It seemed fitting that the final performance of AMM, the pioneering London-based improvising ensemble, should have featured two of the musicians who started the group in 1965. Eddie Prévost, with a small array of gongs, cymbals and drums, and Keith Rowe, originally a guitarist but now manipulating small boxes to trigger and modify samples or electronic signals, appeared together at Café Oto in Dalston last night in the fourth and last event held in celebration of Prévost’s recent 80th birthday.
AMM, whose name remains defiantly undecoded, started out with the saxophonist Lou Gare alongside Rowe and Prévost in a trio that quickly began to unshackle itself from the musicians’ jazz roots. Soon additional members — the pianist/cellist Cornelius Cardew, the accordionist/cellist Lawrence Sheaff, the percussonist Christopher Hobbs, the pianist John Tilbury, the cellist Rohan de Saram — were coming and going. There were occasional guests, such as the saxophonist Evan Parker and the pianist Christian Wolff. Sometimes they were a quartet, sometimes a quintet, often a duo — Prévost and Gare, Prévost and Tilbury, Prévost and Rowe. Tilbury was to have made it a trio last night, but health considerations intervened.
Prévost began and ended the hour-long set with the sound of bowed cymbals, gongs and bowls, an art of which he is a master. Snare and bass drums were used as additional timbral devices, activated by beaters or an electric toothbrush. Rowe deployed his resources with great economy, dropping in samples of male, female and brass chorales, the absent Tilbury’s piano and fragments of speech alongside the radio-scanner cracklings and howls. A packed room listened intently and in complete stillness. At the end, the applause went on for several minutes. This was not just in recognition of the significance of the event, to which Prévost had alerted us beforehand, but in response to the degree and intensity of emotion evoked by the sounds — so seemingly austere, so demanding of listeners, so resistant to any form of literal interpretation — that the two men created together. As a farewell, it could not have been bettered.
* AMM’s first album, AMMusic, was recorded for the Elektra label in 1966 and subsequently reissued in both CD and vinyl formats. Other recordings have been released on the Matchless label (www.matchlessrecordings.com). Eddie Prévost’s books on AMM and related historical and dialectical issues include No Sound is Innocent (1995) The First Concert (2011), and his autobiography, An Uncommon Music for the Common Man (2020), all published by Copula.