"Evan Parker was born in Bristol in 1944 and began to play the saxophone at the age of 14. Initially he played alto and was an admirer of Paul Desmond; by 1960 he had switched to tenor and soprano, following the example of John Coltrane, a major influence who, he would later say, determined "my choice of everything". In 1962 he went to Birmingham University to study botany but a trip to New York, where he heard the Cecil Taylor trio (with Jimmy Lyons and Sunny Murray), prompted a change of mind. What he heard was "music of a strength and intensity to mark me for life ... l came back with my academic ambitions in tatters and a desperate dream of a life playing that kind of music - 'free jazz' they called it then."

Parker stayed in Birmingham for a time, often playing with pianist Howard Riley. In 1966 he moved to London, became a frequent visitor to the Little Theatre Club, centre of the city's emerging free jazz scene, and was soon invited by drummer John Stevens to join the innovative Spontaneous Music Ensemble which was experimenting with new kinds of group improvisation. Parker's first issued recording was SME's 1968 Karyobin, with a line-up of Parker, Stevens, Derek Bailey, Dave Holland and Kenny Wheeler. Parker remained in SME through various fluctuating line-ups - at one point it comprised a duo of Stevens and himself - but the late 1960s also saw him involved in a number of other fruitful associations.

He began a long-standing partnership with guitarist Bailey, with whom he formed the Music Improvisation Company and, in 1970, co-founded Incus Records. (Tony Oxley, in whose sextet Parker was then playing, was a third co-founder; Parker left Incus in the mid-1980s.) Another important connection was with the bassist Peter Kowald who introduced Parker to the German free jazz scene. This led to him playing on Peter Brötzmann's 1968 Machine Gun, Manfred Schoof's 1969 European Echoes and, in 1970, joining pianist Alex von Schlippenbach and percussionist Paul Lovens in the former's trio, of which he is still a member: their recordings include Pakistani Pomade, Three Nails Left, Detto Fra Di Noi, Elf Bagatellen and Physics.

Parker pursued other European links, too, playing in the Pierre Favre Quartet (with Kowald and Swiss pianist Irene Schweizer) and in the Dutch Instant Composers Pool of Misha Mengelberg and Han Bennink. The different approaches to free jazz he encountered proved both a challenging and a rewarding experience. He later recalled that the German musicians favoured a "robust, energy-based thing, not to do with delicacy or detailed listening but to do with a kind of spirit-raising, a shamanistic intensity. And l had to find a way of surviving in the heat of that atmosphere ... But after a while those contexts became more interchangeable and more people were involved in the interactions, so all kinds of hybrid musics came out, all kinds of combinations of styles."

A vital catalyst for these interactions were the large ensembles in which Parker participated in the 1970s: Schlippenbach's Globe Unity Orchestra, Chris McGregor's Brotherhood of Breath, Barry Guy's London Jazz Composers Orchestra (LJCO) and occasional big bands led by Kenny Wheeler. In the late 70s Parker also worked for a time in Wheeler's small group, recording Around Six and, in 1980, he formed his own trio with Guy and LJCO percussionist Paul Lytton (with whom he had already been working in a duo for nearly a decade). This group, together with the Schlippenbach trio, remains one of Parker's top musical priorities: their recordings include Tracks, Atlanta, Imaginary Values, Breaths and Heartbeats, The Redwood Sessions and At the Vortex. In 1980, Parker directed an Improvisers Symposium in Pisa and, in 1981, he organised a special project at London's Actual Festival. By the end of the 1980s he had played in most European countries and had made various tours to the USA, Canada, Australia, New Zealand and Japan. ln 1990, following the death of Chris McGregor, he was instrumental in organising various tributes to the pianist and his fellow Blue Notes; these included two discs by the Dedication Orchestra, Spirits Rejoice and lxesa.

Though he has worked extensively in both large and small ensembles, Parker is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centred around his continuing exploration of techniques such as circular breathing, split tonguing, overblowing, multiphonics and cross-pattern fingering. These are technical devices, yet Parker's use of them is, he says, less analytical than intuitive; he has likened performing his solo work to entering a kind of trance-state. The resulting music is certainly hypnotic, an uninterrupted flow of snaky, densely-textured sound that Parker has described as "the illusion of polyphony". Many listeners have indeed found it hard to credit that one man can create such intricate, complex music in real time. Parker's first solo recordings, made in 1974, were reissued on the Saxophone Solos CD in 1995; more recent examples are Conic Sections and Process and Reality, on the latter of which he does, for the first time, experiment with multi-tracking. Heard alone on stage, few would disagree with writer Steve Lake that "There is, still, nothing else in music - jazz or otherwise - that remotely resembles an Evan Parker solo concert."

While free improvisation has been Parker's main area of activity over the last three decades, he has also found time for other musical pursuits: he has played in 'popular' contexts with Annette Peacock, Scott Walker and the Charlie Watts big band; he has performed notated pieces by Gavin Bryars, Michael Nyman and Frederic Rzewski; he has written knowledgeably about various ethnic musics in Resonance magazine. A relatively new field of interest for Parker is improvising with live electronics, a dialogue he first documented on the 1990 Hall of Mirrors CD with Walter Prati. Later experiments with electronics in the context of larger ensembles have included the Synergetics - Phonomanie III project at Ullrichsberg in 1993 and concerts by the new EP2 (Evan Parker Electronic Project) in Berlin, Nancy and at the 1995 Stockholm Electronic Music Festival where Parker's regular trio improvised with real-time electronics processed by Prati, Marco Vecchi and Phillip Wachsmann. "Each of the acoustic instrumentalists has an electronic 'shadow' who tracks him and feeds a modified version of his output back to the real-time flow of the music."

The late 80s and 90s brought Parker the chance to play with some of his early heroes. He worked with Cecil Taylor in small and large groups, played with Coltrane percussionist Rashied Ali, recorded with Paul Bley: he also played a solo set as support to Ornette Coleman when Skies of America received its UK premiere in 1988. The same period found Parker renewing his acquaintance with American colleagues such as Anthony Braxton, Steve Lacy and George Lewis, with all of whom he had played in the 1970s (often in the context of London's Company festivals). His 1993 duo concert with Braxton moved John Fordham in The Guardian to raptures over "saxophone improvisation of an intensity, virtuosity, drama and balance to tax the memory for comparison".

Parker's 50th birthday in 1994 brought celebratory concerts in several cities, including London, New York and Chicago. The London performance, featuring the Parker and Schlippenbach trios, was issued on a highly-acclaimed two-CD set, while participants at the American concerts included various old friends as well as more recent collaborators in Borah Bergman and Joe Lovano. The NYC radio station WKCR marked the occasion by playing five days of Parker recordings. 1994 also saw the publication of the Evan Parker Discography, compiled by ltalian writer Francesco Martinelli, plus chapters on Parker in books on contemporary musics by John Corbett and Graham Lock.

Parker's future plans involve exploring further possibilities in electronics and the development of his solo music. They also depend to a large degree on continuity of the trios, of the large ensembles, of his more occasional yet still long-standing associations with that pool of musicians to whose work he remains attracted. This attraction, he explained to Coda's Laurence Svirchev, is attributable to "the personal quality of an individual voice". The players to whom he is drawn "have a language which is coherent, that is, you know who the participants are. At the same time, their language is flexible enough that they can make sense of playing with each other ... l like people who can do that, who have an intensity of purpose." "

"After taking up the bass, around 1987, John Edwards co-formed The Pointy Birds who went on to win awards for their music for The Cholmondeleys and Featherstonehaughs dance troupes. The group appeared at festivals in Glasgow, Edinburgh, Moers, Leverkusen, Copenhagen. Around 1990, Edwards played his first gigs with London improvisers such as Roger Turner, Lol Coxhill, Maggie Nicols, Phil Minton.

Between 1990 and 1995 Edwards was a member of three touring groups simultaneously: B-Shops For The Poor, The Honkies and GOD. During this period he also became an increasingly regular player on the London improvised music scene and performed his first solo gigs; he composed and performed music theatre with the bass and cello duo The Great Explorers, street-busked a lot and appeared at many more festivals in Germany, Estonia, France, Italy, Czech, etc.

Since 1995 John Edwards has become a "mainstay" of the London scene, playing with just about everybody, an activity that has seen him clocking up between 150 and 200 gigs a year. He has become regular player with Evan Parker, in many groupings, and with Tony Bevan, Veryan Weston, and Elton Dean, often in collaboration with Mark Sanders on percussion. He has become a more frequent player on the European (and festival) scene, appearing at Taktlos, Ulrichsburg, Nickelsdorf, Budapest, New Zealand and in the USA. He continues to work on solo performances."

"Eddie Prévost (Edwin John) (born Hitchin, Hertfordshire, England, 22 June 1942) is an English percussionist noted for founding and participating in the AMM free improvisation group.

Of Huguenot heritage, Prévost's silk weaving ancestors moved to Spitalfields in the late 17th century. Brought up by single parent mother (Lilian Elizabeth) in war-damaged London Borough of Bermondsey. He won a state scholarship to Addey and Stanhope Grammar School, Deptford, London, where to-be drummers Trevor Tomkins and Jon Hiseman also studied. Music tuition, however, was limited to singing and general classical music appreciation. Enrolled in the Boy Scouts Association (19th Bermondsey Troop) to join marching band. As a teenager began to get involved with the emerging youth culture music; skiffle, before being introduced to a big jazz record collection of a school friend with rich parents. With a bonus from the florist, for whom Prévost worked part-time after school, purchased his first snare drum from the famed Len Hunt drum shop in Archer Street (part of London's theatre land).

After leaving school at sixteen Prévost was employed in various clerical positions whilst continuing his musical interests. Although, by now immersed in the music of bebop, his playing technique was insufficient for purpose. New Orleans style jazz ('trad') offered scope for his growing musical prowess. He played in various bands mostly in the East End of London. It was during a tenure with one of these bands he met trumpeter David Ware, who also shared a passion for the hard-bop jazz music. In their early twenties they later formed a modern jazz quintet which ultimately included Lou Gare, who had recently moved to London from Rugby and was a student at Ealing College of Art and a member of the Mike Westbrook Jazz Orchestra.

AMM was co-founded in 1965 by Lou Gare, Eddie Prévost and Keith Rowe. They were shortly joined by Lawrence Sheaff. All had a jazz background. They were, however, soon augmented by composer Cornelius Cardew. Thereafter, Cardew, Gare, Prévost and Rowe remained as basis of the ensemble until the group fractured in 1972. Other more formally trained musicians were to enter the ranks of AMM after Cardew's departure. Those to make significant contributions were cellist Rohan de Saram and, in particular, pianist John Tilbury. The latter was a friend and early associate of Cardew and later became his biographer.

In contrast to many other improvising ensembles, the core aesthetic of the ensemble is one of enquiry. There was no attempt to create a spontaneous music reflecting, or emulating, other forms. The AMM sound-world emerged from what Cardew referred to as "searching for sounds". For Prévost, the following would become the core formulation which he would explore during his subsequent musical career and explain and develop in various writings (see bibliography) and workshop activities.

We are "searching" for sounds and for the responses that attach to them, rather than thinking them up, preparing them and producing them.

In the 1980s, in response to various workshops and lectures, Prévost first formulated the twin analytical propositions of heurism and dialogue as defining concepts for an emergent musical philosophy, whilst acknowledging Cardew's construction (above). This line was explored and constantly redefined much through the London workshop experience, as his articles and his books show. (see below: The London Workshop). His 2011 book - The First Concert: an Adaptive Appraisal of a Meta Music - is described as a view "mediated through the developing critical discourse of adaptionism; a perspective grounded in Darwinian conceptions of human nature. Music herein is examined for its cognitive and generative qualities to see how our evolved biological and emergent cultural legacy reflects our needs and dreams. This survey visits ethnomusicology, folk music, jazz, contemporary music and "world music" as well as focusing upon various forms of improvisation - observing their effect upon human relations and aspirations. However, there are also analytical and ultimately positive suggestions towards future metamusical practices. These mirror and potentially meet the aspirations of a growing community who wish to engage with the world - with all its history and chance conditionals - by applying a free-will in making music that is creative and collegiate." (back cover of First Concert)History with AMM

When, in the early 1970s, Cardew and Rowe began to devote their time and energy to espousing the political doctrine of an English Maoist party a fracture occurred in the ensemble leaving the rump of Lou Gare and Eddie Prévost, who continued in a duo form making various concerts and festival appearances and leaving a legacy of two recordings. At the end of the decade a rapprochement was attempted and for a short while the quartet began playing together again. It did not last. Lou Gare departed and moved from London to Devon. While Cardew's commitment to politics made his complete withdrawal inevitable. It was during this period Prévost took an Honours Degree at Hatfield Polytechnic, exploring and developing his interests in history(especially East Asian) and philosophy. Musically, this left Rowe and Prévost playing together. Their recording for German ECM label "It had been an ordinary enough day in Pueblo, Colorado" is the single example of their duet period. By the late 1970s a reawakened association with John Tilbury was cemented into his permanent place in AMM. He is featured on all subsequent AMM performances and recordings (as is Prévost). In 2002 a more lasting schism occurred leading to Rowe departing from AMM and leaving Tilbury to continue with Prévost.Percussion

The investigative dynamic of AMM leads a musician to seek out new material. It is the fabric and constitution of stuff that is considered as more important than any historical or cultural heritage. It is Prévost's constant exploration's that has produced the range of sounds associated with his work, particularly within AMM and its extension to the many workshop ensembles. This philosophy leads to what Seymour Wright has so aptly described as the "awkward wealth" of investigation.(citation) It is a position of constant examination and artistic redress.Drumming

Drumming with AMM was principally replaced by discreet percussion work which by and large relied on sound and texture rather than rhythm. At the time of the Gare/Prévost period this position was reviewed. However, it was plain the AMM aesthetic, characteristic of the early formative period, was to have its effect. The "searching" method prevailed. And, whereas a saxophone and drums duet led to a more jazz-like expectation (amplified by Gare's reversion to a more rolling and modal post-Rollins kind of approach). Prévost's playing was noted to have acquired some unusual qualities. This lead one reviewer (Melody Maker) to remark in 1972: "His free drumming flows superbly making use of his formidable technique. It's as though there has never been an Elvin Jones or Max Roach."

Drumming however, was to take a back seat in Prévost's musical output as AMM developed and began to acquire and enhance its innovative reputation. And, apart from rare musical outings he did not commit himself, more fully, to the jazz drum kit again until 2007/08. Although, continuing to play percussion, a jazz-inflected project with Seymour Wright and Ross Lambert in an ensemble called SUM was the precursor of a period more devoted to drumming. Apart from various ad hoc ensembles, this led to various recordings including a series a CDs entitled Meetings with Remarkable Saxophonists. At date this consists of four volumes featuring Evan Parker, John Butcher, Jason Yarde and Bertrand Denzler respectively.The London workshop

Over the years Prévost has conducted many improvised music workshops. However, as a result of a seminar he conducted at The Guelph Jazz Festival, Canada in 1999, Prévost began to formulate a framework for a workshop based upon a more thorough working of AMM principles and practice. He wrote:

"I had, of course, already had long previous experience of improvisation and experimental music mostly through my participation in AMM and working closely with the composers Cornelius Cardew and Christian Wolff. From this experience I had begun a working hypothesis in my book 'No Sound is Innocent'. However, there is always more to discover. On my long flight across the Atlantic, I intuited more could be found out. Not through introspective, if rational, thought alone but, through discovery or experimentation: praxis. It can, of course, be very discomforting to watch a proposition die in practise. No theory is worth its salt unless it is fully tested. The best ideas - this experience suggests - emerge through activity. Hence, the working premise of the improvisation workshop had to be based upon an emergent set of criteria constantly tested within the cauldron of experience.

In November 1999 I made it known that a free improvisation workshop would start weekly in a room at London's Community Music Centre, near London Bridge. Originally, under the auspices of the London Musicians' Collective, [...] these premises were found and minimal lines of communication to possible interested parties were opened. The first Friday evening (not thought to be an auspicious evening of the week because people 'went out' to have a good time) duly arrived. The room was available precisely because no one ever hired it on a Friday! I waited. Edwin Prévost, The First Concert: an Adaptive Appraisal of a Meta Music, (2011) p.115/6

Since then the workshop has continued weekly. It has a strong collegiate atmosphere. Those who participate are themselves formulating and refining a programme of enquiry and empathy. The working premise is one of 'searching for sounds' (Cardew). The emphasis is upon discovery and not on presentation. It is a place to risk failure and develop an open and continuing processive relationship with the materials at hand and other people. As hoped and anticipated, Prévost's continual presence is no longer required. In his occasional absences senior colleagues (in particular Seymour Wright and Ross Lambert) more than adequately move the project along. To date there have been over five hundred people who have attended the weekly workshop in London, representing over twenty different nationalities. This activity is further augmented by occasional forums for discussion and London's Cafe OTO programmes ensembles drawn from the London workshop every month. There have also been occasional extended periods of collective workshop musical experimentation. And, in 2010 there was a residential workshop held in Mwnci Studios on the Dolwillym Estate, west Wales. (see various other texts: including Philip Clark's Wire piece)] There are now workshops based upon this general premise functioning in Hungary, Greece, Slovenia, Japan, Brazil and Mexico. Mostly started by alumni of the original workshop in London.Intermediate and experimental compositions

Cardew's 'Treatise' etc. Cardew's introduction to AMM in 1966 owes something to his search for musicians to perform his (then unfinished)193 pages long graphic score, 'Treatise'. The AMM musicians (at the time Lou Gare, Eddie Prévost, Keith Rowe and Lawrence Sheaff) seemed perfect candidates to embrace this bold work of imagination. And, with others (including later AMM member John Tilbury) all participated in the premier performance at the Commonwealth Institute on 8 April 1966 (check year!). But the initial impact of Cardew's induction into AMM was to bring a halt to his compositional aspirations. However, over the years since, AMM has had a long relationship with particular indeterminate and experimental works particularly those of Cardew - especially after his death in 1983. Most prominently 'Treatise'. Other favourites were 'Solo with Accompaniment', 'Autumn '60', Schooltime Compositions' and the text piece Cardew wrote particularly for AMM, 'The Tiger's Mind.' These pieces (which for a long time had been neglected within 'new' musical schedules), and occasionally others by Christian Wolff and John Cage, were sometimes played in conjunction with an AMM improvisation. Some concert promoters were, it seems, more interested in these pieces being played than the principal musical output of AMM. Hence, Prévost's ambivalence about the inclusion of such material in concert programmes. The creative search for primary performance material was diverted, in such works, in keeping with the demands of the notation or compositional scheme. This inevitably prevented the musician from (to use Cardew's own words) "being at the heart of the experiment". (Cardew, 'Towards an Ethic of Improvisation; CC R p. 127).Matchless Recordings and Publishing

In 1979 Prévost began the recording imprint of Matchless Recordings and Publishing. Although there had been some interest by commercial labels to take on the new improvising music of the late 1960s onwards, it proved not to be satisfactory or long-lasting. Together with a number of similar initiatives, e.g. Incus Records in Britain and ICP (?) in the Netherlands, Prévost sought to take control of their own work. In the early years this was slow and painstaking work. Some years little was produced and few small sales accrued. Gradually however, Matchless recordings began to be the documenting and disseminating base for a developing body of work. Most of the AMM output is featured on Matchless and this has diversified (more so in recent years) to include other associated artists and ensembles.[see matchlessrecordings.com] In 1995, following the same principal for internal control over the output, production and dissemination of material, the publishing imprint Copula was inaugurated. The first publication was Prevost's No Sound is Innocent. Later followed by Minute Particulars in 2004. 2006 saw the publication of Cornelius Cardew: A Reader (edited by Prévost) which was a collection of Cardew's published writings accompanied by commentaries by a number of musicians associated and inspired by Cardew. This volume was an essential companion to John Tilbury's comprehensive biography Cornelius Cardew: a life unfinished which was also published by Copula in 2008. The most recent book to appear on this imprint is Prévost's The First Concert: An Adaptive Appraisal of a Meta Music (2011).

Eddie Prévost is the cousin of the ex-docker shop-steward and left-wing political activist also named Eddie Prevost."

• occupations as trombonist, composer, arranger and intrumental teacher

• leader of various ensembles und musical projects (solo through big band), ranging from mordern jazz, free improvisation und ãNeue MusikÒ to experimental rock, funk and pop music

• present realization of this music as composer and leader in the musical groups Squakk, Undertone Project (Duo up to Octet ) Christof Thewes ÔThe Ascension FactorÔ (/Trio up to Tentet ) Quartetto Pazzo und Modern Chamber Trio, in the Free Jazz Band Yahoos, in the Big Band Little Big Band, in the Neue Musik Ensembles Modern Chamber Trio (Ensemble), in the Avantgarde-Popgruppe Phase 4, in dem Soloprojekt Trombonealone, in the Rock-Jazzformation The Matter of Taste, in the large ensemble SaarbrŸcker ÐDarmstŠdter Freundschaft, in the trombone ensemble Posaunenglanzterzet, in duos like Thewes-Mahall, RoderÐThewes, as member in groups like Squakk, Ensemble hks, Lacypool, Gutter Music, Anna Kaluza Quartet, Griener Ð Roder ÐThewes, Birdfood and Bikini Big Band.

• has been playing in Globe Unity Orchester and Uli Gumpert Workshop Band since 2008

• literary and musical cooperations with author, film maker und voice talent Alfred Gulden Gulden with the group GuldenÐThewes

• Free improvisation concerts with Alexander von Schlippenbach, Paul Lovens, Evan Parker, Roger Turner, Willie Kellers, Uli Boetcher, Eddie Prevost, Tomas Ulrich, Matthias Schubert, Axel Dšrner, Olaf Rupp uva.

• appearences on the following festivals in Europe, South america USA, Kanada : Jazzfestival Willisau, Unerhšrt Festival ZŸrich, Jazz DÕOr Stra§bourg, Just Music Festival Wiesbaden, Jazzfestival Zagreb, Konfrontationen Nickelsdorf, Jazzfestival Nancy, Jazzfest Warschau, Jazzherbst Darmstadt, Jazzwerkstattfestival Berlin, Jazzfestival Mexico City , Jazzfestival Peitz, Jazzfestival Toronto uva.

• contract compositions for city of SaarbrŸcken, SaarlŠndischer Rundfunk, Rundfunk Berlin-Brandenburg and Theatre National Du Luxembourg.

• Awards: 2007 Ð City of Worms Jazzpreis, 2005 Ð City of SaarbrŸcken Medienpreis for Zyklus 1-6 with Alfred Gulden, 1992 Ð District of Neunkirchen Kulturfšrderpreis, 1987 Ð City of SaarbrŸcken Kulturfšrderpreis, 1985 Ð Saarland Rockfšrderpreis.

• was trombone lecturer in academic programme of jazz at Saarland University of Music till 2011.

• more than 30 published records as leader and sideman

• cooperations with these musiscians:

• Guitar: Olaf Rupp, Chris Klein, Thomas Honecker, Ralph Beerkircher, Simon Werner, Frank Wingold, Sven Prokaska, Frank Jacob

• Piano: Uwe Oberg, Olli Maas, Georg Ruby, Alexander von Schlippenbach, Uli Gumpert, Manuel Krass, Christoph Mudrich, Bernd Thewes

• Reeds: Hartmut O§wald, Rudi Mahall, Wolli Kaiser, Ernst Ludwig Petrowsky, Gerd Dudek, Evan Parker, Daniel dÕAgaro, Charlsey Haller, Udo Lovisa, Henrik Walsdorff, Michael Thieke, Ben Wolff, Ekkehard Jost

• Trumpet: Daniel Schmitz, Daisy Becker, Ralf Himmler, Lars Kuklinski, Axel Dšrner, Jean Luc Capozzo, Manfred Schoof, Martin Klingeberg, Rainer Winterschladen

• Trombone: JŸrgen Seyler, Detlef Landeck, Albert Mangelsdorff, Nils Wogram, Johannes Bauer, Matthias MŸller, Alisa Klein, Jan Kamp

• Bass: Martin Schmidt, Jan …streich, Jan Roder, JŸrgen Wuchner, Dieter Manderscheidt, Stefan Scheib, Ulla Oster, Robert Landfermann, Laurent Peckels, Mario Bartone

• Drums: Daniel PrŠtzlich, Dirk Peter Kšlsch, Jšrg Fischer, Michael Griener, Paul Lovens, Paul Lytton, Olli Strauch, Joe Bonica, Jochen KrŠmer

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