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| Road to Saint Ives |
| John Surman |
első megjelenés éve: 1990
54 perc |
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| (2008)
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CD |
| 6.681 Ft
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| 1. | Polperro
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| 2. | Tintagel
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| 3. | Tethevy Quoit :55
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| 4. | Rame Head
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| 5. | Mevagissey
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| 6. | LostWithiel
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| 7. | Perranporth
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| 8. | Bodmin Moor
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| 9. | Kelly Bray
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| 10. | Piperspool
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| 11. | Marazion
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| 12. | Bedruthan Steps
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Jazz / Avant-Garde Jazz
Recorded: April 1990
John Surman bass clarinet, soprano and baritone saxophones, keyboards, percussion
* Dieter Rehm - Design
* Ingema Reuter - Cover Design, Cover Graphics
* Jan Erik Kongshaug - Engineer
* Manfred Eicher - Producer
* Sascha Kleis - Inlay Photography, Photography
During a period of his career that would feature some notable collaborations with luminaries such as Paul Bley, Bill Frisell, Elvin Jones, and Barre Phillips, John Surman also produced Road to Saint Ives, a gentle, introspective, yet adventurous solo work. The entire album is a one-man effort, from the composition to all of the instrumentation, with Surman building strata of sound over keyboard and percussion structures using bass clarinet and the soprano and bass saxophones he is known for. The resulting work communicates a unique vision and mood, unsullied by the conflicting interpretations of other performers.
The album centers around a portrait of the landscape and spirit of Cornwall, taking more than a few bits of inspiration from British folk music, but remaining firmly perched in the jazz tradition. The individual pieces, while they have place names, are not intended to evoke specific geographic locations -- rather they act as facets of the whole experience. Surman's work on the soprano sax is the most impressive of all of his instrumentation on the recording -- most noticable because it has the brightest sound, but also because he takes the instrument further texturally than most, allowing it to quiver, sing, squeak, and slide. The result is ethereal without being saccharine, adventurous while still highly listenable. Some of the most interesting tracks include the brief but pretty "Kelly Bray," the complex echoing birdsongs of "Perranporth," and the electronic ambience of "Piperspool."
---Stacia Proefrock, All Music Guide
John Surman
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Aug 30, 1944 in Tavistock, England
Genre: Jazz
Styles: Avant-Garde Jazz, Jazz Blues, Jazz-Rock, Modern Composition, Post-Bop
John Surman was one of the very few saxmen in England to find a significant audience in rock during the late '60s, playing gigs regularly at venues like the Marquee Club in London. Also a clarinetist of some renown, and no slouch on keyboards either, the atmospheric sounds that Surman creates on his horns has been a major asset to the ECM label ever since the late '70s; but, before that, he was an extremely prolific artist on Deram, Futura, Dawn, and Island, cutting seven solo albums between 1968 and 1974 on those mainstream pop-oriented labels, as well as recording with Morning Glory on Island. One of England's top jazz players of the past several decades, Surman is particularly strong on the baritone. Surman played in jazz workshops while still in high school. He studied at the London College of Music and London University Institute of Education in the mid-'60s, played with Alexis Korner and Mike Westbrook until the late '60s, and recorded with the latter until the mid-'70s. He was voted best soloist at the 1968 Montreux Festival while heading his band. Surman worked with Graham Collier, Mike Gibbs, Dave Holland, Chris McGregor, and John McLaughlin in the '60s, and toured Europe with the Kenny ClarkeFrancy Boland big band in 1970. Surman toured and recorded with Barre Phillips and Stu Martin in the late '60s and early '70s, and again in the late '70s, adding Albert Mangelsdorff to the group. They called themselves the Trio, then Mumps. Surman played with Mike Osborne and Alan Skidmore in the sax trio SOS in the mid-'70s. He also collaborated with the Carolyn Carlson dance company at the Paris Opera through the mid- and late '70s. Surman recorded with Stan Tracey and Karin Krog, while working with Miroslav Vitous and Azimuth. He led the Brass Project in the early '80s, and played in Collier's big band and Gil Evans' British orchestra. Surman toured with Evans again in the late '80s. He began recording as a leader for Pye in the early '70s, and did sessions for Ogun and ECM. Surman continued recording in the '80s, mostly for ECM. He worked with Terje Rypdal, Jack DeJohnette, Pierre Favre, Bengt Hallberg, Archie Shepp, Warne Marsh, and Red Mitchell, among others. Surman has made many recordings for ECM, spanning from free form to mood music, and he remains one of the label's most consistently stimulating artists.
---Ronn Wynn & Bruce Eder, All Music Guide |
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