review 1 Steven Loewy Cadence Magazine

Curiously, and even paradoxically, the pure form of free improvisation practiced by Eddie Prévost has a sort of predictability, one connected to his unique way of performing. This is not to diminish his vision, which is a function of his unique capabilities and aesthetic. Nor is this comment intended to deprecate in any way his creative talent, which remains in peak condition. But like so many of the giants of the genre, one can guess with reasonable certainty at least the contextual outlines of what to expect. This recording continues the sort of tabula rasa approach to which Prévost aspires, and like so many of his recordings, the results are scrumptiously satisfying. Tom Chant is a wondrous soprano saxophonist, beholden beyond doubt to Evan Parker, and in fact one of the few accomplished enough to stand in his shoes Chant spits, crackles, and blats, but (oxymoronically it would seem) tastefully so, and while he may not appear quite as aggressive as Parker, the influences show. John Edwards hardly needs any introduction, and although he appears satisfied in a mostly supporting role (with several exceptions, such as on the lengthy 'Whatever Worlds'), his alternatively frenzied lines and contemplative moods are a perfect backdrop. Prévost is more than a drummer, of course. He drives the band, and his stamp is marked on every piece. Under his tutelage, sounds unfold, layers peel, and collectivity trumps (or at equals) moments of individual inspiration. The group effort is characterized by, if nothing else, deep listening: not so much a conversation as a celebration; but one that exudes warmth and stature rather than raw emotion. The Virtue in If is a more extroverted album than some others led by Prévost, and probably less cerebral. Some will be surprised by its power. Most of all, though, it works as a vehicle for joyous expression, perhaps as a creature of the moment, a single spark in the shadows.

Steven Loewy
Cadence (US) March 2002