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Search Result for Artist Surman
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JBH 110LP
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Limited black vinyl. 600 copies only. Unreleased electronic/jazz/madness from two titans of jazz and experimentation: John Surman and Karin Krog. John Surman writes: "Back in 2012/13 there had been some talk about a big futuristic open air urban dance/theatre production for about 80/100 actors/dancers with lasers and all kinds of lighting effects on different stages. I was invited to get involved and, together with Ben and Karin, we eventually decided to get to work on some ideas. I think that the original plan was that in performance there would be a mixture of live music and electronica. Not altogether surprisingly, bearing in mind the complexity of the project, it never moved forward and developed into anything more than an interesting idea. It was probably over ambitious and I guess the funding never came through. The only information I that I can find relating to the production refers to two silent movies made in 1927/1928 by the filmmaker Eugene Deslaw, entitled La Marche Des Machines and Les Nuits Électriques. These were clearly intended to act as inspiration for the project. After months turned into years it became obvious that the project was going nowhere, and so the recorded music laid around gathering dust until Johnny Trunk asked Karin if she had any interesting music that he might be interested in releasing. One thing led to another and so, finally, Electric Element found a home! For anyone interested in the equipment used this will have to be an approximation since the memory might be playing tricks. Karin was probably using a Yamaha Rex50 f/x unit, a Roland VT-3 Voice Transformer and an Oberheim Ring Modulator. I was playing Bass Clarinet and Contrabass Clarinet through various f/x units together with a Yamaha WX5 wind synth. All the instruments and voice were also processed through Ben´s equipment? The relation of organic and artificial sound sources in music has always fascinated. In this case, I used some contemporary digital signal processing to introduce my own aesthetic into the conversation, in particular using granular synthesis to recombine small 'clouds' of sound into alternate forms. Some of the software tools I used included Ableton Live, Max/MSP and Reaktor."
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FFL 099CD
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When they performed a handful of concerts as a duo in the summer of 1998, Kristen Noguès and John Surman had already worked a lot on the interweaving of genres: Noguès had confronted traditional Breton music with contemporary music and Surman had changed his jazz into atmospheric numbers that would be amongst the finest recording on the ECM label. As a duo, the harpist and the saxophonist would go on to invent something different: free folk, traditional ambient, modal 'fest-noz'. It is difficult to label, because the duo Noguès/Surman is one of a kind. Diriaou means "Thursday" in Breton. It is also the title of the first piece that Kristen Noguès and John Surman played together in 1991. Noguès learned the Breton language as a child, at the same time as the Celtic harp, "taking lessons with Denise Mégevand, who would go on to teach others, notably Alan Stivell. At the beginning of the 1970s, she discovered the Breton song tradition (soniou and gwerziou) and became involved in Névénoé, a cooperative of traditional expression founded by Gérard Delahaye and Patrick Ewen. She recorded a single with the two musicians in 1974, then her first album, two years later. Everyone who has listened to Kristen Noguès debut Marc'h Gouez is now aware of her mysterious plucked strings. Her art, leaving Brittany, would go on to take in all landscapes and folklores, in the same as that of John Surman, conceived a little further north including vernacular jazz, international fusion with Chris McGregor or Miroslav Vitou, and exploring more personal territory. Kristen Noguèsand John Surman thus shared an "extra-Celtic" inspiration infused with free improvisation. On this recording, made in 1998 by Tanguy Le Doré at the Dre Ar Wenojenn festival, the duo uses original compositions which refer back to traditional songs (Maro Pontkalek, Le Scorff). The musicians then create fantastic impressions: Baz Valan, on which Noguès and Surman have a heavenly exchange; Kernow, on which the shared theme slowing disappears into the mist; Maro Pontkalek and Diriaou which move from the storm to the calm. Elsewhere, there is singing, first with Surman (Kleier) and then moving on to Noguès (Kerzhadenn and her signature song Berceuse). On a canvas of traditional music, the two musicians weave countless memorable landscapes.
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FFL 099LP
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LP version. When they performed a handful of concerts as a duo in the summer of 1998, Kristen Noguès and John Surman had already worked a lot on the interweaving of genres: Noguès had confronted traditional Breton music with contemporary music and Surman had changed his jazz into atmospheric numbers that would be amongst the finest recording on the ECM label. As a duo, the harpist and the saxophonist would go on to invent something different: free folk, traditional ambient, modal 'fest-noz'. It is difficult to label, because the duo Noguès/Surman is one of a kind. Diriaou means "Thursday" in Breton. It is also the title of the first piece that Kristen Noguès and John Surman played together in 1991. Noguès learned the Breton language as a child, at the same time as the Celtic harp, "taking lessons with Denise Mégevand, who would go on to teach others, notably Alan Stivell. At the beginning of the 1970s, she discovered the Breton song tradition (soniou and gwerziou) and became involved in Névénoé, a cooperative of traditional expression founded by Gérard Delahaye and Patrick Ewen. She recorded a single with the two musicians in 1974, then her first album, two years later. Everyone who has listened to Kristen Noguès debut Marc'h Gouez is now aware of her mysterious plucked strings. Her art, leaving Brittany, would go on to take in all landscapes and folklores, in the same as that of John Surman, conceived a little further north including vernacular jazz, international fusion with Chris McGregor or Miroslav Vitou, and exploring more personal territory. Kristen Noguèsand John Surman thus shared an "extra-Celtic" inspiration infused with free improvisation. On this recording, made in 1998 by Tanguy Le Doré at the Dre Ar Wenojenn festival, the duo uses original compositions which refer back to traditional songs (Maro Pontkalek, Le Scorff). The musicians then create fantastic impressions: Baz Valan, on which Noguès and Surman have a heavenly exchange; Kernow, on which the shared theme slowing disappears into the mist; Maro Pontkalek and Diriaou which move from the storm to the calm. Elsewhere, there is singing, first with Surman (Kleier) and then moving on to Noguès (Kerzhadenn and her signature song Berceuse). On a canvas of traditional music, the two musicians weave countless memorable landscapes.
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HE 72006LP
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John Surman's Jazz in Britain '68-'69 is an overview disc of his '60s band and one of the more enjoyable vintage British jazz records. These tunes come from several different sessions recorded in the late sixties, as evidenced by the alternate drummers -- Alan Jackson and Tony Oxley -- and the use of different instrumentation, like the three-horn modal piece "Bouquet Garni," from 1968 that places Surman in the company of only two other horn players -- Alan Skidmore and Mike Osborne -- and no rhythm section, in the configuration that would emerge in the mid-'70s as S.O.S. For most of the other tracks, Oxley is the drummer, Kenny Wheeler plays flugelhorn, and John Taylor plays piano (acoustic and electric). The music here is all over the place stylistically, but it hardly matters because all the players are fully engaged, and as an ensemble, they all shine and were seemingly looking forward to the impact the new jazz would have.
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HE 70010LP
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Recorded in Japan during a tour in 1970. Featuring famous French musicians Eddie Louiss on organ and Daniel Humair on drums. A classy trio album with Louiss' superb Hammond organ played front and center and a glimmering of the Caribbean dancing in the shadows. LP on 180-gram vinyl.
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LP
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HE 69015LP
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LP issued to celebrate more European artists than ever before winning the annual "Downbeat" polls in 1969. On this release they all perform as a unit. Personnel: John Surman - baritone saxophone, soprano saxophone; Niels Henning Oersted-Pedersen - bass; Daniel Humair - drums; Francy Boland - piano; Albert Mangelsdorff - trombone; Karin Krog - vocals. Produced on the occasion of the Berlin Jazz Festival 69 by Joachim E. Berendt. Recorded Berlin 10 and 11 November 1969, Sonopress Studio.
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FLED 3101CD
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At the time of its original release in 1973, Morning Glory, seemed a surprising departure for saxophonist John Surman. It seemed to owe more to the music being made by Miles Davis, Weather Report and Tony Williams' Lifetime in the USA or Ian Carr's Nucleus and Soft Machine in the UK than it did to the often abstract, free but determinedly acoustic music that Surman had pioneered up to that point. Hindsight tells another story. Morning Glory stands as both a consolidation of his work to date and, like the solo Westering Home (FLED 3093CD), it offers a signpost for his work in subsequent years. Surman chose his partners for the recording very carefully, drawing from his friends and trusted collaborators. In particular, Terje Rypdal on electric guitar and John Taylor on both acoustic and electric pianos allows for an expanded musical palette. The rhythm section of Malcolm Griffiths on trombone, Chris Laurence on bass and John Marshall's chattering drums lay down a remarkably elastic rhythmic counterpoint. All of these musical signatures would become even more evident in his later recordings for ECM. Re-mastering from the original master tapes supervised by John Surman.
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CD
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FLED 3093CD
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Fledg'ling are very proud to bring Westering Home to CD. Westering Home was originally released in 1972. John Surman plays everything on the album, drawing together many of the threads of his earlier recordings with the possibilities offered by technology (and his own prodigious musicality). "I took a break from being on the road. This was just around the time when mono had become stereo, and then - in a flash - multi-track recording became possible. I was fascinated by the possibilities of, say, three bass clarinets on different tracks improvising together. Plus I had a curiosity about 'radiophonics' and tape manipulation and Pierre Henry's musique concrete. So it was in that spirit that I started work on what was to become Westering Home." Surman was born in Tavistock, North Devon. He initially gained recognition playing baritone saxophone in the Mike Westbrook Band in the mid-1960s, and was soon heard regularly playing soprano saxophone and bass clarinet as well. Surman developed a fearsome reputation as a prolific collaborator and session musician, before recording a series of albums under his own name beginning with the eponymous John Surman in 1969. His relationship with ECM Records has been continuous from the late 1970s to the present; Surman has recorded prolifically for the label playing bass clarinet, recorders, soprano and baritone saxophones and using synthesizers, both solo and with a wide range of other musicians.
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