Tema AMM

Escucha! AMM -Norwich


mié 03 Dic 2008 medio día

AMM es un grupo que se formo en las sesentas. Su principio fui durante estas cuarenta anos de existencia de quitar toda forma de composicio, y llegar a la improvisacion la mas pura. No existe ni un album de esta formacion, solo grabaciones en vivo de performances, nunca preparadas.

The 54-minute uninterrupted set is structured very much like what admirers of the group have come to expect: it emerges from the existing sound-space in an unobtrusive manner, tinges the environment in various ways, and departs back into the ether. At the beginning, Prévost appears to be plucking at some sort of stretched string (the innocent listener may even suspect the presence of an acoustic bass!) while Tilbury operates initially from inside the piano, the stringboard of which has been prepared with sundry objects, before moving to some hazy ruminations at the keyboard. Interestingly, at this point it sounds as though Prévost is employing some sort of mechanical device, whirring and striking some resonant strings, perhaps as a little homage after the fact to Rowe. Tilbury, in duo format, becomes a somewhat more active participant than he often was in the trio, forcing the action a bit more than floating atop it, bursting into abrupt Taylorisms here and there in addition to his more delicate arpeggiating. Prévost, for his part, does a masterful job of sinking into the background, coloring the proceedings with precisely the right shadings and accents, staying almost entirely off of the drum set as such, concentrating far more on gongs, bowed cymbals, metal and wooden objects, and other esoterica.

Despite the occasional violent outburst, the prevailing mood is subtle and mysterious, Prévost sometimes going entirely sub-aqueous with cetacean moans of uncertain parentage bouncing off Tilbury's impossibly soft, ultra-low key depressions. Delights abound, and picking out individual moments is something of a fool's errand, but special mention should be made of the gorgeous sequence of notes Tilbury develops during the closing ten minutes of the performance. Perfectly placed and chosen, hovering in the air, it's some of Tilbury's most beautiful improvising on record. While experienced AMM listeners may well feel that something's lacking, Norwich, heard on its own merits, is a very fine recording and a strong addition to an already amazing catalog of work..

Brian Olewnick,?All Music

Entrada libre, of course !


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