![\"\"](\"http:\/\/digital.eca.ed.ac.uk\/events\/files\/2013\/10\/ep-bowing-drum-300x240.jpg\" "\\"e4\\"")
<\/a><\/p>\nHere’s more information written about him by HajduKing Productions in 2013.<\/p>\n
Eddie Pr\u00e9vost…a different drummer…<\/h3>\n
“There’s more than one Eddie Pr\u00e9vost…”.\u00a0 The Wire 231, 2003<\/p>\n
In November 1999 drummer Eddie Pr\u00e9vost first convened a weekly
\nimprovisation workshop at the premises of Community Music in
\nSouthwark. Since September 2004 the workshop has continued to meet at
\nthe Welsh Chapel, Southwark Bridge Road, London, England. Since its
\ninception the workshop has engaged over 400 musical questers
\nrepresenting over twenty different nationalities. These occasions
\nenable Pr\u00e9vost to engage with a younger generation of musicians. After
\nfour decades of intensive improvising Pr\u00e9vost’s exploratory spirit is
\nundiminished.<\/p>\n
“Music ever afresh is needed to renew creative life-forces and
\nreaffirm the inexhaustible potential of human existence.”\u00a0 EP: No
\nSound Is Innocent Copula 1995<\/p>\n
In 1965, along with tenor saxophonist Lou Gare, bassist Lawrence
\nSheaff and guitarist Keith Rowe, Pr\u00e9vost made a radical break with
\njazz, a music that had inspired these English musicians but couldn’t
\naccommodate their rapidly expanding aesthetic concerns. Their
\ndedicated inquiry into the terms of spontaneous creativity led them to
\nreinvent music as a dialogue with the world beyond the limits of
\nconventional musical discourse. They formed AMM — soon to be joined by
\ndistinguished composer Cornelius Cardew — an improvisation ensemble
\nthat has exerted influence internationally across a wide range of
\nkinds of music, from contemporary composition to psychedelic rock,
\nambient soundscapes and industrial noise. During the late 1960s AMM
\noccasionally played on the same bill as Pink Floyd. In 1968 American
\ncomposer Christian Wolff spent his year in London as a member of AMM.<\/p>\n
“AMM’s radical exploration of a whole new area of sound, the reactions
\nand contributions of each player to the developing situation and the
\nfeeling of sounds constantly altering and moving in different
\ndirections can be a uniquely revealing and exhilarating experience.”
\nMusical Times (UK)<\/p>\n
“I’m interested in engaging with the materials themselves and also
\nwith other people, as a way of discovering new responses in myself.
\nThat’s the way you find other places. Any creative act works towards
\nan otherness.”\u00a0 EP, The Wire 231, 2003<\/p>\n
In the course of AMM’s rigorous scrutiny of music’s internal and
\nexternal relations and of sound itself, Pr\u00e9vost revised his
\nunderstanding of the nature and potential of percussion. He bowed
\ncymbals, used drums as resonant amplifying ‘sound boxes’, incorporated
\n‘found objects’ into a growing battery of percussive elements that now
\nincludes gongs and a huge stringed contra-bass drum. He examined the
\nvery grain of the material at hand.<\/p>\n
“It’s a joy to hear him bow cymbals, hit his kit and bring forth
\nthunder from his beloved barrel drum, a home made instrument that
\ngives Pr\u00e9vost almost Harry Partch status.” The Wire (U.K.)<\/p>\n
At the same time Pr\u00e9vost has remained at home with the jazz drum kit
\nand those conventional techniques associated with it. Jazz has had a
\ndistinct referential role within several groups Pr\u00e9vost has been
\ninvolved with featuring Larry Stabbins and Veryan Weston and Marcio
\nMattos to his trio which began in the 1990s with Tom Chant and John
\nEdwards and to recent ensembles with saxophonists Evan Parker, Jason
\nYarde and John Butcher. [See CD series ‘Meetings with Remarkable
\nSaxophonists’ Vols 1 to 4 on Matchless Recoridngs.]\n
“The Eddie Pr\u00e9vost Quartet possesses the great virtue of keeping a
\nfirm hold on traditional jazz essentials – rhythmic drive, strong
\nmelodic development, clearly developed improvisatory statements – at
\nthe same time as it seems to keep its permanently exploratory
\ndirection.” Jazz Forum (Poland)<\/p>\n
“His free drumming flows superbly making use of his formidable
\ntechnique. It’s as though there has never been an Elvin Jones or Max
\nRoach.”\u00a0 Melody Maker (UK)<\/p>\n
“To make a meta-music is to hypothesize, to test every sound.” EP, No
\nSound Is Innocent Copula 1995<\/p>\n
Pr\u00e9vost still performs regularly with AMM (which currently consists of
\npianist John Tilbury and himself — although the 2020 AMM CD\u00a0 Sounding
\nMusic extended membership to saxophonist John Butcher, cellist Ute
\nKanngeisser as well as resuming a musical relationship with Christian
\nWolff. The vital dynamic of all Pr\u00e9vost’s work is creative response to
\na specific context. His varied and ongoing discoveries within AMM, and
\nhis refinement of that group’s meta-musical philosophy, extend into
\nhis solo playing and into other diverse alignments, including\u00a0 Japan’s
\nOtomo Yoshihide and Sachiko M, Sakada (with the live electronics and
\ncomputers of Mattin and Rosy Parlane) or the trio with Jim O’Rourke
\nand Takehisa Kosugi that accompanied Merce Cunningham’s dance company
\nin 1998 and many other ensemble drawn mostly from workshop
\nparticipants.<\/p>\n
“Pr\u00e9vost’s playing confirmed that he remains one of the subtlest and
\nmost intelligent of free drummers.”
\nThe Guardian (UK)<\/p>\n
“A drummer combining sensitivity and strength in equal quantities.”
\nThe Scotsman (UK)<\/p>\n
“Freely improvised extremity from Pr\u00e9vost, a drummer who knows the
\nvalue of silent spaces, but who also has a killer size Japanese Kodo-
\ntype skin beast for when he feels like brain-haemorrhaging volume
\nattacks.”What’s On Birmingham (UK)<\/p>\n
Pr\u00e9vost’s life as a musician has encompassed encounters with an
\nextraordinary range of instrumentalists including Evan Parker, Barry
\nGuy, Paul Rutherford, Tony Moore, Christian Wolff, Marilyn Crispell,
\nShiku Yanu, Veryan Weston, Howard Riley, Max Eastley, Phillip
\nWachsman, Akemi Kuniyoshi, John Edwards, Tom Chant, Dave Jackman’s
\n‘Organum’, Yoshikazu Iwamoto, and Derek Bailey. As well as improvising
\nand playing free jazz Pr\u00e9vost has performed challenging experimental
\ncompositions, especially those of his former associate Cornelius
\nCardew. Pr\u00e9vost has also subsequently collaborated with other
\nrock-oriented groups, including GOD, Main and Sonic Boom’s
\n‘Experimental Audio Research.’ He has created music for experimental
\nfilmmakers — most notably Malcolm LeGrice, Vlasto Sudar and Gina
\nTornatore. He has played in most European countries including Russia,
\nLithuania and Turkey, in the USA, Canada and Japan and has convened
\nworkshops in Europe and America as well as in the UK.<\/p>\n
“One of Britain\u00b9s most eloquent advocates of free music.” The Times (UK)<\/p>\n
In addition to making music Pr\u00e9vost lectures, writes, edits and
\npublishes. His writings about the aesthetic priority of improvisation
\nhave appeared in numerous arts and music magazines . His keynote
\naddress to the 1999 Colloquium (part of the Guleph Jazz Festival) was
\nreprinted in ‘The Other Side of Nowhere — jazz, improvisation, and
\ncommunities in dialogue’ Ed. Daniel Fischlin and Aja Heble, Weslyan
\nUP, 2004.\u00a0 And more recently, he contributed a chapter to The Ashgate
\nResearch Companion to Experimental Music. From his home in Essex he
\nruns the estimable imprint Matchless Recordings and its print offshoot
\nCopula, which has published Pr\u00e9vost’s own books, No Sound Is Innocent
\n(1995), Minute Particulars (2004) and The First Concert– an adaptive
\nappraisal of a meta music (2011). He also edited an invaluable
\ncollection of essays, articles and statements in Cornelius Cardew A
\nReader (2006). The imprint Copula also published John Tilbury’s
\nbiography Cornelius Cardew a life unfinished (2008). He has also been
\nan active member of several organizations established to promote
\nimprovisation and creative music-making including the annual London
\nfestival of improvised and experimental music Freedom of the City.<\/p>\n
“Definition of self can only occur within voluntary limitations of
\nactivity and expression. To prevent these limitations from solidifying
\ninto self-deceiving patterns of conceit, they have to be placed with
\nconfident uncertainty into the extra-personal life of community, the
\nmusical collective but also other communities.” EP, No Sound Is
\nInnocent Copula 1995.<\/p>\n[Stewart Morgan made a film — Eddie Pr\u00e9vost’s Blood.<\/p>\n
“This film presents an opportunity to observe Eddie Pr\u00e9vost playing in
\nsolo and group situations, and hear him speak about his approach to
\nmusic-making, the particular tools of his craft, and the bloodline
\nthat stretches from his Huguenot ancestors through to his own working
\nclass origins in South East London. Incorporating footage of
\nperformances by Pr\u00e9vost with Jennifer Allum, John Butcher, Ute
\nKanngiesser and Riacrdo Tejero in unque locations, including a return
\nto his old school in Deptford, we are invited to form our own
\nresponses to the music — and the man — we encounter.”<\/p>\n
— discography, list of books and published articles<\/p>\n
AMM discography<\/p>\n
1966 AMMMUSIC\u00a0 Cardew: Gare: Pr\u00e9vost: Rowe: Sheaff. Recorded in London
\nRe-released (1989) plus additional material of ‘classic’ early AMM
\nsessions. ReR AMMCD ReR MegaCorp\/Matchless<\/p>\n
1968 The Crypt 12th June\u00a0 Cardew: Gare: Hobbs: Pr\u00e9vost: Rowe\u00a0 Recorded
\nin London — new 1992 double CD edition The Complete\u00a0 Session with
\nmaterial not released before. Matchless Recordings mrcd05 (double)<\/p>\n
1972 AMM at the Roundhouse Lou Gare: Eddie Pr\u00e9vost\u00a0 Recorded at the
\nICES Festival, London in 1972. Part of this material was released as
\nan EP by Incus Records in 1973. The CD released in 2004 is a
\nre-mastered version of the complete performance. Anomalous Records
\nICES 001<\/p>\n
1973-75 To Hear and Back Again\u00a0 Lou Gare: Eddie Pr\u00e9vost\u00a0 recorded in
\nLondon Matchless Recordings mrcd03. Re-released in 1994 with
\nadditional material<\/p>\n
1979\u00a0 It Had Been an Ordinary Enough Day in Pueblo, Colorado\u00a0 Eddie
\nPr\u00e9vost: Keith Rowe Recorded in Ludwigsburg, Germany. ECM\/ JAPO 60031.
\nCD re-released 1991<\/p>\n
1982-83\u00a0 Generative Themes\u00a0 Pr\u00e9vost: Rowe: Tilbury. Matchless
\nRecordings mrcd06. Recorded in Bath, England. Re-released in 1994<\/p>\n
1984\u00a0 Combine + Laminates + Treatise ’84\u00a0\u00a0 Pr\u00e9vost: Rowe: Tilbury
\n“Pogus Productions LP P201-4 Combine + Laminates\u00a0 only (as LP)
\nrecorded in Chicago, USA. Matchless Recordings mrcd26. Re-released
\ntogether with Treatise ’84\u00a0 in 1995<\/p>\n
1984\u00a0 The Inexhaustible Document\u00a0\u00a0 de Saram: Pr\u00e9vost: Rowe: Tilbury
\nMatchless Recordings mrcd13. Recorded in London. Re-released as a CD
\nwith additional material in 1996<\/p>\n
1988\u00a0 Irma — an opera by Tom Phillips. AMM plus soloists. Coxhill:
\nLorraine: Mitchell: Pederson: Phillips: Pr\u00e9vost: Rowe: Tilbury.
\nRecorded in London. Matchless Recordings mrcd16<\/p>\n
1990\u00a0 The Nameless Uncarved Block\u00a0 Gare: Pr\u00e9vost: Rowe: Tilbury
\nRecorded in Switzerland. Matchless Recordings mrcd20<\/p>\n
1992\u00a0\u00a0 Newfoundland\u00a0 Pr\u00e9vost: Rowe:Tilbury Recorded in St John’s,
\nNewfoundland. Matchless Recordings mrcd23<\/p>\n
1994\u00a0 Live in Allentown USA\u00a0 Pr\u00e9vost: Rowe: Tilbury Matchless Recordings mrcd30<\/p>\n
1969-1982-1994 LAMINAL\u00a0\u00a0 —\u00a0 30th Anniversary retrospective triple CD
\nset.\u00a0 1. The Aarhus Sequences\u00a0 recorded in Denmark, 1969\u00a0 Cardew:
\nGare: Hobbs: Pr\u00e9vost: Rowe.\u00a0 2. The Great Hall\u00a0\u00a0 recorded at
\nGoldsmiths’ College, London 1982\u00a0 Pr\u00e9vost: Rowe: Tilbury\u00a0 3.
\nContextual\u00a0 recorded in New York, 1994\u00a0 Pr\u00e9vost: Rowe: Tilbury.
\nMatchless Recordings mrcd31 (released winter 1996\/97)<\/p>\n
1995\u00a0 From a Strange Place\u00a0\u00a0\u00a0 Pr\u00e9vost: Rowe: Tilbury\u00a0 Recorded in
\nJapan. Modern Music (PSF Records)<\/p>\n
1996\u00a0 Before driving to the chapel we took coffee with Rick and
\nJennifer Reed\u00a0 Pr\u00e9vost: Rowe: Tilbury Recorded in Houston, Texas, USA.
\nMatchless Recordings mrcd35<\/p>\n
2000 Tunes Without Measure or End\u00a0 Pr\u00e9vost: Rowe: Tilbury Recorded in
\nGlasgow, Scotland. Matchless Recordings mrcd44<\/p>\n
2004 Apogee\u00a0 Musica Elettronica Viva & AMM\u00a0 Alvin Curran: Eddie
\nPr\u00e9vost: Frederic Rzewski: Keith Rowe: Richard Teitelbaum: John
\nTilbury. Double CD featuring studio recording of all six musician and
\nlive recording of the respective performances at ‘Freedom of the City’
\nFestival, London 1st May 2004. Matchless Recordings mrcd61<\/p>\n
2005\u00a0 Norwich\u00a0 Pr\u00e9vost: Tilbury. Recorded at UEA, Norwich, England.
\nMatchless Recordings mrcd64<\/p>\n
2008 Trinity — AMM with John Butcher\u00a0 Butcher: Pr\u00e9vost: Tilbury.
\nRecorded at Greenwich, England. Matchless Recordings mrcd71<\/p>\n
2009 Sounding Music — AMM (John Butcher, Ute Kanngeisser, Eddie
\nPr\u00e9vost, John Tilbury and Christian Wolff\u00a0 Matchless Recordings mrcd77<\/p>\n
2010 Uncovered Correspondence: a postcard from Jaslo — AMM with John
\nTilbury and Eddie Pr\u00e9vost. Matchless Recordings mrcd78<\/p>\n
2011 Two London Concerts — AMM with John Tilbury and Eddie Pr\u00e9vost.
\nMatchless Recordings mrcd85<\/p>\n
2012 Place sub. v — AMM with John Tilbury and Eddie Pr\u00e9vost. Matchless
\nRecordings mrcd91<\/p>\n
other discography<\/p>\n
1969 Silver Pyramid\u00a0 Music Now Ensemble incl. Lou Gare, Cornelius
\nCardew, Eddie Pr\u00e9vost, Keith Rowe and others. Prevost’s composition.
\nRecorded at Music Now Festival, Roundhouse, London. Matchless
\nRecordings mrcd40 (released in 2001)<\/p>\n
1976 Now-Here-This-Then\u00a0\u00a0 Eddie Pr\u00e9vost Band: Gerry Gold: Geoff
\nHawkins: Marcio Mattos: Pr\u00e9vost. Recorded at the ICA, London. Spotlite
\nSPJ 505<\/p>\n
1983 Continuum\u00a0 Eddie Pr\u00e9vost Quartet:\u00a0\u00a0 Marcio Mattos: Pr\u00e9vost: Larry
\nStabbins: Veryan Weston. Recorded at the Bracknell Jazz Festival,
\nEngland.\u00a0 Matchless Recordings mrlp07. New CD version mrcd07 released
\nin 1999 with additional material from 1985<\/p>\n
1983 Handscapes\u00a0 Akemi Kunishoshi-Kuhn Trio:\u00a0 Akemi Kuniyoshi-Kuhn
\npiano: Marcio Mattos double bass: Eddie Pr\u00e9vost drums. Recorded in
\nLondon. Leo Records<\/p>\n
1984 Supersession Barry Guy double bass: Evan Parker tenor saxophone:
\nEddie Pr\u00e9vost drums: Keith Rowe guitar. Recorded in London. Matchless
\nRecordings mrcd17<\/p>\n
1985 Miller’s Tales\u00a0 Steve Miller Trio — meets Lol Coxhill . Steve
\nMiller piano: Tony Moore double bass: Eddie Pr\u00e9vost drums with Lol
\nCoxhill soprano saxophone. Recorded in London. Matchless Recordings
\nmrdlp09<\/p>\n
1985\/86\u00a0 Resoundings Peter McPhail saxophones\/flute\/Tony Moore double
\nbass\/Eddie Pr\u00e9vost drums. Recorded in London and Oxford, England.
\nMatchless Recordings mrlp08–new CD version mrcd08 released in 2000
\nwith additional material from 1986<\/p>\n
1987 Flayed\/Crux\u00a0 Pr\u00e9vost\/Organum. Recorded in London. Silent Records
\nSR8704\u00a0 re-released as a CD in 1995 by Matchless Recordings mrcd27<\/p>\n
1989 Premonitions\u00a0 free jazz quartet — Harrison Smith
\nsaxophones,b.cl.\/fl: Paul Rutherford trombone: Tony Moore cello: Eddie
\nPr\u00e9vost drums. Recorded in Holywell Music Rooms, Oxford, England.
\nMatchless Recordings mrcd18<\/p>\n
1990 GOD\u00a0 God. Recorded in London. Pathological PPP106<\/p>\n
1990\/92\u00a0 Third Day Straight Made Public\u00a0 Jim O’Rourke guitar: Eddie
\nPr\u00e9vost percussion. Recorded in London. Complacency CPCD9302<\/p>\n
1992 Beyond the Pale\u00a0 E(xperimental) A(udio) R(esearch) — Sonic Boom:
\nKevin Martin: Kevin Shields: Eddie Pr\u00e9vost. Recorded in England.\u00a0 Big
\nCat Records ABB96CD<\/p>\n
1993\/95\u00a0 Phenomena 256\u00a0 E(xperimental) A(udio) R(esearch — Sonic Boom:
\nEddie Pr\u00e9vost: Kevin Martin: Tom Prentice: Scott Riley: \/Peter Bain:
\nAlf Hardy. Recorded in England. Space Age Recordings. Orbit 005LP<\/p>\n
1994 Band on the Wall\u00a0 Marilyn\u00a0 Crispell piano: Eddie Pr\u00e9vost drums.
\nRecorded in Manchester, England. Matchless Recordings mrcd25<\/p>\n
1996 Loci of Change — sounds and sensibility. Solo percussion.
\nRecorded in London. Matchless Recordings mrcd32<\/p>\n
1997\u00a0 Millenium Music — A Meta Musical Portrait. E(xperimetal) A(udio)
\nR(esearch) — Kember: Pr\u00e9vost: Prentice: Bain. Recorded in England.
\nAtavistic ALP72CD<\/p>\n
1997 Most Materiall\u00a0 Evan Parker saxophones: Eddie Pr\u00e9vost percussion.
\nRecorded in London. Matchless Recordings mrcd33 (double)<\/p>\n
1997 Touch — the weight, measure and feel of things. Eddie Pr\u00e9vost
\nTrio — Tom Chant soprano saxophone: John Edwards double bass: Eddie
\nPr\u00e9vost drums. Recorded in London. Matchless Recordings mrcd34<\/p>\n
1997 En.Tropo.Logy. Simon Picard tenor saxophone: John Wolf Brennan
\npiano, prepared piano and electronics: Eddie Pr\u00e9vost drums and
\npercussion. Recorded in London. For 4 Ears CD1036 (released 2000)<\/p>\n
1998 concert, v. Eddie Pr\u00e9vost drums: Veryan Weston piano. Recorded in
\nLondon. Matchless Recordings mrcd37<\/p>\n
1998 The Issue at Hand.\u00a0 Such: Yoshikazu Iwamoto shakuhachi: John
\nTilbury piano: Eddie Pr\u00e9vost percussion. Recorded in London. Matchless
\nRecordings mrcd38 (double)<\/p>\n
2000 Ore. Derek Bailey guitar: Eddie Pr\u00e9vost percussion. Recorded in
\nLondon. Arrival Records\u00a0 ARCD001<\/p>\n
2000\u00a0 The Virtue in If\u00a0 Eddie Pr\u00e9vost trio– Tom Chant soprano
\nsaxophone: John Edwards double bass: Eddie Pr\u00e9vost drums. Recorded in
\nLondon. Matchless Recordings mrcd43<\/p>\n
2001 Material Consequences. Eddie Pr\u00e9vost solo percussion. Recorded in
\nLondon.\u00a0 Matchless Recordings mrcd48<\/p>\n
2001\/02\u00a0 Christian Wolff — early piano music.\u00a0 John Tilbury and
\nChristian Wolff pianos: Eddie Pr\u00e9vost percussion. Recorded in London.
\nMatchless Recordings mrcd51 (double)<\/p>\n
2002 none (-t).\u00a0 9! — Nathaniel Catchpole tenor saxophone\/elk calls:
\nJamie Coleman trumpet: Alex James piano: Ross Lambert guitar\/pocket
\ntrumpet\/preparations: John Lely piano: Sebastian Lexer piano\/computer:
\nMarianthi Papelexandri moving objects: Eddie Pr\u00e9vost percussion:
\nSeymour Wright alto saxophone. Recorded in London. Matchless
\nRecordings mrcd54<\/p>\n
2002 Undistilled.\u00a0 Sakada: Mattin computer feedback: Rosy Parlane
\ncomputer and radio: Eddie Pr\u00e9vost percussion. Recorded in London.
\nMatchless Recordings mrcd49<\/p>\n
2003 imponderable evidence.\u00a0 Evan Parker tenor saxophone: Eddie
\nPr\u00e9vost drums. Recorded in London. Matchless Recordings mrcd57<\/p>\n
2003 the blackbird’s whistle.\u00a0 Eddie Pr\u00e9vost Trio — Tom Chant tenor
\nsaxophone and bass clarinet: John Edwards double bass: Eddie Pr\u00e9vost
\ndrums. Recorded in London.\u00a0 Matchless Recordings mrcd56<\/p>\n
2003 A Bright Nowhere. Conditions — Nathaniel Catchpole tenor
\nsaxophone: Jamie Coleman trumpet: Alex James piano: John Edwards
\ndouble bass: Eddie Pr\u00e9vost drums. Recorded in London. Matchless
\nRecordings mrcd55<\/p>\n
2004 Discrete Moments. John Tilbury — piano, prepared piano, organ:
\nEddie Pr\u00e9vost drums, stringed barrel, tam-tam and other percussion.
\nRecorded in London. Matchless Recordings mrcd58<\/p>\n
2006 Interworks.\u00a0 John Butcher tenor and soprano saxophones: Eddie
\nPr\u00e9vost tam-tam and other percussion. Recorded in London. Matchless
\nRecordings mrcd66<\/p>\n
2006 Entelechy. Eddie Pr\u00e9vost solo tam-tam. Recorded in London.
\nMatchless Recordings mrcd67<\/p>\n
2006 so are we, so are we. Eddie Pr\u00e9vost drums: Alan Wilkinson alto
\nand baritone saxophones. Recorded in London. Matchless Recordings
\nmrcd68<\/p>\n
2008 Gamut.\u00a0 Eddie Pr\u00e9vost Roto toms: Seymour Wright alto saxophone.
\nRecorded in London. Matchless Recordings mrcd72<\/p>\n
2008 Blackheath. Alexander von Schlippenbach piano: Eddie Pr\u00e9vost
\ndrums. Recorded at Blackheath Halls, London. Matchless Recordings
\nmrcd73<\/p>\n
2009 Inveni Ergo Sum Seymour Wright alto saxophone, Ross Lambert
\nel.gutar,Eddie Pr\u00e9vost drums.mrcd75 (double)<\/p>\n
2009 Memories for the Future, free jazz quartet with Paul Rutherford
\ntrombone, Harrison Smith t\/s,s\/s b\/c., Tony Moore cello, Eddie Pr\u00e9vost
\ndrums Matchless Recordings mrcd76<\/p>\n
2010 Ftarri Collection 2 (featuring: Sachiko M sinewaves and Eddie
\nPr\u00e9vost percussion.<\/p>\n
2011 Penumbrae. Jennifer Alum violin, Eddie Pr\u00e9vost bowed percussion<\/p>\n
2011 All Told — (Meetings with Remarkable Saxophonists Vol. 1) Evan
\nParker tenor saxophone, John Edwards double bass, Eddie Pr\u00e9vost drums.
\nMatchless Recordings mrcd81<\/p>\n
2011 Impossibility in its Purest Form — Sebastian Lexer piano+,
\nSeymour Wright alto saxophone, Eddie Pr\u00e9vost percussion. Matchless
\nRecordings mrcd82<\/p>\n
2011 All But\u00a0 — (Meetings with Remarkable Saxophonists Vol. 2) John
\nButcher tenor and soprano saxophone, Guillaume Viltard double bass,
\nEddie Pr\u00e9vost drums. Matchless Recordings mrcd83<\/p>\n
2011 All Together —\u00a0 (Meetings with Remarkable Saxophonists Vol. 3)
\nJason Yarde alto and soprano saxophones, Oli Hayhurst double bass,
\nEddie Pr\u00e9vost drums<\/p>\n
2011 All-in-All {en tout et pour tout] — (Meetings with Remarkable
\nSaxophonists Vol. 4)\u00a0 Bertrand Denzler tenor saxophone, John Edwards
\ndouble bass, Eddie Pr\u00e9vost drums. Matchless Recordings mrcd88<\/p>\n
2012 Workshop Concert — Jennifer Allum, violin, Ute Kangiesser cello,
\nGrundik Kasyansky theramin\/electronic,\/ Dimitria Lazeridou-Chatzigoga
\nzither, Eddie Pr\u00e9vost percussion, Daichi Yoshikawa electronics.
\nMatchless Recordings mrcd87<\/p>\n
2012 Tri-Borough Triptych — Evan parker saxophones, Sebastian Lexer
\npiano+, Eddie Pr\u00e9vost percussion. Matchless Recordings mrcd89<\/p>\n
Books and articles<\/p>\n
Books<\/p>\n
No Sound is Innocent –‘ AMM and the Practice of self-invention and
\nMeta-Musical Narratives’, Copula, Harlow, 1995<\/p>\n
Minute Particulars: meaning in music-making in the wake of hierarchial
\nrealignments, Copula, Harlow, 2004<\/p>\n
Cornelius Cardew: A Reader –‘ A collection of Cornelius Cardew’s
\npublished writings’\u00a0 Ed. Edwin Pr\u00e9vost, Copula, Harlow,\u00a0 2006<\/p>\n
Selected Articles<\/p>\n
‘AMM: a few memories and reflections’. ReR Records Quarterly Vol 2 No
\n2, London Autumn 1978. Republished in Tango, Vilnius, Lithuania March
\n1992 (translated into Lithuanian)<\/p>\n
‘AMM: The State of Play’, Influenza, No. 2, Horsholm, Denmark, 1980<\/p>\n
‘The Aesthetic Priority of Improvisation: A lecture’ , Contact, No.
\n25, London, Autumn, 1982<\/p>\n
‘The Ganelin Trio Reviewed Reviewed — free-jazz with a Soviet
\ndimension’, The Wire, No. 7, Summer, 1984<\/p>\n
‘Improvisation: Music for an Occasion.’ British Journal of Music
\nEducation, No. 2 Vol. 2, CUP, UK 1985<\/p>\n
‘Whose Drum is it Anyway\/” – A review of Percussion ’88’, The Wire,
\nLondon August 1988<\/p>\n
‘Meta-Music and the Mutating Monster of Possessive Individualism — A
\nEpic Struggle’, Marin d’Art, Valencia, Spain, 1990<\/p>\n
‘Out in the Midday Sun: colonial communities in New Music’ ,
\nResonance, Vol.8 No.1, LMC, London 1990<\/p>\n
‘Trumpet Against Time’, The Wire, No. 118\/119, London, January 1994<\/p>\n
‘Leaving One’s Brain in the Cloakroom’ : Leaving the Twentieth Century
\n— Ideas and Visions of New Musics, Contemporary Music Review, Vol 5
\nParts 3-4, Harwood, 1996<\/p>\n
‘The Arrival of a New Musical Aesthetic: Extracts from a Half-Buried
\nDiary’.\u00a0 Not Necessarily “English Music” Britain’s Second “Golden
\nAge”, Leonardo Music Journal, Vol 11, 2001, pp. 25-28<\/p>\n
‘The Discourse of a Dysfunctional Drummer’ The Other Side of Nowhere:
\nJazz, Improvisation and Communities in Dialogue, Eds. Daniel Fischlin
\nand Ajay Heble, Weslyan University Press, 2004<\/p>\n
‘Individuality has run riot’, The Open School, Zehar, No. 60\/61,
\nArteleku, Donostia, Spain, 2007<\/p>\n
‘Free Improvisation in music and capitalism — resisting authority and
\nthe cults of scientism and celebrity’, The Ashgate Research Companion
\nto Experimental Music, James Saunders (ed.),\u00a0 Aldershot: Ashgate, 2009<\/p>\n
‘Virtuosity in an an electronic Age’ Herbst — Theorie zur Praxix, Austria, 2010<\/p>\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Join us at the voodoo rooms on the 7th May 2014 for a concert with free improvisation legend and provocateur Eddie Pr\u00e9vost. Doors are 8pm. Tickets are free but we’ll ask for donations on the door. Please reserve your tickets<\/p>\n","protected":false},"author":2,"featured_media":143,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,3],"tags":[22,20,21],"acf":[],"jetpack_featured_media_url":"https:\/\/digital.eca.ed.ac.uk\/events\/files\/2013\/10\/Screen-Shot-2013-10-22-at-14.39.22.png","_links":{"self":[{"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/posts\/136"}],"collection":[{"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/comments?post=136"}],"version-history":[{"count":9,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/posts\/136\/revisions"}],"predecessor-version":[{"id":140,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/posts\/136\/revisions\/140"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/media\/143"}],"wp:attachment":[{"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/media?parent=136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/categories?post=136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/digital.eca.ed.ac.uk\/events\/wp-json\/wp\/v2\/tags?post=136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}