Ammmusic Liner Notes
Total Page：16
File Type：pdf, Size：1020Kb
AMMMusic Liner Notes The sleeve notes for the 1967 album were a collection of aphorisms. These too are reproduced with this CD. Again, it was decided to offer some context and explanation The following text is reproduced from an article published in ReR Records Quarterly Magazine Volume 2 number 2 (November 1988). AMM - a few memories and reflections When Chris Cutler first asked me to contribute a piece about AMM to the ReR Records Quarterly I was reluctant to accept. Part of Chris's objective was that together with some hitherto un released early AMM recordings, a commentary from one of the group would be an appropriate counter to some of the articles that have appeared over the years that have tended to focus more perhaps upon our quirky and abrasIve persona than upon the nature and relevance of the music. Eventually I decided to resist apathy and negotiate the hazardous rapids of memory; usIng a format which would confront the very earliest thoughts we had assembled collectively I have taken as my text the sleeve notes of our first album AMMMUSIC (Elektra EUK-26S) which was released in 1967. In the following I try to remember the context which gave rIse to these writings and expand the context so as to give a broader idea of the practical and philosophical questions that informed our work. Accompanying this trip down memory lane will be some current thoughts on these issues in so far as they continue to preoccupy us. This treatment IS inevitably inconsistent and, of course, very personal. It does not necessarily reflect how others in AMM did or do perceive these things, although my involvement - as a founder-member ought to ensure that I am (consciously or otherwise) a fairly reliable transmitter. Before turning to the specific material I should perhaps give you a description of how these aphorisms came into being. From the earliest of times the desire to understand what we were doing was paramount. And, by the time Lou Gare, Keith Rowe and myself were joined by Lawrence Sheaff, a weekly discussion session accompanied our musical forays. However, our public performances began to necessitate utterances of some kind. This usually turned out to be a hybrid of description and manifesto. Much of the language was, of course, affected by the tenor of the times. We were all young men trying to make our way in life and in our art. Cornelius Cardew, after he joined AMM, rarely attended these discussions, although his input at various times obviously influenced the way AMM performed and thought. His contributions were generally a reflection upon what Lou, Keith, Lawrence and myself had said plus his own ideas. These were presented in a more formal and considered way. Given Cardew's previous preoccupations (serialism and after), his background, education and personality, the general musical environment he had hitherto inhabited, I suppose it is no surprise that his first contributions were so composerly. This also hints at the reserve Cornelius initially had about the hurly-burly of collective activity. But to return to the text. Elektra, having rejected our first sleeve design, went on to stampede us into providing an alternative plus sleeve notes at very short notice. As it turned out Cornelius wasn't available to help in the brainstorming sessions necessary to create the materials required (and, if I recall correctly, Cor was not too happy about being excluded from this process; I'm not sure I would have been either). But we did take into account his thoughts. And in later years he acknowledged the strength and appropriateness of the materials we produced in his absence. Given Cardew's early reluctance to enter group discussions it is appropriate (so it seems in retrospect) that his influence should have been so minima! and distanced in the creation of the texts. I should also mention here that none of us are absolutely certain to whom these aphorisms can be attributed. In this sense they became part of AMM's collective thinking. Aphorism 1 'Does group direction, or authority, depend on the strength of a leading personality, whose rise or fall is reflected in the projected image, or does the collation of a set of minds mean the development of another authority independent of all the members but consisting of all of them?' Given the subsequent discussion about Improvised music-making it is interesting to note that our first really public utterance hIt on an important issue within collective creativity. At the time we were grappling with new experiences that thrust this particular Issue to the forefront as real and dIsturbing. For within the whirlwind of change that was going on in the music we each had to assess, and adjust to, what it meant to our individual being.* Continual change at such a pace was neither likely or necessary Despite whatever doubts any of us had about what was happening to the musIc and to ourselves, a strong sense of camaraderie accompanied our creative association. And, although there was no overt internal competItIveness, there were tensIons and uncertaIntIes about the line and direction we were takIng. Concern about what a 'group' meant and the danger of it being a tool for one individual's thinking always lurked beneath the surface. Externally this fear was justified. Because the world still measured (as it does today) all activity in terms of dominating personalities. The natural collectivist sentiments which our musIc exemplified were more or less ignored For example, reviews of our first album referred to AMM as "Cardew's group" (Musical Times) while Jazz Journal (laughably) called AMM "The Cornelius Cardew Quintet." (*Six months before the Elektra album AMM had been a free jazz group (just), so one can easily assess from the Crypt recordings (12th June 1968) the speed of development how fast that change was happening.) As young aspiring artists we were not immune to these responses and resistance to them was itself a struggle to carry through sInce we had all inevitably been infected by the ethos of the prevailing culture and its cynical disparagement of anything remotely collectivist. We naturally wondered whether individuality was at risk, though Ironically I suspect we were not fully conscIous at this stage of what individuality actually could be like. If it was anything like the so-called 'freedom' and 'security' we felt in everyday life - then who needed it. Whatever incidents may have prompted the construction of this first statement, it became part of the bedrock of basic thoughts and questions which guided our activity. And through discussion and work we came to recognise that a new creative and social experience based upon collaboration was more liberating than imprisoning despite havIng to deal with the background aversIon to collectivism that oozed from every crack In our culture. At this point in our history AMM (in party terms) was apolitical. Most of our ideas were affected by the mood, if not expressed in the patois, of the times. Various esoteric philosophies had their impact. These Cornelius perhaps found hardest to accommodate though he later had his own bouts of religiosity. Despite the colourful and exotic overtones - which strangely hardly ever infected our language (as I think the Elektra sleeve notes demonstrate) the collective consciousness of AMM gradually consolidated. Group activity and its implications gave us all sufficient confidence so that we were content for our individual contributions not to be identifiable. In the early days this self-less element was something which Lou, Keith and myself found it easiest to come to terms with, even revel in. Cornelius, it seems to me, was often perplexed and irritated - and perhaps confused about the relevance of these things to the musIc I think these micro-socIal issues reflect upon Cornelius's preoccupations with intra-personal and intra class relations later in his life. As I recall our ideas and activities some twenty years on, I naturally no longer feel the tensions or excitements that were then uppermost. Nevertheless, much of the same ethos still pervades our musIc. Maybe it is a kind of trap. CertaInly the music we make and our social relationships are indissolubly linked. For example it has always taken a new member some while to settle in often years rather than months. This was true of Cardew, Hobbs (who perhaps never really settled), Tilbury and de Saram The music of AMM needs a lengthy gestation in which individual and group relationships congregate and settle This may also be true of our relationship with audiences. Aphorism 2 'An AMM performance has no beginning or ending. Sounds outside the performance are distinguished from it only by individual sensibility.' Underneath this apparently cool and direct analytical assertion lay excitement. Playing within the ambit of AMM at that time meant quite literally making musIc as if music were being made for the first time - and knowing it. As such it was a powerful experience. The emphasis we gave, the meaning we could invest in any sound, meant of course that all sounds had an aural and perhaps a musical value beyond the merely physical. What gave it meaning was perception, Intention and organisation. And, as all listeners had different aural, psychological and aesthetic dispositions (if only in degree) it followed that individual sensibility was the measure of sound as art. Many commentators, friendly or otherwise, rightly observe that AMM makes great demands upon its listeners A listener may choose to use the references of the culture which dominates his/her perception, or they might try to transcend them seeking to illumInate the priorities which inform likes and dislikes.