Invisible Threads John Surman

Cover Invisible Threads

Album info



Label: ECM Records

Genre: Jazz

Subgenre: Contemporary Jazz

Album including Album cover Booklet (PDF)

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  • 1At First Sight02:34
  • 2Autumn Nocturne06:52
  • 3Within The Clouds04:48
  • 4Byndweed05:11
  • 5On Still Waters04:46
  • 6Another Reflection01:33
  • 7The Admiral05:16
  • 8Pitanga Pitomba07:06
  • 9Summer Song05:23
  • 10Concentric Circles06:33
  • 11Stoke Damerel03:38
  • 12Invisible Threads05:40
  • Total Runtime59:20

Info for Invisible Threads

Der Saxophonist und Klarinettist John Surman wird oft als durch und durch englischer Improvisator und Komponist charakterisiert: Anklänge an Volksmusik und eine geradezu idyllische Atmosphäre haben sich zu Charakteristiken seiner Musik entwickelt – die sich in Alben wie The Road to Saint Ives oder Saltash Bells eindrücklich bemerkbar machten. Doch auch mit Musikern aus anderen Ländern und Kulturkreisen arbeitet Surman seit langem zusammen, Musiker, die durch ihr Gefühl für Klänge jenseits aller Idiome innig verbunden sind. Während einer Tournee durch Südamerika traf Surman zunächst auf den Pianisten Nelson Ayres, der den Liebhabern von brasilianischem Jazz vor allem durch seine Zusammenarbeit mit Airto Moreira, Milton Nascimento und Banda Pau Brasil bekannt sein dürfte. In Oslo lernte der Brite den aus den USA eingewanderten Vibraphonisten Rob Waring kennen und schätzen (bei ECM unlängst gemeinsam mit Mats Eilertsen vertreten). Im Juli 2017 fanden sich die drei Musiker schließlich im Osloer Rainbow Studio ein, um Werke von John Surman – inklusive Ayres’ „Summer Song” – neu einzuspielen. Produziert wurde das Album von Manfred Eicher.

John Surman, Sopran- und Baritonsaxophones, Bassklarinette
Nelson Ayres, Klavier
Rob Waring, Vibrafon, Marimba

Eighteen years have flashed past since the recording of “A Biography of the Rev. Absalom Dawe” but the work created in the solo albums has continued to make itself felt in the interim. Not only have there been solo concerts each year, but pieces created for solo format have found their way into the repertoire of John’s work with the Trans4mation string quartet. The entire “Road to Saint Ives” album, meanwhile, was transcribed and arranged for orchestra by Howard Moody and has since been played by the BBC Symphony Orchestra, the Bournemouth Sinfonietta and other ensembles. The electronic pulse patterns and textures of the Surman solo idiom have also became part of the fabric of the duo music with Jack DeJohnette as on the album “Invisible Nature” (released 2002).

Yet “Saltash Bells” also re-emphasizes the uniqueness of the solo work. Nowhere else do Surman’s reeds stretch out quite as sensuously, with melodies that continue to unfold all the way to the horizon, the title track implying the clear days when you can see, and hear, forever. In the multi-tracked and delay-system pieces Surman finds an accord with the ‘other players’ which no real-time acoustic group music could duplicate. There is beautiful playing on each of his saxophones and clarinets and – listen closely to the backgrounds of “Sailing Westwards” – some effective harmonica, too – a recorded debut for an instrument Surman has toyed with since his teens.

Booklet for Invisible Threads

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