John Surman Upon Reflection

Paul Bley & Gary Peacock & Tony Oxley & John Surman - In The Evenings Out There (1993) {ECM 1488}

Paul Bley & Gary Peacock & Tony Oxley & John Surman - In The Evenings Out There (1993) {ECM 1488}
EAC 0.99pb5 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 213MB + 5% Recovery
MP3 CBR 320 Kbps | 134MB + 5% Recovery
Genre: Jazz, Avant-Garde Jazz, Post-Bop

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 - The Trio - Conflagration (1971) {Victor-Dawn Records, Mini LP 20bitK2, VICP-62170}

John Surman, Stu Martin, Barre Phillips - The Trio - Conflagration (1971) {Victor-Dawn Records, Mini LP 20bitK2, VICP-62170}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 285 Mb | MP3 @320 -> 114 Mb
Full Artwork @ 300 dpi (png) -> 51 Mb | 5% repair rar
© 1971, 2002 Victor / Dawn Records | VICP-62170
Jazz / Avant-Garde Jazz / Post Bop

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.
John Surman, Stu Martin, Barre Phillips - The Trio (1970) {2CD Victor-Dawn Records, Mini LP 20bitK2, VICP-62207~8}

John Surman, Stu Martin, Barre Phillips - The Trio (1970) {2CD Victor-Dawn Records, Mini LP 20bitK2, VICP-62207~8}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 680 Mb | MP3 @320 -> 234 Mb
Full Artwork @ 300 dpi (png) -> 40 Mb | 5% repair rar
© 1970, 2002 Victor / Dawn Records | VICP-62207~8
Jazz / Post Bop / Avant-Garde Jazz

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.
Paul Bley / John Surman / Bill Frisell / Paul Motian - The Paul Bley Quartet (1987) {ECM 1365} [Re-Up]

Paul Bley / John Surman / Bill Frisell / Paul Motian - The Paul Bley Quartet (1987) {ECM 1365}
EAC 1.0b1 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 282MB + 5% Recovery
MP3 CBR 320 Kbps | 144MB + 5% Recovery
Genre: Jazz, Avant-Garde Jazz

This 1987 date teams the iconoclastic pianist with guitarist Bill Frisell, drummer Paul Motian, and British saxophonist John Surman. While it's easy to argue that, with Manfred Eicher's icy, crystalline production, this was a stock date for both the artists and the label, that argument would be flat wrong. Bley was looking for a new lyricism in his own playing and in his compositions. He was coming from a different place than the large harmonies offered by augmented and suspended chords and writing for piano trios. The other band members – two other extremely lyrical improvisers in Surman and Frisell.
John Surman - Morning Glory (1973) {2016 Remastered Reissue - Fledg'ling Records FLED 3101}

John Surman - Morning Glory (1973) {2016 Remastered Reissue - Fledg'ling Records FLED 3101}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 269 Mb | MP3 @320 -> 101 Mb
Artwork @ 600 dpi (jpg) -> 89 Mb | 5% repair rar
© 1973, 2016 Island Records / Fledg'ling Records / John Surman / A Wing & A Prayer | FLED 3101
Jazz / Modern Jazz / Post Bop / Avant-Garde Jazz / Saxophone

For Morning Glory, John Surman sets aside his signature baritone saxophone in favor of soprano sax, bass clarinet, and synthesizer – the result is a record as radiant and beautiful as its title portends, comprised of four epic tracks that despite their scope represent his most mainstream work to date. The skill and dexterity of the improvisations here are astounding. Surman and sidemen Terje Rypdal (guitar), Chris Laurence (bass), John Taylor (electric piano), Malcolm Griffiths (trombone), and John Marshall (drums) connect on an almost telepathic level. But for all its experimental approaches and ingenious ad-libbing, Morning Glory is a remarkably generous album, inviting and approachable like few avant-jazz dates before it. So much of Surman's brilliance hinges on his refusal to alienate listeners regardless of their personal leanings and expectations, while at the same remaining true to his singular muse.

John Surman Quartet - Stranger Than Fiction (1994) {ECM 1534}  Music

Posted by tiburon at March 27, 2016
John Surman Quartet - Stranger Than Fiction (1994) {ECM 1534}

John Surman Quartet - Stranger Than Fiction (1994) {ECM 1534}
X Lossless Decoder | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 295MB + 5% Recovery
MP3 CBR 320 Kbps | 152MB + 5% Recovery
Genre: Jazz, Fusion

John Surman's thoughtful solos (which take their time and make a liberal use of space) have long made him the perfect ECM artist. On his quartet set with pianist John Taylor, bassist Chris Laurence and drummer John Marshall, Surman mostly sticks to soprano although there are some short spots for his baritone and bass clarinet. Surman always sounds relaxed, even on the more heated originals. It's an interesting set of generally introverted music.

John Surman - Withholding Pattern (1985) {ECM 1295}  Music

Posted by tiburon at March 27, 2016
John Surman - Withholding Pattern (1985) {ECM 1295}

John Surman - Withholding Pattern (1985) {ECM 1295}
X Lossless Decoder | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 178MB + 5% Recovery
MP3 CBR 320 Kbps | 106MB + 5% Recovery
Genre: Jazz

A saxophone workout from '85 by outstanding British player John Surman. While solo sax can be extremely tiring, Surman mixes enough elements of rock, free, blues, and hard bop to keep the songs varied. His aggressive style, especially on baritone, keeps the energy level high.

John Surman - Coruscating (2000) [Repost]  Music

Posted by Designol at Jan. 20, 2016
John Surman - Coruscating (2000) [Repost]

John Surman - Coruscating (2000)
EAC | FLAC | Tracks (Cue&Log) ~ 254 Mb (incl 5%) | Mp3 (CBR320) ~ 151 Mb (incl 5%) | Scans included
Genre: Avant-Garde Jazz, Modern Composition | Label: ECM | # ECM 1702, 543 033-2 | Time: 00:53:59

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.
John Surman & Jack DeJohnette - Invisible Nature (2002) {ECM 1796}

John Surman & Jack DeJohnette - Invisible Nature (2002) {ECM 1796}
EAC 1.0b3 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 400dpi | 466MB + 5% Recovery
Genre: Avant-Garde Jazz

John Surman (on baritone and soprano saxophones, bass clarinet, and synthesizers) and Jack DeJohnette (playing drums, electronic percussion, and piano) make for a very intriguing duo on these seven originals taken from a pair of live concerts. Other than "Song for World Forgiveness" (a ballad mostly by DeJohnette), the music is primarily freely improvised yet manages to be melodic, diverse, and logical. The performances are atmospheric, with both players utilizing electronics in spots while retaining their own musical personalities. Surman has long been a very flexible and mostly laid-back player, while DeJohnette also has the ability to fit in almost anywhere. Rather than individual melodies or solos, this CD is most notable for its overall feel and the blend between these two unique musicians.

John Surman - Nordic Quartet (1995) {ECM 1553}  

Posted by tiburon at Nov. 6, 2015
John Surman - Nordic Quartet (1995) {ECM 1553}

John Surman / Karin Krog / Terje Rypdal / Vigleik Storaas - Nordic Quartet (1995) {ECM 1553}
EAC 0.95b4 | FLAC Image | Cue+Log | Full Scans 300dpi | 198MB + 5% Recovery
Genre: Avant-Garde Jazz, Fusion

This ECM CD is only a mixed success. John Surman is the lead voice most of the way and his playing (particularly on baritone and bass clarinet) is typically atmospheric and emotional. However, singer Karin Krog (who is on around half of the songs) only makes an impression on the closing "Wild Bird"; otherwise her long tones sound out of place. Pianist Vigleik Storaas is mostly used in an accompanying role while guitarist Terje Rypdal's feedback-dominated tone is primarily utilized for color.