balance. Things never get out of control, and one is always aware of the saxophone’s melodic lyricism and the percussion’s arhythmic propulsion. Gare and Prévost were (and are) superb exponents of the art of creating something substantive of out nothing.
It was not always tenor and percussion, however. Every so often, Gare would produce and bow a gong (lying on its belly and filled with large stones) and other little instruments would appear. An example of this different area of exploration (also related to certain aspects of the earlier, larger AMM) can be heard on one of the three previously unissued performances include herein.
In 1976, Cardew and Rowe rejoined AMM for some rehearsals that were not very successful. This time it was Cardew and Gare that left, leaving Prévost and Rowe to form the second AMM duo. They were eventually joined by John Tilbury to make the trio that has been the nucleus of AMM ever since. Other musicians who have augmented this trio include Rohan de Saram, Ian Mitchell and, from 1989 to 1991, Lou Gare. With hindsight, the 1971-76 duo of Gare and Prévost can be seen as a unique version of AMM that continued the magnificent tradition of constantly evolving AMMmusic in an untypically Roweless manner.
And To Gain A Hearback In common with virtually all writings about music, the above probably reveals more about the writer than about the music. But then music as good as this speaks for itself.” Martin Davidson 1993
12,00€
Out of stock
CD
John BUTCHER & Eddie PREVOST
“Interworks”
John Butcher - tenor and soprano saxophones. Eddie Prévost - tam-tam and other percussion. Recorded at Gateway Studios, Kingston-upon-Thames, England on July 17th 2005.
12,00€
Out of stock
CD
John TILBURY – Evan PARKER
“Two chapters and an epilogue”
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 (UK)
12,00€
Out of stock
CD
Evan PARKER & Eddie PREVOST
“Imponderable evidence”
Evan Parker, tenor saxophone. Eddie Prévost, drums.
12,00€
Out of stock
CD
Eddie PRÉVOST – Evan PARKER – Sebastian LEXER
“Tri-Borough Triptych”
Sebastian Lexer, piano+. Evan Parker, saxophones. Eddie Prévost, percussion.
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 - The Wire 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 - The Wire October 2013
13,00€
Out of stock
CD
Eddie PREVOST
“Entelechy”
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."
12,00€
Out of stock
CD
Eddie PRÉVOST QUARTET
“Continuum +”
Larry Stabbins tenor and soprano saxophones Veryan Weston piano Marcio Mattos double bass Eddie Prévost drums. CD re-release of material previously issued as an LP, together with additional music. The original release of Prévost’s 1983 Bracknell appearance represents one of the few ‘must haves’ of British free jazz. Rubberneck (UK)
12,00€
Out of stock
CD
E. PARKER – B. GUY – K. ROWE – E. PRÉVOST
“Supersession”
NEW EDITION. REMASTERED.
Evan Parker - soprano saxophone, tenor saxophone. Keith Rowe - guitar/electronics. Barry Guy - double bass. Eddie Prévost - percussion. “Music- making of formidable integrity (in all senses of the word) which offers seemingly infinite and inexhaustible prospects.” The Wire (UK)
Recorded at a concert given in London, England on 3rd September 1984.
Re-issued 2015. New edition. Remastered. With new notes by Marc Medwin.
Evan Parker - soprano saxophone, tenor saxophone. Keith Rowe - guitar/electronics. Barry Guy - double bass. Eddie Prévost - percussion. “Music- making of formidable integrity (in all senses of the word) which offers seemingly infinite and inexhaustible prospects.” The Wire (UK)
Recorded at a concert given in London, England on 3rd September 1984.
Re-issued 2015. New edition. Remastered. With new notes by Marc Medwin.
12,00€
Out of stock
CD
Cornelius CARDEW
“Chamber music 1955-64”
Anton Lukoszevieze, cello, conductor. Gordon MacKay, violin. Bridget Carey, viola. Alan Thomas, guitar. Rhodri Davies, harp. Marco Blaauw, trumpet. Andrew Sparling, clarinet. David Ryan, bass clarinet, piano. Sarah Walker, piano, prepared piano. Dave Smith, prepared piano, melodica. Tania Chen, piano. Robert Coleridge, organ. Michael Parsons, conductor, electronic keyboard. Simon Allen, vibraphone, marimba.
“Solo with accompaniment” (1964). “Three rhythmic pieces for trumpet and piano” (1955). “Autumn ’60” (1960) Version I. “Material” (1964) Version II. “Second string trio” (1955). “Piece for guitar (for Stella)” (1964). “Material” (1964) Version I. “Memories of you” (1964). “Autumn ’60” (1960) Version II. “Octet ’61 for Jasper Johns”. Recorded at Gateway Studio, Kingston-upon-Thames on 6 and 7 April 2001.
“Solo with accompaniment” (1964). “Three rhythmic pieces for trumpet and piano” (1955). “Autumn ’60” (1960) Version I. “Material” (1964) Version II. “Second string trio” (1955). “Piece for guitar (for Stella)” (1964). “Material” (1964) Version I. “Memories of you” (1964). “Autumn ’60” (1960) Version II. “Octet ’61 for Jasper Johns”. Recorded at Gateway Studio, Kingston-upon-Thames on 6 and 7 April 2001.
12,00€
Out of stock
CD
Cornelius CARDEW – John TILBURY
“Piano music 1959-70”
“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.”
14,00€
Out of stock
CD
François BAYLE
Vol. 4 “Fabulæ”
Vol. 4 of the series. A series of works from 1990-92. "A polyphony of impacts, a broad, sparkling, iridescent fabric, such as are often to be found in Bayle’s works."
15,00€
In stock
CD
Yasunao TONE
“Musica iconologos”
“Yasunao Tone and Craig Kendall, image selection and processing; Craig Kendall, computer programming, digital sound creation and manipulation; John D.S. Adams, assistant producer and audio consultant. A surprising release from the radical Fluxus composer--an encoded description of the visual image in utmost detail. In the mythical future somebody can translate the sounds of this compact disc back into pictures. 1. “Jiao Liao Fruits”. 2. “Solar Eclipse in October”.”
14,00€
In stock
CD
Tom JOHNSON
“An hour of piano”
A trance music piece (1974) made up of repeating 4/4 cells in which an absolutely steady eighth-note motion predominates. Often several cells are going on simultaneously, and one cell frequently mutates into another through the addition or subtraction of a note or two. One has to step back far enough to get a perspective on the large-scale shifts in density and tonality before the impact of An Hour For Piano can be felt. Frederic Rzewski plays very percussively throughout, giving the piece an intense forward motion.
12,00€
Out of stock
CD
Takehisa KOSUGI
“Violin improvisations”
Takehisa Kosugi, electric violin. "1990 CD release of solo violin & electronics recorded in NYC in September of 1989. Kosugi is of course the main "Taj Mahal Traveler" and a key player in Fluxus-related activities during the sixties. This is some of the most beautiful mathematical-relationship inspired solo performance grate/scrape out there, it’s really hard to believe that all present glossed-out cavern/tank sonics are derived from a single violin & a digital delay unit. Just enough trace of certain ’Eastern’ micro-tonalitites & alien gesture to keep your ears dancing on end. Sublime.”
12,00€
Out of stock
CD
Robert ASHLEY
“Your money my life goodbye”
An opera (1999) commissioned by Bayerisher Rundfunk Munich’s Hörspiel und Medienkunst department about an internationally renowned swindler, who almost took down the European and American banking system. Featuring the voices of Robert Ashley, Sam Ashley, Thomas Buckner, Jackie Humbert, and Joan La Barbara. Recorded and mixed by Tom Hamilton.
14,00€
In stock
CD
Robert ASHLEY
“Yellow man with heart with wings”
1978. Robert Ashley, English voice and all instruments; except "Blue" Gene Tyranny, clavinet; Spanish voice, Guillermo Grenier.
“A two-part composition with narration (part one in Spanish and part two in heavily altered English) commissioned by public radio station KUNM in Albuquerque, this music has a plain, serene beauty. Part one is a narration by Guillermo Grenier in dreamy, flatly inflected Spanish, backed by a four-note synthesizer track, and punctuated by mysterious, heavily processed vocalizations. Ashley throws in extensive sound washes and other electronic figures which flutter in and out of the mix. The text, "Ideas from The Church," will later show up in the 1994 opera, Foreign Experiences. It is included in the liner notes. In part two, the four-note synthesizer line returns, this time backing an ethereal, sustained chord, and the vocals sound "like a distant rendering of the earth’s electromagnetic halo.”
12,00€
Out of stock
CD
Robert ASHLEY
“Automatic writing”
“Robert Ashley; Cynthia Liddell, Mary Ashley, Mary Lucier, and Barbara Lloyd; The Brandeis University Chamber Chorus, Alvin Lucier, Director.
Three of Ashley’s landmark recordings, Automatic Writing (1979), Purposeful Lady Slow Afternoon (1971) and She Was A Visitor (1967). Composed in recorded form over a period of five years, Automatic Writing is the result of Robert Ashley’s fascination with involuntary speech. He has recorded and analyzed the repeated lines of his own mantra and extracted four musical characters. The result is quiet, mysterious, melancholy and an early form of ambient music. Purposeful Lady Slow Afternoon, and She Was a Visitor are excerpts from an opera entitled That Morning Thing that was composed in 1966-67, as a result of Ashley’s impulse to express something about the suicides of three friends, in particular the intellectual problem of the idea of suicide. The opera takes the form of an alternation of scenes of rationalizations (or explanations) and scenes of descriptions.
Purposeful Lady Slow Afternoon is a woman’s description of a sexual experience. It is Ashley’s attempt "to demonstrate the dichotomy between the rational-whatever can be explained in words-and its opposite-which is not irrational or a-rational, but which cannot be explained in words." The lead voice, the processed back-up chorus, the recurring bell tone, and the pervading tape hiss, create an unsettling mood. She Was a Visitor is another form of description, it is intended to be understood as a form of rumor. The chorus is divided into groups, each headed by a leader. A lone speaker repeats the title sentence throughout the entire performance. The separate phonemes of this sentence are picked up freely by the group leaders and are relayed to the group members, who sustain them softly and for the duration of one natural breath. The time lag between the group leaders’ phoneme choices and those phonemes being picked up by members of the group produces a staggered, chant-like effect, with the sounds moving outward from the nearest performer to the farthest. Booklet notes by Robert Ashley.”
12,00€
Out of stock
CD
Robert ASHLEY
“Private parts (the record)”
1977. Robert Ashley: voice. “Blue” Gene Tyranny: keyboards. Kris: tablas.
“Centered around the mesmerizing voice of Robert Ashley, this early version (released on LP by Lovely Music in 1979) of The Park and The Backyard is a masterpiece in its simplicity of form and in the purity and intensity of its effect on the listener. These two pieces were later to become the opening and closing segments of the seven part opera for television, Perfect Lives.”
14,50€
In stock
CD
Pauline OLIVEROS
“Crone music”
Pauline Oliveros, solo accordion; Panaiotis, processing and mixing. “Commissioned by Mabou Mines, the experimental theater group from New York, for their interpretation of "King Lear," Oliveros’ Crone Music is a subtle and haunting electronic music endeavor. Interfacing an abundance of digital delay processors, reverb effects and foot pedals to bend pitches from piercing to twisted, sonorous tones, with her one-of-a-kind expanded accordion, Oliveros produces rich, eerie textures. "Studio recordings from 1989-90, ’commissioned by Mamou Mines, the New York based experimental theater collective, for their production of Lear by William Shakespeare.’ In use herein is a fairly complex series of pitch-modulated foot-controlled digital delay units which render Oliveros’ solo accordion playing into a full accordion ensemble. This all results in seriously dense overtone/ghost chord action, complete with microtones and countermelodies emulating something like a grand-pipe-organ jam session. Heavy. By far the most ear-triggering of all Oliveros’s explorations with said instrument."
14,00€
In stock
CD
David TUDOR
“Three works for live electronics”
David Tudor, electronics; with Takehisa Kosugi, electronic violin and vocals; produced and recorded by David Tudor, Nicolas Collins, and John D.S. Adams. Originally released on LP in 1984 and rereleased in September 1996, just following Tudor’s death on August 13, with the addition of Phonemes. “Pulsers explores the world of rhythms created electronically by analog, rather than digital, circuitry. With analog circuitry, the time-base common to the rhythms can be varied in many different ways by a performer, and can eventually become unstable. Untitled is a part of a series of works composed in the 1970s that were developed through experiments in generating electronic sound without the use of oscillators, tone generators, or recorded natural sound materials. Composed in 1972, it was designed for simultaneous performance with John Cage’s vocalization of his Mesotics re Merce Cunningham. The work was revived in 1982, and performed with improvised vocals by Takehisa Kosugi. Phonemes was commissioned by the Merce Cunningham Dance Company for Cunningham’s dance Channels/Inserts, a work made both as a "filmdance" and for the stage. Phonemes employs two discrete processes which provide input source material for an array of sound modifying electronics, thus creating a multitude of outputs.”
14,00€