ALBERT MANGELSDORFF | JOHN SURMAN — ROOM 1220 (1970-1993) FLAC (tracks+.cue), lossless

Three stunning tunes featuring some of the best improvisers in the world today, all of them written -- yes, written -- by trombonist Albert Mangelsdorf. Interestingly, with a band this diverse and dimensionally articulate, the composer has come up with a program addressing each of the band's particular strengths. The title track, clocking in at over 21 minutes, is a study in the spatial relationship of tonalities. Even so, with its slow unwinding passages -- and interesting interplay between Surman on baritone and Mangelsdorf -- there are intervals, which allow for the creation of alternate harmonies and timbral interjections in chromatic architecture. Pianist Eddy Louis, along with Pedersen, are largely responsible for keeping the slowly revolving beast moving, but they add true depth in microtones and chord voicings. "Triple Circle" is quintet jazz, pure and simple, with everybody playing the hard bop line. Pedersen's solo is of particular interest here, in that his pizzicato playing moves through all three registers and offers scalar blues attacks in each. Finally, "My Kind of Beauty" caps it all off with a pastoral, late-night into courtesy of the horns and Louis on organ. It's a shimmering ballad until almost five minutes in, when Surman begins playing the baritone in the upper register and makes it cry with loneliness and an outpouring of what can only be called amorous emotion. Just as he finishes his sojourn, Pedersen and Louis begin to pace off a blues and transform the number into a groove tune with room enough for every body in the slowly evolving mix of textures in the intervallic transition. Louis' own solo is light and airy, whispering itself along the changes until it shifts into a noirish piece of film music with Mangelsdorf's solo. It all ends on a groove in the backbeat somewhere, but not without making the listener smile. Room 1220 is a hell of a Mangelsdorf date to be sure, but this is once in a lifetime ensemble, and the recording proves it.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Room 1220    22:05
2    Triplet Circle    8:32
3    My Kind Of Beauty    12:51
Credits :
Baritone Saxophone – John Surman
Bass – Nils-Henning Ørsted Pedersen
Drums – Daniel Humair
Piano, Organ [Hammond] – Eddy Louis
Trombone, Composed By – Albert Mangelsdorff

PAUL BLEY — Fragments (1986) FLAC (tracks+.cue), lossless

Having worked early on with everyone from Charlie Parker and Charles Mingus to Chet Baker and Jimmy Giuffre, Canadian pianist Paul Bley created a solid jazz base for his own distinctly sparse and plaintive style. In the '60s he gravitated toward free jazz, but with less of the freneticism of a Cecil Taylor and more as a melancholic minimalist who would leave his mark on such introverted tinklers as Keith Jarrett. Since the dawn of the '70s, Bley has elaborated on his brand of chamber jazz via a slew of independent jazz labels, including Steeplechase, Soul Note, Owl, and hatART. But it's on the German ECM label where he has scored some of his most impressive triumphs; this 1986 session ranks high among his many solo and group outings for the label. Nicely assisted by '60s cohort and drummer Paul Motian, guitarist Bill Frisell, and saxophonist John Surman, Bley ranges wide, from his own diffusely meditative opener ("Memories") and two wintry ballads by Carla Bley ("Seven" and "Closer") to a noisy workout by Surman ("Line Down") and a mercurial swinger from Motian ("Once Around the Park"). Adding to the wealth of quality material here are cuts by Frisell and Annette Peacock. Overcast and a bit icy as one might expect, but nevertheless Bley's Fragments makes for a consistently provocative and enjoyable listen. Stephen Cook  Tracklist & Credits :

PAUL BLEY — The Paul Bley Quartet (1988) FLAC (tracks+.cue), lossless

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 (who prized understatement as the veritable doorway to lyricism) and a drummer who was better known for his dancing through rhythms than playing them in Motian -- were the perfect foils. For the opening solos of "Interplay," Bley traipses around Frisell with a sparse elegance as the guitarist single notes his way into the heart of the piece's silence before Surman draws the entire band out of it with Bley painting the backdrops in the exit. Or there's Surman's "One in Four," written for Bley, in which the pianist moves ahead, stating large middle- and low-register chords as a melody, settling it in D minor and waiting for the band to fill in the pieces before expanding the textural palette to include his own sense of rhythm and a folk song melody in his solo. Breathtaking. The only dud is Frisell's skronk piece, "After Dark," which would have been fine for Naked City, but feels completely out of place here.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-  
Tracklist & Credits :

PAUL BLEY | GARY PEACOCK | TONY OXLEY | JOHN SURMAN — In the Evenings out There (1993) FLAC (tracks+.cue), lossless

This is a remarkable encounter between four top-notch musicians: Paul Bley on piano, Gary Peacock on bass, Tony Oxley on drums, and John Surman on baritone saxophone and bass clarinet. All four appear together only on "Interface" and "Article Four." Otherwise, they play solo and are paired off in twos or threes. Peacock's unaccompanied features, "Portrait of a Silence" and "Tomorrow Today," are technical marvels. Surman's baritone solo flight on "Alignment" is well-formed and unusual. Bley's solo pieces are varied: "Married Alive" and the ironically titled "Soft Touch" are busy and intense, while "Note Police" and "Afterthoughts" are more placid and lyrical. Oxley interacts brilliantly with Peacock on "Speak Easy," and with Bley on the very brief "Spe-cu-lay-ting." His percussive textures are unpredictable, enticing, and quite unlike those of any other drummer.

Most of the music is entirely improvised, although the Bley/Peacock duet "Fair Share" is in tempo and sounds more or less like a pre-written piece. Although the record falls solidly within the "free jazz" category, it has a mysteriously soothing, meditative quality. Fans of these four greats shouldn't miss it. David R. Adler          Tracklist & Credits :

JOHN DOWLAND : In Darkness Let Me Dwell (1999) FLAC (tracks+.cue), lossless

JOHN DOWLAND (1563-1626)

1    Weep You No More, Sad Fountains    5:02
2    In Darkness Let Me Dwell    4:19
3    Lachrimae Verae    5:36
4    From Silent Night    6:56
5    Come Again    4:46
6    The Lowest Trees Have Tops    4:20
7    Flow My Tears    5:15
8    Come Heavy Sleep    4:31
9    Fine Knacks For Ladies    3:52
10    Flow My Tears    5:16
11    Now, Oh Now I Needs Must Part    6:06
12    Lachrimae Tristes    3:27
13    Go Crystal Tears    7:58
14    Lachrimae Amantis    5:04

Double Bass – Barry Guy
Lute – Stephen Stubbs
Producer – Manfred Eicher
Soprano Saxophone, Bass Clarinet – John Surman
Tenor Vocals – John Potter
Violin [Baroque Violin] – Maya Homburger

KARIN KROG | TERJE RYPDAL | VIGLEIK STORAAS | JOHN SURMAN — Nordic Quartet (1995) FLAC (tracks+.cue), lossless

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. The group never really meshes their disparate voices together and few of the spacey (and sometimes meandering) group originals other than "Wild Bird" are at all memorable. All of the principals have sounded better elsewhere. Scott Yanow

Tracklist  :

1 Traces 7:10
Written-By – Krog, Storaas
2 Unwritten Letter 3:46
Written-By – Surman, Krog
3 Offshore Piper 2:05
Written-By – Surman, Rypdal
4 Gone To The Dogs 3:58
Written-By – Surman
5 Double Tripper 6:16
Written-By – Surman, Rypdal
6 Ved Sørevatn 8:05
Written-By – Rypdal
7 Watching Shadows 5:18
Written-By – Surman, Krog
8 The Illusion 5:55
Written-By – Storaas
9 Wild Bird 7:30
Written-By – Surman, Krog
Credits :
Guitar – Terje Rypdal
Piano – Vigleik Storaas
Soprano Saxophone, Baritone Saxophone, Alto Clarinet, Bass Clarinet – John Surman
Voice – Karin Krog

KARIN KROG — Raindrops, Raindrops (2002) FLAC (tracks+.cue), lossless

Over the years, many different subjects have been debated in the jazz world. One of them has to do with whether or not someone who grows up speaking a language other than English can be an effective jazz vocalist -- some argue that only those who grow up in English-speaking countries should sing jazz. But truth be told, there are plenty of European vocalists who grew up speaking Swedish, German, Italian, Dutch, or French and have no problem singing jazz in excellent English (a language that many Europeans learn to speak fluently at an early age). Although Karin Krog was born in Oslo and grew up in a country where Norwegian is the primary language, she is a shining example of how effectively a Scandinavian vocalist can sing English-language jazz. Raindrops, Raindrops, a best-of CD that spans 1966-1985, paints a consistently attractive picture of Krog's artistry. Assembled by a German label called Crippled Dick Hot Wax, this collection shows Krog to be an adventurous, risk-taking improviser who brings an intriguing variety of influences to the table -- Sheila Jordan, Betty Carter, and Jeanne Lee have affected her work, but so have less abstract vocalists like Billie Holiday and Dinah Washington. Krog favors an inside/outside approach (usually more inside than outside), and the Norwegian improviser is as convincing on Herbie Hancock's "Maiden Voyage" as she is on Michel Legrand's "I'll Wait for You" and Thelonious Monk's "'Round Midnight." The latter is a most pleasant surprise; instead of embracing the famous Bernie Hanighen lyrics, Krog unearths a lesser-known set of lyrics that Babs Gonzales recorded in 1956. Raindrops, Raindrops isn't the last word on Krog's contributions to vocal jazz, but for novices, it would be an excellent starting point. Alex Henderson  
Tracklist :
1.  Meaning Of Love 5:05
Bass [Electric] – Steve Swallow
Drums, Percussion – Jon Christensen
Keyboards, Composed By – Steve Kuhn
Vocals – Karin Krog
2.  Hold Out Your Hands 2:22
Bass [Electric] – Steve Swallow
Drums, Percussion – Jon Christensen
Keyboards, Composed By – Steve Kuhn
Vocals – Karin Krog
3.  Raindrops, Raindrops 3:44
Bass [Electric] – Steve Swallow
Drums, Percussion – Jon Christensen
Keyboards, Composed By – Steve Kuhn
Vocals – Karin Krog
4.  New Spring 6:50
Composed By – Payne, Martin, Surman
Drums – Stu Martin
Soprano Saxophone, Baritone Saxophone By – John Surman
Vocals – Karin Krog
5.  We Could Be Flying 6:02
Bass [Electric] – Steve Swallow
Composed By – Columbier
Drums, Percussion – Jon Christensen
Keyboards – Steve Kuhn
Vocals – Karin Krog
6.  Round About Midnight 6:59
Bass – Arild Andersen
Composed By – Williams, Monk
Vocals – Karin Krog
7.  Maiden Voyage - Lazy Afternoon 9:16
Bass – Arild Andersen
Composed By – Herbie Hancock
Drums – Svein Christensen
Percussion [Rhythm Ins.] – Espen Rud
Piano – Terje Björklund
Tenor Saxophone, Percussion [Rhythm Ins.] – Jan Garbarek
Vocals, Percussion [Rhythm Ins.] – Karin Krog
8.  Time To Go 3:06
Drums, Percussion – Jon Christensen
Electric Bass – Steve Swallow
Keyboards, Written-By – Steve Kuhn
Vocals – Karin Krog
9. I`ll Wait For You 6:43Alto Saxophone, Flute – Per Carsten
Bass – Niels-Henning Ørsted Pedersen
Cello – Erling Christensen
Composed By – Michel Legrand, Gimbel
Drums – Alex Riel
Flute – Bent Larsen
Guitar – Philip Catherine
Harp – Lubov Rubinstein
Oboe – Niels Peters
Percussion – Kasper Vinding
Piano – Ole Koch
Trumpet, Arranged By, Conductor – Palle Mikkelborg
Viola – Finn Ziegler
Violin – Hans Nielsen, Per Walther
Vocals – Karin Krog
10 Karima Two 4:55
Composed By – John Surman, Karin Krog
Synthesizer – John Surman
Vocals, Tambura, Bells – Karin Krog
11 All Of You 5:08
Bass – Niels-Henning Ørsted Pedersen
Composed By – Cole Porter
Drums – Jon Christensen
Piano – Kenny Drew
Tenor Saxophone – Jan Garbarek
Vocals – Karin Krog
12.  Blue Eyes 4:53
Bass – Niels-Henning Ørsted Pedersen
Composed By – Bernt Egerbladh
Drums – Espen Rud
Organ – Kenny Drew
Tenor Saxophone – Dexter Gordon
Vocals – Karin Krog

JOHN SURMAN | JACK DeJOHNETTE — The Amazing Adventures of Simon Simon (1981) FLAC (tracks+.cue), lossless

John Surman (on baritone, soprano, bass clarinet and synthesizer) meets up with drummer Jack DeJohnette (who also plays congas and electric piano) for this typically introspective and spacy ECM set. Surman's playing (especially on baritone and bass clarinet) during nine group originals is worth hearing, but this is not one of his more essential outings. Scott Yanow
Tracklist:
1    Part I Nestor's Saga (The Tale Of The Ancient) 10:48
Composed By – John Surman
2    Part II The Buccaneers 3:58
Composed By – John Surman
3    Part III Kentish Hunting (Lady Margaret's Air) 2:56
Traditional
Arranged By – John Surman
4    Part IV The Pilgrim's Way (To The Seventeen Walls) 5:45
Composed By – Jack DeJohnette, John Surman
5    Part V Within The Halls Of Neptune 3:56
Composed By – John Surman
6    Part VI Phoenix And The Fire 6:14
Composed By – Jack DeJohnette, John Surman
7    Part VII Fide Et Amore (By Faith And Love) 4:43
Composed By – Jack DeJohnette, John Surman
8    Part VIII Merry Pranks (The Jester's Song) 2:50
Composed By – John Surman
9    Part IX A Fitting Epitaph 3:23
Composed By – John Surman
Credits:
Drums, Congas, Electric Piano – Jack DeJohnette
Producer – Manfred Eicher
Soprano Saxophone, Baritone Saxophone, Bass Clarinet, Synthesizer – John Surman

MIROSLAV VITOUS - First Meeting (1980) FLAC (image+.cue), lossless

This 1980 quartet session, unavailable in the U.S., features a young Kenny Kirkland on piano along with John Surman on soprano sax and bass clarinet and Jon Christensen on drums. Vitous wrote all but the title track, a tension-filled group improvisation. The dramatic "Silver Lake" begins the disc with rubato filigree and evolves into a driving yet impressionistic feel. "Beautiful Place To" follows, with its odd, Zen-like repeated melody, leading into "Trees," another rubato exploration with a short, precise melodic theme at its core. "Recycle," the album's high point, is prefaced by a beautiful piano and bass clarinet duo passage that sets the stage for hard-swinging improvisation. Vitous is unaccompanied on "Concerto in Three Parts," giving his warm, ardent arco style an extended feature (he bows throughout much of the disc as well). The lilting "You Make Me So Happy" serves as the finale. Recommended but hard to find, First Meeting documents the strength of Vitous' writing and playing and also yields a satisfying encounter with the late Kirkland, early in his career. by David R. Adler
Tracklist:
1 Silver Lake 10:49
Composed By – Miroslav Vitous
2 Beautiful Place To 5:06
Composed By – Miroslav Vitous
3 Trees 6:06
Composed By – Miroslav Vitous
4 Recycle 10:08
Composed By – Miroslav Vitous
5 First Meeting 4:44
Composed By – Surman, Christensen, Kirkland, Vitous
6 Concerto In Three Parts 5:28
Composed By – Miroslav Vitous
7 You Make Me So Happy 4:33
Composed By – Miroslav Vitous
Credits:
Bass – Miroslav Vitous
Drums – Jon Christensen
Piano – Kenny Kirkland
Producer – Manfred Eicher
Soprano Saxophone, Bass Clarinet – John Surman

MIROSLAV VITOUS - Journey's End (1982) APE (image+.cue), lossless

Bassist Miroslav Vitous recorded this quartet session in 1982 with John Surman on soprano and baritone saxophones and bass clarinet, John Taylor on piano, and Jon Christensen on drums. Unavailable in the U.S., the disc includes two remarkable pieces by Surman, the lilting 3/4 "Tess" and the churning, wildly unpredictable "Paragraph Jay." Taylor weighs in with the closing track, "Windfall," another shimmering entry in 3/4 time. Vitous' nine-minute opener, "U Dunaje U Prespurka," inspired by a Czech folk song, is a marvel of gradual development and abstract grooving. "Only One," a rubato meditation that Vitous dedicates to his late father, finds the leader switching from upright to electric fretless bass. Surman's rhythmic clicking of keys on bari sax serves as the foundation for "Carry On, No. 1," a wholly improvised piece; Vitous intuitively sends it into high gear about halfway through with superbly chosen low notes. Journey's End is highly recommended to those willing to search for it. by David R. Adler
Tracklist:

1 U Dunaje U Prespurka 9:18

Miroslav Vitous
2 Tess 5:56

John Surman

3 Carry On, No. 1 5:08
John Surman
4 Paragraph Jay 6:16
John Surman
5 Only One 7:14
Miroslav Vitous
6 Windfall 6:17
John Taylor
Credits:
Baritone Saxophone, Soprano Saxophone, Bass Clarinet – John Surman
Bass – Miroslav Vitous
Composed By – Surman (tracks: 2, 4), Vitous (tracks: 1, 5)
Drums – Jon Christensen
Piano – John Taylor
Producer – Manfred Eicher

RICHARD GALLIANO - Nino Rota (2011) Mp3

It's hard to tell from the packaging, but these are not straight performances of melodies from Nino Rota's film scores but jazz versions of them, with French accordionist Richard Galliano in the lead role. That's not a stretch: Rota's tunes are full of dance and circus elements that need only a bit of a rhythmic push to cross over into jazz, and Galliano's group handles the transitions subtly and cleverly. Moreover, his program is beautifully sequenced and contains some marvelously odd items such as the "Il matto sul filo" (The Fool on the Wire) from La Strada, track 9. He includes a couple of famous pieces from The Godfather, including the Love Theme, which work well in two ways: the better known the piece, the more liberty Galliano can take with it melodically, and he also draws the interesting connection between Rota's Godfather music and those of his films of the 1950s with Federico Fellini, with a few tracks from the serious 1960s films Otto e mezzo (8 1/2) and La Dolce Vita as interludes. All these pieces present visions of Italian popular culture, inflected in different ways. This was Rota's genius: his music seemed simple and sentimental, but it was actually a flexible language that could comment both the attractions and the grotesque dangers of mass culture. Rota's music, some of it now almost 75 years old, has stood the test of time, and one of the marks of its greatness is that it not only can stand up to but invites a variety of treatments, such as this fine jazz reading. by James Manheim  

JOHN MCLAUGHLIN - Extrapolation (1969-1991) FLAC (image+.cue), lossless

John McLaughlin's first recording as a leader features the future innovator playing guitar in an English quartet. Although McLaughlin contributed all ten pieces, baritonist John Surman actually dominates this music, often swinging quite hard. The historically significant set, although a lesser-known item in McLaughlin's discography, is quite musical and enjoyable in its own right. by Scott Yanow
Tracklist:
1 Extrapolation 2:57
2 It's Funny 4:25
3 Arjen's Bag 4:25
4 Pete The Poet 5:00
5 This Is For Us To Share 3:30
6 Spectrum 2:45
7 Binky's Beam 7:05
8 Really You Know 4:25
9 Two For Two 3:35
10 Peace Piece 1:50
Credits:
Baritone Saxophone, Soprano Saxophone – John Surman
Bass – Brian Odges
Drums – Tony Oxley
Electric Guitar, Acoustic Guitar, Composed By – John McLaughlin

JOHN MCLAUGHLIN — Where Fortune Smiles (1971-1993) FLAC (image+.cue), lossless

Where Fortune Smiles is really a John Surman recording, but subsequent re-releases have passed the credit on to John McLaughlin (for obvious reasons). The music is similar to but more dense than Extrapolation. McLaughlin's raw sound was starting to take shape by this time and his impeccable chops are on full display. So too are those of the underrated vibraphonist Karl Berger and, of course, soprano saxophonist Surman. The foundation is held loosely in place by bassist Dave Holland and drummer Stu Martin. It's a challenging but interesting listen, especially given McLaughlin's later success and popularity. Although his creativity would peak with the Mahavishnu Orchestra and Shakti, he never sounded more free and exploratory than he does here. Highly recommended for its historical significance as well as some excellent playing. Robert Taylor
Tracklist :
1 Glancing Backwards 8:54
2 Earth Bound Hearts 4:15
3 Where Fortune Smiles 4:01
4 New Place,Old Place 10:24
5 Hope 7:19
Credits:
Bass – Dave Holland
Drums – Stu Martin
Guitar – John McLaughlin
Saxophone – John Surman
Vibraphone – Karl Berger

JOHN SURMAN — How Many Clouds Can You See? (1970-1998) RM | FLAC (image+.cue), lossless

 John Surman's second album remains his most impressive, anticipating the sound and scope of the European free jazz movement that would blossom in the decade to come -- boasting an extraordinary roster highlighted by trumpeter Harry Beckett, tenorist Alan Skidmore and bassist Barre Phillips, How Many Clouds Can You See? captures a singular moment in the evolution of British jazz, forging a new and distinct sound with few musical antecedents. Surman is a force of nature here, wielding his baritone, soprano and bass clarinet as if they were weapons -- no less impressive is his control, however, and no matter how far How Many Clouds Can You See? may travel, the music never lapses into self-indulgence or swallows its own tail. Jason Ankeny

Tracklist :
1 Galata Bridge  15:01
Alto Saxophone – Mike Osborne
Baritone Saxophone – John Surman
Bass – Harry Miller
Drums – Alan Jackson
Tenor Saxophone – Alan Skidmore
Trombone – Malcolm Griffiths
Trumpet, Flugelhorn – Harold Beckett
2 Caractacus  4:19
Baritone Saxophone – John Surman
Drums – Alan Jackson
3 Premonition  4:27
Alto Saxophone – Mike Osborne
Baritone Saxophone, Flute – John Warren
Soprano Saxophone – John Surman
Tenor Saxophone, Flute – Alan Skidmore
Trombone – Chris Pyne, Malcolm Griffiths
Trumpet – Dave Holdsworth, Harold Beckett
Tuba – George Smith
Written-By – Warren
4   Event (18:42)
4a Gathering
4b Ritual
4c Circle Dance
5 How Many Clouds Can You See? 3:25
Credits
Baritone, Soprano Saxophone, Bass Clarinet – John Surman (tracks: 4, 5)
Bass – Barre Phillips (tracks: 3 to 5)
Drums – Tony Oxley (tracks: 3 to 5)
Piano – John Taylor (tracks: 1, 3 to 5)
Written-By – Surman (tracks: 1, 2, 4, 5)

JOHN ABERCROMBIE - November (1993) FLAC (tracks+.cue), lossless

This 1993 recording of John Abercrombie's trio with a guest appearance by British saxophone giant and composer John Surman is, without question, a trademark ECM session. There's the spacious, pristine, icy production by label boss Manfred Eicher from his studio in Oslo. Next, all the players are ECM staples with the exception of Erskine, who plays everything from pop jazz to classical music. But there are many things that distinguish it as well. For one, Surman is playing here with a fire not heard since the early '70s. Whether he is blowing a baritone or soprano saxophone or his bass clarinet, he's cutting loose. There are long, looping lines that quote everyone from John Carter to Jim Pepper to Eric Dolphy and Ben Webster. His willingness to seek out the heart of dissonance inspires his bandmates, particularly on "The Cat's Back." From a nuanced, eerie wail to a Native American folk melody to smoky phraseology taken from "Chelsea Bridge," Surman pulls out all the stops and then puts them back in to make the tune whisper. Abercrombie doesn't exactly take a back seat on this date, but he does showcase his expansive knowledge of Tal Farlow's harmonic palette by playing extended chords either inside the melody or as a dissonant counterpoint to Surman. Other standouts include the title track with its strange, even alien, crosstalk between Johnson's bowed bass and Abercormbie's short, knotted leads. On Surman's ballad "Ogeda," too, Abercrombie investigates the manner in which the jazz tradition celebrates dissonant harmonies while using a kind of lyrical improvisation to keep the tune gently swinging. It's a solid session from beginning to end, but one still wishes Eicher would take his hands off the sound controls a bit, allowing some of the rawness that each of these players shows in live settings to enter the studio.

Tracks :

1. The Cat's Back - 6:24

2. J.S. - 6:14

3. Right Brain Patrol (Johnson) - 9:00

4. Prelude - 3:27

5. November (Abercrombie, Erskine, Johnson) - 8:26

6. Rise and Fall (Erskine) - 5:22

7. John's Waltz - 5:40

8. Ogeda (Surman) - 4:40

9. Tuesday Afternoon (Erskine, Johnson) - 2:55

10. To Be - 5:24

11. Come Rain or Come Shine 

(Harold Arlen, Johnny Mercer) - 6:04

12. Big Music - 5:41

All compositions by John Abercrombie except as indicated.

Credits :

John Abercrombie — guitar

John Surman — baritone saxophone, soprano saxophone, bass clarinet

Marc Johnson — bass

Peter Erskine — drums.