Free Jazz Quartet

The late Paul Rutherford (trombone), Harrison Smith (saxophones, bass clarinet), Tony Moore (cello) and Eddie Prevost (drums); this is a newly discovered recording of a concert given in Bristol in 1986.' The late Paul Rutherford (trombone), Harrison Smith (saxophones, bass clarinet), Tony Moore (cello) and Eddie Prevost (drums); this is a newly discovered recording of a concert given in Bristol in 1986.' 'A lazier title would have been Memories Of The Future, a predictable contradiction that succeeds as word-play but flirts with nostalgia.

The ‘for’ is important because it implies effort, a conscious decision to store up something for later use. Here is, or are, momentary occasions that resist the temporal sift and refuse to be blown away. Here is, to adapt the title of a fine book on architectural heritage, a future for the past. In its first incarnation, now twenty years ago, the Free Jazz Quartet cast its music in an urgent future tense. The track titles on Premonitions, the group’s only previous CD, were all cast as warnings: ‘Roman Geese’, ‘Tocsin’, ‘Eddystone’, which is not just the name of a great lighthouse that warns of dangerous sands, but a pun on the drummer’s name and his sound, and ‘Red Flags’, which neatly combines a beach warning with the bloodied shirt of demonstrators turned into banners of protest.

‘Old Moore’s’ referred to a famous annual publication which offers predictions for the year ahead, but also to an old LP by the trombonist, which went out as Old Moers Almanac. Paul Rutherford is no longer with us, but the music here captures him, as well as saxophonist Harrison Smith, cellist Tony Moore and percussionist Eddie Prévost in one of their finest performances. Each has moved along individual paths over the years, sometimes converging, sometimes deliberately not. Each has taken a step away from jazz, sometimes away from music altogether. Prévost has committed his ideas to writing; Moore to the visual and plastic arts. Smith has refined a saxophone voice that is not so much a vehicle for self-expression as an aspect of personality, which is a far more difficult and disciplined route.' extract from liner notes by Brian Morton.