AMM Thread (renamed)

[Seth]

Who'd have thought they'd remake the Parent Trap? Again.

[cdeupree]

A user on Dime has posted an audience recording of "AMM Trio," Tilbury, Prévost & Rowe, taken on November 12, 2016, in Budapest and lasting just under an hour. The uploader says in the notes that "From 34:20 on, Mr. Rowe's radio broadcasted a programme about Kocsis Zoltán, a recently deceased great Hungarian classical pianist and conductor, turning the concert into an involuntary (and likely, uninformed) hommage."

[jon abbey]

thanks for the pointer, Caleb! pretty curious what the uploader means with that comment, obviously Keith doesn't speak Hungarian, but also he listens to classical music constantly and is pretty damn informed on the area, so I'm pretty sure he knew what he was doing.

in a related note, I didn't make a thread here yet, but Keith's 'The Room Extended' is available for preorder now with immediate lossless DL link, 4 CDs, 246 minutes, all new material (in case anyone thought it overlapped with the original 'The Room' from the title). I haven't said this about any Erst release since 'Duos for Doris', but this might be the best/most important release I've ever done.

[Steve Reynolds]

thanks for that note Jon

will be trying to put together a little holiday order including the Keith Rowe 4 CD set

[negative potential]

Full album of photographs by Christina Marx: https://www.facebook.com/media/set/?set ... tn__=-UC-R

[Steve Reynolds]

Full album of photographs by Christina Marx: https://www.facebook.com/media/set/?set ... tn__=-UC-R

great pictures

Did anyone here attend? I read that the second set was strong.

[negative potential]

Did anyone here attend? I read that the second set was strong.

Yeah I was there, it was fantastic. Both sets were great.

I assume your statement about the second set comes from that review on the Free Jazz Blog? I found that review baffling. I have no idea what the author meant about the audience being "restless" between sets; people get up to get drinks and go to the bathroom between sets at every show I've been to, lol.

I actually slightly prefer the first set, there was this moment towards the end when Rowe was producing this kind of fuzzy drone, and Tilbury was playing this absolutely beautiful, kind of pastoral piano melody; not melancholy Feldman chords, but something really sweet. I almost want to say "Impressionist" but that's probably the wrong word.

Also, love Eddie Prévost's electric toothbrush preparation!

[Steve Reynolds]

Did anyone here attend? I read that the second set was strong.

Yeah I was there, it was fantastic. Both sets were great.

I assume your statement about the second set comes from that review on the Free Jazz Blog? I found that review baffling. I have no idea what the author meant about the audience being "restless" between sets; people get up to get drinks and go to the bathroom between sets at every show I've been to, lol.

I actually slightly prefer the first set, there was this moment towards the end when Rowe was producing this kind of fuzzy drone, and Tilbury was playing this absolutely beautiful, kind of pastoral piano melody; not melancholy Feldman chords, but something really sweet. I almost want to say "Impressionist" but that's probably the wrong word.

Also, love Eddie Prévost's electric toothbrush preparation!

thanks for this. I've been waffling regarding buying the 3 CD set called Unintended Legacies which are the concerts from December 5th, 2015, April 7th., 2016 & June 9th, 2016

Have you heard these?

I'm probably ordering them anyway as I'm very curious to hear these recordings.

[negative potential]

thanks for this. I've been waffling regarding buying the 3 CD set called Unintended Legacies which are the concerts from December 5th, 2015, April 7th., 2016 & June 9th, 2016

Have you heard these?

I'm probably ordering them anyway as I'm very curious to hear these recordings.

Yeah I picked this up at the show. I quite like it, but I haven't really listened to it enough times to digest it. Superficially, I think the middle disc (the Paris show) is my favorite one.

They play in a very sparse style these days; Prévost no longer does any of those excursions into jazz-style drumming in an AMM context (he doesn't play a trap set), and Rowe's setup is very minimal these days (that chord-practice fretboard, some pedals, and a portable Nintendo console, IIRC). It's difficult to describe; like AMM pared down to its essence, I suppose.

I also picked up the "Spanish Fighters" disc, and I think this may be my favorite of all the Prévost/Tilbury duo AMM discs. Also picked up Tilbury's version (with Carla Rees) of Morton Feldman's "For Christian Wolff" on the Atopos classical label; haven't listened to this yet.

[Steve Reynolds]

thanks for this. I've been waffling regarding buying the 3 CD set called Unintended Legacies which are the concerts from December 5th, 2015, April 7th., 2016 & June 9th, 2016

Have you heard these?

I'm probably ordering them anyway as I'm very curious to hear these recordings.

Yeah I picked this up at the show. I quite like it, but I haven't really listened to it enough times to digest it. Superficially, I think the middle disc (the Paris show) is my favorite one.

They play in a very sparse style these days; Prévost no longer does any of those excursions into jazz-style drumming in an AMM context (he doesn't play a trap set), and Rowe's setup is very minimal these days (that chord-practice fretboard, some pedals, and a portable Nintendo console, IIRC). It's difficult to describe; like AMM pared down to its essence, I suppose.

I also picked up the "Spanish Fighters" disc, and I think this may be my favorite of all the Prévost/Tilbury duo AMM discs. Also picked up Tilbury's version (with Carla Rees) of Morton Feldman's "For Christian Wolff" on the Atopos classical label; haven't listened to this yet.

thanks for this as well. I USED to like when Prevost did things like he would on The Nameless Uncarved Block (1992) Live in Allentown (1994) but today when I listen to those recordings, I'm taken a bit back when Eddie goes all jazz. To my ears today, there is a clash of styles that doesn't work as well with my ears of today. As you know, I'm still first and foremost a listener of more expressive improvised music but I'm still very attracted to the more reticent or small gesture lower case improvisation (much of the music discussed on this board - or at least WAS discussed when this board was more active) as well - and AMM still resonates with me here in 2019. I think I'm ordering that 3 CD set by next week.

[negative potential]

thanks for this as well. I USED to like when Prevost did things like he would on The Nameless Uncarved Block (1992) Live in Allentown (1994) but today when I listen to those recordings, I'm taken a bit back when Eddie goes all jazz. To my ears today, there is a clash of styles that doesn't work as well with my ears of today. As you know, I'm still first and foremost a listener of more expressive improvised music but I'm still very attracted to the more reticent or small gesture lower case improvisation (much of the music discussed on this board - or at least WAS discussed when this board was more active) as well - and AMM still resonates with me here in 2019. I think I'm ordering that 3 CD set by next week.

If you go back far enough to the beginnings of the trio version of AMM, like Generative Themes and _especially_ Combines + Laminates, not only does Prévost make those excursions into jazz-like drumming, but Tilbury also sometimes plays a frenetic, almost pseudo-Cecil Taylor style of piano, with Rowe of course contributing his share of busy noise.
The trio AMM is rightly credited as one of the pioneers of reticent/small gesture improvisation, but my impression is that's a direction that really consolidated around the time of recordings like Newfoundland, and I guess they kept moving in that direction over the course of the 1990s. But the 80s discs still very much feel like they have one foot in the camp of jazz-derived free improvisation (the Inexhaustible Document is the one exception, I think. That one feels very "classical"). There is no trace of that in the newest incarnation, which is extremely pared down and micro-gestural (Rowe's super-subtractive style over the last decade hasn't done much for me, but if fits perfectly in an AMM context or his duo recordings with Tilbury).

Definitely get the 3-CD set, the book that comes with it is also neat.

BTW, I dunno if you're into Mazen Kerbaj, but the AAMM (the Tilbury/Prévost version of AMM plus the A-Trio) recording is great. Unfortunately, it's not of the concert they did at the Elisabethskirche, but rather a recording they did the night before the concert. But there's an excerpt of the concert from German public radio you can listen to here:

https://soundcloud.com/negativedialectics/aamm

[Steve Reynolds]

thanks for this as well. I USED to like when Prevost did things like he would on The Nameless Uncarved Block (1992) Live in Allentown (1994) but today when I listen to those recordings, I'm taken a bit back when Eddie goes all jazz. To my ears today, there is a clash of styles that doesn't work as well with my ears of today. As you know, I'm still first and foremost a listener of more expressive improvised music but I'm still very attracted to the more reticent or small gesture lower case improvisation (much of the music discussed on this board - or at least WAS discussed when this board was more active) as well - and AMM still resonates with me here in 2019. I think I'm ordering that 3 CD set by next week.

If you go back far enough to the beginnings of the trio version of AMM, like Generative Themes and _especially_ Combines + Laminates, not only does Prévost make those excursions into jazz-like drumming, but Tilbury also sometimes plays a frenetic, almost pseudo-Cecil Taylor style of piano, with Rowe of course contributing his share of busy noise.
The trio AMM is rightly credited as one of the pioneers of reticent/small gesture improvisation, but my impression is that's a direction that really consolidated around the time of recordings like Newfoundland, and I guess they kept moving in that direction over the course of the 1990s. But the 80s discs still very much feel like they have one foot in the camp of jazz-derived free improvisation (the Inexhaustible Document is the one exception, I think. That one feels very "classical"). There is no trace of that in the newest incarnation, which is extremely pared down and micro-gestural (Rowe's super-subtractive style over the last decade hasn't done much for me, but if fits perfectly in an AMM context or his duo recordings with Tilbury).

Definitely get the 3-CD set, the book that comes with it is also neat.

BTW, I dunno if you're into Mazen Kerbaj, but the AAMM (the Tilbury/Prévost version of AMM plus the A-Trio) recording is great. Unfortunately, it's not of the concert they did at the Elisabethskirche, but rather a recording they did the night before the concert. But there's an excerpt of the concert from German public radio you can listen to here:

https://soundcloud.com/negativedialectics/aamm

I have not listened to that much more recent Keith Rowe - at least since the solo stuff from 2011. To my ears the most exciting stuff from Rowe was recorded druing the previous decade. A View from the Window, Between (probably my all-time favorite), and the live short duet with Burkhart Beins are all still very absorbing and captivating listens and I end up going back to these often - especially the first 2.

Of course the 3 CD set with Sachiko M, Toshi Nakamura and Otomo Yoshihide is spectacular as is Cloud. All of those have the incredible restraint and tension of the best small form improve but they also have those restrained buildups and almost explosions of sound. ALL quiet from Rowe can be a struggle for this guy who still loves expressive improvising. I'm glad that Prevost has his hands in both camps and still loves playing in a good more traditional EFI type group lioke a trio with John Edwards and Parker or Butcher or whoever.

[MRS]

I have not listened to that much more recent Keith Rowe - at least since the solo stuff from 2011. To my ears the most exciting stuff from Rowe was recorded druing the previous decade. A View from the Window, Between (probably my all-time favorite), and the live short duet with Burkhart Beins are all still very absorbing and captivating listens and I end up going back to these often - especially the first 2.

Of course the 3 CD set with Sachiko M, Toshi Nakamura and Otomo Yoshihide is spectacular as is Cloud. All of those have the incredible restraint and tension of the best small form improve but they also have those restrained buildups and almost explosions of sound. ALL quiet from Rowe can be a struggle for this guy who still loves expressive improvising.

Do NOT sleep on November Quebec, aggressive Rowe of the era in question.

[negative potential]

Changed my mind about the 3-disc album. The Trondheim set (third disc) is my favorite.

[schiksalgemeinschaft]

Of course the 3 CD set with Sachiko M, Toshi Nakamura and Otomo Yoshihide is spectacular as is Cloud. All of those have the incredible restraint and tension of the best small form improve but they also have those restrained buildups and almost explosions of sound. ALL quiet from Rowe can be a struggle for this guy who still loves expressive improvising.

I think both 13 and The Room Extended are tremendously expressive. If they sound quiet, just crank up the volume, problem solved. And I don't mean that as a joke.

[Wombatz]

I think both 13 and The Room Extended are tremendously expressive. If they sound quiet, just crank up the volume, problem solved. And I don't mean that as a joke.

funny, i'd agree you can crank up the extended room, but the volume of 13 (like its headphone listenability) to me is limited e.g. by pisaro's clean guitar notes which sound wrong when overblown

[jon abbey]

I don't think Steve R has gotten to those two yet.

[joseghast]

Looking forward to seeing them again, anyone here coming to this?

[negative potential]

Here's the first set from the Berlin show:

https://vimeo.com/365706448

[Dan Warburton]

Wonderful! Thanks for the link - love John's red braces The passage about 45' with the sitar music is breathtaking. Thank again for this, made my day.