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Recording Sessions – Butcher/Moore/Prevost PROGRAMME #1 Recording Sessions Concert series focusing on recording projects of free improvisation, free jazz, electro- acoustic improvisation and contemporary compositions. John Butcher – saxophones N.O. Moore – guitar/electronics Eddie Prevost – percussion IKLECTIK Art Lab, Old Paradise, 20 Carlisle Lane, London, SE1 7LG - (Royal Street corner) next to Archbishop's Park. Nearest tube station Lambeth North. Saturday 28th May 2016, 8:00pm. Entry: £7/£5, doors open 7:00pm. Recording Sessions – Butcher/Moore/Prevost Recording Sessions Concert series focusing on recording projects of free improvisation, free jazz, electro-acoustic improvisation and contemporary compositions. This series is based on working with artists developing a project (or idea), research, or specific meeting with musicians. Also to explore the creative resource that is listening and differences between the two predominant modes of making music: composition and improvisation. The Musicians Eddie Prévost and John Butcher shared the stage at Derek Bailey's 1990 London Company Week they didn't perform together again until March 2005 - in duo at Goldie's Oligarch in the East London Foundry. Eddie chose to work with tam-tam, bowed cymbals and drum resonators - as heard on their CD interworks. Additionally, they have recorded in trio with John Tilbury - Eddie's AMM partner for over 20 years in - once for a BBC broadcast, and once for the CD Trinity. In 2009 this trio was joined by Christian Wolff and Ute Kanngiesser for a concert on London's Freedom of the City festival (released as Sounding Music by AMM). In 2010 the duo played a 10 date tour of Japan, organised by Hisashi Terauchi. The Oya Stone Museum concert was reviewed (in Japanese) by Kazue Yokoi at Jazz Tokyo. In 2012 they performed in Sao Paulo, Brazil. Since 2011 they have also performed in a trio with bassist Guillaume Viltard with Prévost playing drum kit. During the planning and organisation of this concert, there was an idea to put together John and Eddie (playing percussion), so the idea was taken up with Eddie, but instead to add one or two more musicians, Eddie’s recommendation was “a guitarist/electronic player N. O. Moore is the most interesting guitarist I have heard for some time.” After his recommendation the first session of this series was planned. N. O. Moore "N. O. Moore is a lifelong adversary of the electric guitar. The electric guitar is an inauthentic instrument – there is no repertoire for it, and the history of the electric guitar is really the history of electric guitarists. Regardless, the electric guitar has popularly been perceived as the modern instrument of authenticity, the sound of which can merely be adapted or superficially modified by ‘effects’. Contrarily, N. O. Moore does not consider effects to be simple add-ons to guitar technique and authenticity; rather his attitude is that technique should be constantly modified in reaction to the sonorous possibilities offered by the combination of sound ‘effects’, by the venue, and by the opportunities and challenges offered by the other musicians. At least, that is, until the electricity gives out." John Butcher http://www.johnbutcher.org.uk/ John Butcher's work ranges through improvisation, his own compositions, multitracked pieces and explorations with feedback and extreme acoustics. 2 | Recording Sessions Recording Sessions – Butcher/Moore/Prevost Originally a physicist, he left academia in '82, and has since collaborated with hundreds of musicians - Derek Bailey, John Tilbury, John Stevens, The EX, Akio Suzuki, Gerry Hemingway, Polwechsel, Gino Robair, Rhodri Davies, Okkyung Lee, John Edwards, Toshi Nakamura, Paul Lovens, Eddie Prevost, Mark Sanders, Christian Marclay, Otomo Yoshihide, Phil Minton, and Andy Moor - to name a few. He is well known as a solo performer who attempts to engage with the uniqueness of place. Resonant Spaces is a collection of site-specific performances collected during a tour of unusual locations in Scotland and the Orkney Islands. His first solo album, Thirteen Friendly Numbers, includes compositions for multitracked saxophones, whilst later solo CDs focus on live performance, composition, amplification and saxophone- controlled feedback. HCMF has twice commissioned him to compose for his own large ensembles. Other commissions include for Elision (Australia), the Rova (USA) & Quasar (Canada) Saxophone Quartets, reconstructed Futurist Intonarumori (USA), "Tarab Cuts" (based on pre-WWII Arabic recordings, and shortlisted for the 2014 British Composer's Award) and "Good Liquor .." for the London Sinfonietta. In 2011 he received a Paul Hamlyn Foundation Award for Artists. Recent groupings include The Apophonics with Robair and Edwards, Anemone with Peter Evans, Plume with Tony Buck & Magda Mayas and a trio with Okkyung Lee & Mark Sanders. Butcher values playing in occasional encounters - ranging from large groups such as Butch Morris' London Skyscraper and the EX Orkestra, to duo concerts with David Toop, Kevin Drumm, Claudia Binder, Paal Nilssen-Love, Thomas Lehn, Fred Frith, Keiji Haino, Ute Kangeisser, Matthew Shipp and Yuji Takahashi. Edwin Prévost born 22nd June 1942. Known as Eddie. — experimental percussionist — free-jazz drummer — theorist— writer — educator — record producer— publisher experimental percussionist Co-founder in 1965 of the experimental improvisation ensemble AMM. 1968 — These players are immensely distinguished: their work is not for those with an impatient ear. They are able to suspend time, to magnify, hold and examine the sounds which use it up relentlessly, with patience and sympathy, risking all in the making of each performance, so that the audience must be prepared for near disaster or some kind of unmeasurable success; they constantly reappraise the activity to which they devote themselves, and we are privileged to perceive its development. Musical Times (UK) 1996 — In the realm of ‘free improvisation’ a phrase which unites two woefully over-worked yet underestimated terms, AMM is one of the few ensembles that not only meets the rigorous demands of the extemporaneous genre but creates breathtakingly beautiful music as well. A truly Olympian institution in the league of the Duke Ellington Orchestra, the Miles Davis Quintet, or the Sun Ra Arkestra. East Bay Express - San Francisco (USA) 3 | Recording Sessions Recording Sessions – Butcher/Moore/Prevost 2002 — It’s testimony to AMM's creativity that not only do these performances sound (and ultimately feel) utterly unalike, but either performance sounds different with each new hearing. Coda 2011 — Dozens of "composers" still try to hide inside that kind of shell, yet AMM — with or without Keith Rowe — have always walked at least ten years in advance. Imitators will perennially be doomed to failure, in spite of the fact that some are even collaborating with these overly democratic masters. Massimo Ricci free-jazz drummer Began music life as a jazz drummer. A recurring interest in this form has been maintained, although always with an experimental ethos. Old review —Prévost's free drumming flows superbly making use of his formidable technique. It’s as though there has never been an Elvin Jones or Max Roach. Melody Maker 1972 Newer review —Relentlessly innovative yet full of swing and fire. Morning Star 2016 theorist/writer A constant thinker about the implications of experimental music. No Sound is Innocent, Copula, 1995 Minute Particulars, Copula, 2044 The First Concert : an adaptive Appraisal of a Meta-Music, Copula, 2011. Numerous other articles. Has also lectured and led discussions about the theory and practice of improvisation. educator Best known for the weekly London workshop he first convened in 1999. This develops a critique and the practice of collective searching. record producer founder and producer of Matchless Recordings www.matchlessrecordings.com publisher founder and publisher of Copula — an imprint of Matchless Recordings and Publishing Edwin Prévost, No Sound is Innocent, Copula, 1995 Edwin Prévost, Minute Particulars, Copula, 2004 Cornelius Cardew -A Reader (ed. Edwin Prévost), Copula, 2006 John Tilbury, Cornelius Cardew a life unfinished, Copula, 2008 Edwin Prévost, The First Concert : an adaptive Appraisal of a Meta-Music, Copula , 2011 www.matchlessrecordings.com -------------------------------------------------------------------------------------------------------------------------------------- This concert series is made possible through the goodwill of the musicians involved and the support of IKLECTIK Art Lab. To join the Recording Sessions mailing list, please email: [email protected] For more information about this series visit: http://www.giovannilarovere.co.uk/recording-sessions/ This series is organised by Giovanni La Rovere 4 | Recording Sessions .
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