British multireed player John Surman has enjoyed a long career, making significant marks in free jazz, modal, and fusion, and also developing his own distinctive blend of folk and jazz elements. His ability to bridge styles has even extended to 1999's treatment of Renaissance-era composer John Dowland's songs, In Darkness Let Me Dwell with the Hilliard Ensemble's John Potter. Coruscating is another unusual venture, with Surman and regular associate bassist Chris Laurence improvising on eight of Surman's compositions with the string quartet Trans4mation. There's a seamless beauty here, composition and improvisation becoming one. Beginning with the baroque clarity of melody on "At Dusk," Coruscating develops often dark, looming textures. While Surman has made his baritone fly, here he emphasizes intense lyricism, whether with a true, full-bodied, baritone sound or a light upper register. "Stone Flower" is dedicated to the great Ellington baritonist Harry Carney, and Surman's breathy, overtone-rich sound invokes Carney's own recordings with strings.
For this ECM project, John Surman (who plays soprano, baritone, clarinet, bass clarinet and piano) and conductor John Warren wrote a full set of original music for Surman's reeds, a seven-piece brass section and a rhythm section to interpret. This episodic set has its share of sound explorations but also contains swinging sections and an impressive amount of excitement. The colorful solos (mostly by Surman) and the unpredictable writing make this a highly recommended disc. (AMG)
Way Back When finds Surman on baritone and soprano saxophones, joined by John Taylor on electric piano, Brian Odgers on electric bass, John Marshall on drums and, on two tracks, alto saxophonist Mike Osborne. This one-day session was, in Surman's words, "a sort of 'farewell' jam session," held before Surman moved to continental Europe to join bassist Barre Phillips and drummer Stu Martin for the groundbreaking free jazz unit known as the Trio.
Pianist Paul Bley was touring Scandinavia with a quartet made up of longtime associate Gary Peacock on bass and two brilliant British musicians, drummer Tony Oxley and John Surman on baritone saxophone and bass clarinet, when they made this Oslo recording in 1991. Rather than a conventionally organized quartet session, the CD consists of seven largely improvised solos, three duets, and two tracks–the collectively improvised "Interface" and Surman's "Article Four"–with the full quartet. Even more unusual is the frequent emphasis on bass frequencies and slow, even solemn, tempos. Only extraordinary musicians could keep such a format interesting, and these four do, exploring room resonance with almost ceremonial levels of concentration.
John Surman, Stu Martin, Barre Phillips - Conflagration (Rare British jazz 1971 UK 6-track LP on the Dawn label, from Surman's highly regarded and influential Trio group, including the two expatriate American musicians Phillips and Martin, also starring Harold Beckett, Chick Corea, Mike Osborne, Alan Skidmore, John Taylor & more. The trio joined by a variety of other musicians. The songs are challenging in an Ornette Coleman sort of way but never inaccessible. Not a recording for the casual jazz listener - it's more for the adventurous jazz lover.
This set was also issued as two separate LPs under John Surman’s name, Vogue VJD 505/1 and VJD 505/2. Rare bit of free jazz by this trio of British players from the early 70′s. The music is very intense, without any of the noodling that sometimes ruins Brit sessions from the time. Surman plays baritone, soprano, and bass clarinet, and he really blows like mad in some passages. The sound quality of this album is stunning! In the autumn of 1969, John Surman decided to make a break and joined forces with Barre Phillips and Stu Martin, to form a group they called The Trio. Phillips had a varied background, having worked as a sideman with Archie Shepp, Jimmy Giuffre and George Russell, as well as performing solo in Leonard Bernstein and the New York Philharmonic.