Scraped Resonance: Eddie Prévost as Metallurgist
Improvised music tends to arrive burdened with a surprisingly limited collection of images. On one side is the noodly jam band: musicians wandering amiably through an indefinitely extended groove, waiting for something to happen and apparently unconcerned if it ever does. On the other is the ecstatic saxophone solo inherited from the popular memory of free jazz: eyes closed, cheeks inflated, the player pushing upwards towards some threshold where expression becomes scream, transcendence or bodily exhaustion. Improvisation appears either as endless conversational meandering or as heroic individual release. Neither model is particularly helpful for approaching Eddie Prévost. There are moments in this performance with Signe Emmeluth and Anton Lukoszevieze that could be located within the histories of free jazz or free improvisation. Emmeluth’s alto saxophone can move rapidly between fine melodic fragments and more abrasive, fractured cries. Lukoszevieze’s cello carries its own accumulated...