43-519: Amm or AMM may refer to: Entertainment [ edit ] Music [ edit ] AMM (group) , British free improvisation group Television [ edit ] Amy's Mythic Mornings , an educational show on APTN Kids Video games [ edit ] Automated MatchMaking, in the context of the Warcraft III Ladder system Finance [ edit ] Automated Market Maker ,
86-405: A Matchless Records artist, and that he wanted to explore music outside of AMM. Tension between Rowe and Prévost was exacerbated by the appearance of Prévost's second book of essays, Minute Particulars , which contained some disparaging comments about Rowe, who then left the group. In his review of Prévost's book, Walter Horn notes that while Prévost offers often scathing opinions of many people, Rowe
129-729: A certain style or key , or at certain tempos , conventions such as song structures are highly uncommon; more emphasis is generally placed on the mood of the music, or on performative gestures, than on preset forms of melody , harmony or rhythm . These elements are improvised at will as the music progresses, and performers will often intuitively react to each other based on the elements of their performance. English guitarist Derek Bailey described free improvisation as "playing without memory". In his book Improvisation , Bailey wrote that free improvisation "has no stylistic or idiomatic commitment. It has no prescribed idiomatic sound. The characteristics of freely improvised music are established only by
172-632: A coffee tin. No AMM performance is ever planned; each is unique and spontaneous. The musicians tend to avoid any conventional melody , harmony or rhythm, and seek out an ensemble sound that often obscures any individual's role. It is often difficult to discern which musical instrument is making which specific sound on an AMM recording, due in part to liberal use of various extended techniques on their instruments. AMM released their first recording, AMMusic 1966 , on Elektra Records UK in 1966. It had some initial similarities to free jazz , due in part to Gare's saxophone. One critic has written, however, that
215-536: A common interest in exploring music beyond the boundaries of conventional jazz, as part of a larger movement that helped spawn European free jazz and free improvisation. The seeds of AMM were planted in 1965. They initially had no name, and were not really a group in the conventional sense, simply a weekend experimental workshop session at the Royal College of Art in London, centred on Gare, Rowe, and Prévost. Members of
258-563: A duo CD as AMM, Norwich , during 2005, and in 2009, the CD Trinity with guest John Butcher . In 2010 the core duo of Eddie Prévost and John Tilbury along with John Butcher , Christian Wolff and Ute Kangiesser released a CD called "Sounding Music" (the first simply tagged as AMM after 2005's Norwich) containing the concert performed at "Freedom of the City" festival, Conway Hall, London on 3 May 2009. More recent recordings on Matchless featuring
301-482: A genre of music, developed primarily in the U.K. as well as the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and contemporary classical music . Exponents of free improvised music include saxophonists Evan Parker , Anthony Braxton , Peter Brötzmann , and John Zorn , composer Pauline Oliveros , trombonist George E. Lewis , guitarists Derek Bailey , Henry Kaiser and Fred Frith , bassists Damon Smith and Jair-Rohm Parker Wells and
344-952: A metals and mining trade publication Religion [ edit ] Ahmadiyya Muslim Mission - for the Ahmadiyya sect in Islam 'Amm , a Qatabanian moon god. Science, technology, and medicine [ edit ] Advanced Metering Management Agnogenic myeloid metaplasia , a disease of the bone marrow Air Mass Meter, see mass flow sensor Automatic Memory management Automatic Memory Management of an Oracle Database System Global Area Transportation [ edit ] 3-letter code for Amherst (Amtrak station) in Massachusetts The IATA Code for Queen Alia International Airport , Amman, Jordan Aircraft maintenance manual, or airplane maintenance manual Other uses [ edit ] Aviation Machinist's Mate ,
387-451: A rank of the U.S. Navy Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title AMM . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=AMM&oldid=1218657590 " Category : Disambiguation pages Hidden categories: Short description
430-583: A single moment when the style was born. Free improvisation primarily descends from the Indeterminacy movement and free jazz . Guitarist Derek Bailey contends that free improvisation must have been the earliest musical style, because "mankind's first musical performance couldn't have been anything other than a free improvisation." Similarly, Keith Rowe stated, "Other players got into playing freely, way before AMM , way before Derek [Bailey]! Who knows when free playing started? You can imagine lute players in
473-503: A term in Decentralized finance Organizations [ edit ] Association for Machines and Mechanisms Aceh Monitoring Mission Museum [ edit ] Museum of Anatolian Civilizations ( Anadolu Medeniyetleri Müzesi ), a museum in Ankara, Turkey Publications [ edit ] American Mathematical Monthly , a mathematics journal American Metal Market ,
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#1732852421640516-651: Is a studio recording in a joint session in England on 30 April 2004 featuring MEV's Alvin Curran , Richard Teitelbaum and Frederic Rzewski with Prévost-Rowe-Tilbury. This is the first occasion that the two ensembles have performed together, but not the first time they have shared a split release: each outfit filled a side of the LP Live Electronic Music Improvised , released on a US label in 1968 (AMM's side features excerpts from The Crypt sessions; MEV's side
559-575: Is an excerpt from their magnum opus "Spacecraft."). The second CD consists of the performances that each group gave at a festival held in London on 1 May 2004. Prévost and Tilbury continue to record and perform as AMM. They performed in London during December 2004, with Sachiko M joining as a guest, at the 2005 LMC Festival of Experimental Music, with David Jackman as a guest, and at a festival of experimental music in Belgium in February 2006. They also released
602-632: Is different from Wikidata All article disambiguation pages All disambiguation pages AMM (group) AMM were a British free improvisation group that was founded in London, England, in 1965. The group was initially composed of Keith Rowe on guitar, Lou Gare on saxophone, and Eddie Prévost on drums. The three men shared an interest in exploring music beyond the boundaries of conventional jazz, as in free jazz and free improvisation . AMM never achieved widespread popularity, but have been influential in improvised music. Most of their albums have been released by Matchless Recordings, which
645-609: Is represented, for instance, by the American record label Erstwhile Records and the Austrian label Mego . EAI is often radically different even from established free improvisation. Eyles writes, "One of the problems of describing this music is that it requires a new vocabulary and ways of conveying its sound and impact; such vocabulary does not yet exist – how do you describe the subtle differences between different types of controlled feedback ? I've yet to see anyone do it convincingly – hence
688-441: Is run by Eddie Prévost. In a 2001 interview, Keith Rowe was asked if "AMM" was an abbreviation. He replied, "The letters AMM stand for something, but as you probably know it's a secret!" AMM was initially composed of Keith Rowe on guitar, Lou Gare on saxophone and Eddie Prévost on drums. Rowe and Gare were members of Mike Westbrook 's jazz band; Prévost and Gare were also in a hard bop jazz quintet . The three men shared
731-433: Is singled out for multiple barbs, and "one can hardly fail to wonder whether there's something of a personal nature lurking behind the barrage of what are superficially theoretical complaints." The trio's last performance with Rowe is documented on the 2005 double-CD Apogee . The set is shared with another of the electronic improvisational ensembles that emerged during the 1960s: Musica Elettronica Viva (MEV). The first CD
774-531: Is still commonly practised by some organists at concerts or church services, and courses in improvisation (including free improvisation) are part of many higher education programmes for church musicians. Since 2002 New Zealand collective Vitamin S has hosted weekly improvisations based around randomly drawn trios. Vitamin S takes the form beyond music and includes improvisers from other forms such as dance, theatre and puppetry. Since 2006, improvisational music in many forms has been supported and promoted by ISIM,
817-415: The "Cornelius Cardew Quintet", a mistake which both irked and amused the musicians. After a few paying performances, Cardew bought two amplifiers so the other instruments could compete with the volume of Rowe's guitar. In addition to amplifying their instruments, Cardew and Gare would apply contact microphones to various common objects to amplify the sounds made by, for example, rubbing a glass jar or striking
860-467: The 1500s getting drunk and doing improvisations for people in front of a log fire.. the noise, the clatter must have been enormous. You read absolutely incredible descriptions of that. I cannot believe that musicians back then didn't float off into free playing. The melisma in Monteverdi [ sic ] must derive from that. But it was all in the context of a repertoire." By the middle decades of
903-422: The 1980s as a double LP, and it is still available (with extra material, billed as "The Complete Sessions") on a double CD from Matchless Recordings . The Crypt continues to inspire adventurous listeners; in the liner notes to the 1992 double CD, Prévost writes, "Despite being (arguably) the most 'difficult' material on Matchless, The Crypt has been a mainstay for the label. It obviously pays not to underestimate
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#1732852421640946-509: The 20th century, composers such as Henry Cowell , Earle Brown , David Tudor , La Monte Young , Jackson Mac Low , Morton Feldman , Sylvano Bussotti , Karlheinz Stockhausen , and George Crumb , re-introduced improvisation to European art music, with compositions that allowed or even required musicians to improvise. One notable example of this is Cornelius Cardew 's Treatise : a graphic score with no conventional notation whatsoever, which musicians were invited to interpret. Improvisation
989-752: The International Society for Improvised Music. ISIM comprises some 300 performing artists and scholars worldwide, including Pauline Oliveros , Robert Dick , Jane Ira Bloom , Roman Stolyar , Mark Dresser , and many others. Founded in Manchester, England, in 2007, the Noise Upstairs has been an institution dedicated to the practice of improvised music, hosting regular concerts and creative workshops where they have promoted international and UK-based artists such as Ken Vandermark , Lê Quan Ninh , Ingrid Laubrock , and Yuri Landman . On top of these events,
1032-727: The Noise Upstairs runs monthly jam nights. In Berlin, Germany, from the 1990s onwards, a school of free improvisation emerged known as echtzeitmusik (‘real-time music’ or ‘immediate music’). This has been sustained by supportive venues such as ausland , Anorak Club, Labor Sonor, and others. In late 1970s New York a group of musicians came together who shared an interest in free improvisation as well as rock, jazz, contemporary classical, world music and pop. They performed at lofts, apartments, basements and venues located predominantly in downtown New York ( 8BC , Pyramid Club , Environ, Roulette , The Knitting Factory and Tonic ) and held regular concerts of free improvisation which featured many of
1075-564: The Swiss improvisation duo Voice Crack started making use of strictly "cracked everyday electronics". A recent branch of improvised music is characterized by quiet, slow moving, minimalistic textures and often utilizing laptop computers or unorthodox forms of electronics. Developing worldwide in the mid-to-late 1990s, with centers in New York, Tokyo and Austria, this style has been called lowercase music or EAI ( electroacoustic improvisation ), and
1118-638: The audience. Its continued success has enabled us to release other works. So we felt committed, obliged almost, to keep it available ... this music has proved itself not to be ephemeral." Composer Cornelius Cardew joined AMM in 1966, performing on piano and cello. He worked with AMM intermittently until he abandoned his earlier experimental music in the late 1970s (Cardew died in an unsolved auto accident in 1981). Composer Christian Wolff performed with AMM in 1968. Cardew and Rowe became committed to socialism and to Maoism , and thought that AMM's music should reflect their sociopolitical outlook. Prévost accuses
1161-410: The benefit or hindrance of any kind of prepared external discipline." Free improvisation Free improvisation or free music is improvised music without any general rules, instead following the intuition of its performers. The term can refer to both a technique—employed by any musician in any genre—and as a recognizable genre of experimental music in its own right. Free improvisation, as
1204-451: The debut is regarded as a landmark recording, The Crypt was arguably even more important in establishing the droning, long-form music that would come to characterise AMM. Further "out" and even less conventional than earlier material, one critic has written of it that "an eerie sensation inevitably accompanies each listen to the raw streams of electric noise channeled on AMM's second album and early masterpiece, The Crypt . To ears informed by
1247-602: The duo form of AMM include: 'Uncovered Correspondence' recorded in Jasło, Poland (2010) and 'Two London Concerts' (2011). AMM appeared on SWR2 NOWJazz Session, Donaueschingen 2012. AMM (Tilbury, Prévost & Rowe) appeared on 29 November 2015 as the final performance in the Huddersfield Contemporary Music Festival. AMM disbanded in 2022, after playing their final performance at Cafe Oto on July 30. Michael Nyman wrote, "AMM seem to have worked without
1290-534: The early 1990s, the trio made their first extensive tours, with a number of well-received appearances in Europe and North America. But since about 2000, Rowe's increasing involvement with what has become known as " electroacoustic improvisation " ("eai" for short), especially under the aegis of Jon Abbey's Erstwhile Records , meant that more of his musical activities began to take place outside AMM. Rowe has reported that he felt somewhat limited having been almost exclusively
1333-503: The group have come and gone over the years, but Rowe and Prévost have been present for most recordings and performances; the latter has been the only constant in the nearly six decades of AMM music. Musicians were free to join in, but such collaborations were often short-lived if the contributions were lacking the proper spirit: notable jazz saxophonist Steve Lacy sat in with the group but was quickly asked to stop playing. Observers were welcome, provided they were silent and did not disturb
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1376-588: The group in this era; cellist Rohan de Saram was also an occasional addition. Later collaborators have included saxophonist Evan Parker and clarinetist Ian Mitchell. Christian Wolff also returned as a collaborator for a concert at the Conway Hall in London in 2001. Prévost has reported that of all their collaborators, Parker and Wolff best grasped the AMM aesthetic. The Prévost/Rowe/Tilbury line-up remained stable for two decades, only occasionally augmented by guests. In
1419-445: The improvising groups Spontaneous Music Ensemble and AMM . In the context of music theory , free improvisation denotes the shift from a focus on harmony and structure to other dimensions of music, such as timbre , texture , melodic intervals, rhythm and spontaneous musical interactions between performers. This can give free improvised music abstract and nondescript qualities. Although individual performers may choose to play in
1462-445: The influence of John Gilmore and Albert Ayler ) brought to the fore, although Prévost has stated the music was "decidedly non-jazz." Rowe rejoined in the mid-1970s, and shortly thereafter, Gare departed, leaving a Rowe-Prévost duo for a period. Pianist John Tilbury – previously an occasional AMM collaborator – joined in about 1980. This version of AMM generally explored quieter, more meditative sounds. Gare occasionally rejoined
1505-406: The leading European improvisers of the time, including Derek Bailey , Evan Parker , Han Bennink , Misha Mengelberg , Peter Brötzmann and others. Many of these musicians continue to use improvisation in one form or another in their work. Electronic devices such as oscillators, echoes, filters and alarm clocks were an integral part of free improvisation performances by groups such as Kluster at
1548-437: The pair of "cultural bullying", and there was tension in the group, resulting in some AMM performances being made by alternating duos: Rowe and Cardew, Prévost and Gare. This personal and political tension culminated with a long period (about 1972 to 1976) when AMM was rarely active, and then usually as a Prévost-Gare duo. This was arguably AMM's most jazz -like era, with Gare's sputtering, squawking saxophone (unique but showing
1591-504: The proceedings. American saxophonist Ornette Coleman was asked to leave after he continually talked during one performance; Beatles member Paul McCartney once sat quietly through an early AMM session. When asked how he liked the music he said they went on too long. Eventually, the group settled on a line-up of Prévost, Rowe, Gare, bassist Lawrence Sheaff and pianist/cellist Cornelius Cardew , and, in early 1966, were calling themselves AMM. However, some early performances were billed as
1634-414: The prominent figures in the scene, including John Zorn , Bill Laswell , George E. Lewis , Fred Frith , Tom Cora , Toshinori Kondo , Wayne Horvitz , Eugene Chadbourne , Zeena Parkins , Anthony Coleman , Polly Bradfield , Ikue Mori , Robert Dick , Ned Rothenberg , Bob Ostertag , Christian Marclay , David Moss , Kramer and many others. They worked with each other, independently and with many of
1677-459: The resemblance was rather slight: "the overall sound of the group, even in 1966, was so different, so idiosyncratic, that it's not at all surprising that both new jazz and contemporary classical audiences were baffled, if not horrified." Percussionist Christopher Hobbs (born in 1950 and a student of Cardew) also played with AMM in the late 1960s. The next AMM material to see release were the important The Crypt sessions from 12 June 1968. Though
1720-524: The sonic musical identity of the person or persons playing it." Free music performers, coming from a disparate variety of backgrounds, often engage musically with other genres . For example, Italian composer Ennio Morricone was a member of the free improvisation group Nuova Consonanza. Anthony Braxton has written opera , and John Zorn has written acclaimed orchestral pieces. Though there are many important precedents and developments, free improvisation developed gradually, making it difficult to pinpoint
1763-430: The twenty-first century, it's the uncanny feeling of listening to three-and-a-half decades of experimental music history as delivered in a chillingly prescient sort of reverse premonition ... It's a little unnerving that the only records that seem to accurately describe the brave new soundworld harnessed on The Crypt came into being well after its creation." The Crypt sessions have been issued many times, twice in
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1806-513: The underground scene at Zodiac Club in Berlin in the late 1960s. For the 1975 jazz-rock concert recording Agharta , Miles Davis and his band employed free improvisation and electronics, particularly guitarist Pete Cosey who improvised sounds by running his guitar through a ring modulator and an EMS Synthi A . But it was only later that traditional instruments were disbanded altogether in favour of pure electronic free improvisation. In 1984,
1849-520: The use of words like 'shape' and 'texture'!" The London-based independent radio station Resonance 104.4FM , founded by the London Musicians Collective , frequently broadcasts experimental and free improvised performance works. WNUR 89.3 FM ("Chicago's Sound Experiment") is another source for free improvised music on the radio. Taran's Free Jazz Hour broadcast on Radio-G 101.5 FM, Angers and Euradio [ fr ] 101.3 FM, Nantes
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