Links that Surman has carried into his own projects. Abercrombie is making his first appearance on a Surman album, but DeJohnette has been involved in an occasional but ongoing duo with the reed man ever since The Amazing Adventures of Simon Simon
. Documented more recently on 2002's live Invisible Nature
a largely improvised affairit was followed up immediately by Free and Equal
(2003). That was a more structurally ambitious project where, teamed up with The London Brassa ten-piece ensemble of trumpets, trombones, euphonium and tubathe duo worked in a far more fixed environs.
The number of Surman's albums that fall easily into the "jazz" category is, in fact, rather small, not that such definitions matter to him or his fans. More prevalent are solo/multi-tracked albums like A Biography of the Rev. Absalom Dawe
(1995), a collaboration with church organ and choir (1997's Proverbs and Songs
), and two albums where Surman and Chris Laurence have collaborated with a string quartet. Coruscating
(2000) was the sextet's first album and challenged preconceptions of how chamber and improvised music can coexist. "I was asked to write something for string quartet," Surman explains, "for a group in Czechoslovakia. I did it, but I felt the problem I had was there was no weight in that string quartet to blow against. I thought if there was a bassist who could play a bit of time perhaps, and put some power into it, and in knowing Chris Laurencewho is special in that he's a good jazz player and a good orchestral playersomeone who combines that and who knew a lot of string players, we said, 'Let's find a quartet.' The goal was to use a quartet where they should concentrate, get four people together who really want to do this. We did some rehearsing, just to try out the music, and I got a commission to write. They said, 'We'll give you a commission to write some stuff for the Bath Festival,' so I did it and it was up and running."
As successful as Coruscating
was, when the sextet reconvened for 2007's The Spaces in Between
, there had been some palpable growth. The string players were more comfortable in an improvised setting, the writing both more advanced and
more open. Surman even revisited the title track to Where Fortune Smiles
, with the strings turning it into a more definitive thing of beauty, and adapted a tune originally meant for Thimar
, taking the project, temporarily, in a Middle Eastern direction. "We've kept in contact, and we've been playing, but not enough; not good, long tours," Surman says. "They are too expensive, but from time to time we have worked throughout the years and they've always been exciting concerts. They [the Trans4mation string quartet] drop everything and come, no matter what, and it's grown for two reasons: one, the players have grown more confident with the improvising aspects and, two, I've learned better how to write for them. I think you learn as you go, and I've learned how to give them more space and how to get them in on the action more. So I think it's a two way street. They've come toward me and I've moved toward them."
A recent project that has yet to be released in North America but is available from ECM in Europe, is Rain On The Window
(2008), a sublimely beautiful project that teams Surman up with church organist Howard Moody, who conducted the choir on Proverbs and Songs
. "You have to go back to Howard, who was the director of Proverbs and Songs
," Surman explains. "We struck it off immediately. He has this very open approach to music making, and he loves dynamic energy, which he put into the choir. Eventually he became the organist, after John Taylor was busy and couldn't do it.
"He stepped in and played the organ, and as a former organ scholar at Kings College Oxford, obviously he knew something about instrument. Suddenly it turned out the reason he stopped playing the organ the past couple of years was the traditionalism, and of course you're not going to get any of those problems with me. So it was a chance to use the organ the way he wanted to, and we just did some work- shopping in the village of Penshurst in Kent, where they had a nice organ. But it was zero degrees; it was so
cold! But we spent a few days there and tried this and tried that, and there was no problem, I made a little demo and sent it to Manfred and said, 'Are you interested?' He said, 'Yes, let's find a church,' and then we looked around and eventually I happened on this nice baroque organ in a church here [in Oslo] and we did it there.
"That's the great thing having Karin here, she knows a whole lot of people on the music scene [in Oslo], people who know what's what. She made a couple of phone calls asking, 'Where's a really good organ?' and she turned me onto a couple of places. We had a look, and it was excellent. I thought of doing it in the UK, but it was easier than moving all our instruments over there [laughter]. Howard could get on the plane with his wash bag and do the gig." Rain On The Window
combines moving, spiritual compositions by Surman with some actual free improvisations that feel
completely structured, as well as a couple of traditional tunes that are amongst the album's most pure and beautiful moments. Surman's saxophoneeven on baritone, when he reaches into the upper register, it's clear, curiously fragile and warm, never brashsoars over Moody's often dense but highly evocative organ. "It's been quite a feature of the last couple of years for me," says Surman. "We've played in some wonderful cathedrals with some incredible instruments and it really gets across to the people. Howard is quite an interesting player and, as it has developed, we've stepped further out, which is the difference between the live shows and the recording. It's moved on a bit."
"O Waly Waly," a traditional tune, will be more familiar to most as "The Water is Wide," a song that's been covered countless times from artists ranging from folk singer James Taylor Quartet
to saxophonist and fellow ECM label-mate Charles Lloyd
, who made it the title track of his 2000 quintet album with the late drummer Billy Higgins
and, John Abercrombie. "I knew it ['O Waly Waly,' and so did Howard, in the original version, which has got a piano copyright by Benjamin Britten. We both liked the tune, but we couldn't do the Benjamin Britten version, so we did something else. I found "I'm Troubled In Mind" in a collection of spirituals. It's a song that one of the slaves used to sing after the master had whipped him. It's too painful to relate, but the song is just so beautiful and powerful." Oslo and Keeping It Fresh
After living in Oslo for five years, Surman is still acclimatizing to a country with terrific social services, but also the taxes required to support them. "They're roasting me with taxes," Surman say, "it's unbelievable here. I'm struggling to keep my head above water especially coming in late in the game as it were. They're scalping me at the moment [laughs].
"Practically, I'm more involved in the social round, the coping with living here in a different country. Musically, I'm still way on the outside; I do a few gigs here. I know some of the musicians and have a done a tour with [pianist] Dag Arnesen, but mostly I'm working everywhere elseItaly, France, Germanywith the occasional thing here. I played here with Jack [DeJohnette] in the summer, I've got some collaborations with the Bergen Big Band; they're a very good big band. To be honest, it seems there is plenty going on here. I touch on it occasionally, but most of the things I've done here have been tooting along with Karin and going in with her stuff. I very rarely do my own music here; I never actually have done any of the stuff like Proverbs and Songs
or the string stuff up here. So I'm kind of a guest here, really. [Laughter] For retirement, I know I'll be well set up."
With his US dates on the horizon, Surman is looking forward to taking the music of Brewster's Rooster
and seeing where he, Abercromie, Gress and DeJohnette can take it. On the subject of how he keeps things fresh and avoids repetition in his music, Surman is candid. "Intuition is one word you could use; desperation is another," he says. "What you hear is what you get. I did learn one thing from Elvin Jones
, when we were rehearsing 15 or 20 years ago. It was an octet, a Dag Arnesen project, and there was a tricky little bit for the horn, and Dag said, 'Well, let's try half tempo.'
"So we played it half tempo, and at that point most drummers I know get up and walk over and have a glass of water, but Elvin just sat there with the same intensity while playing it half tempo, and it sounded fuckin' great. In other words, play the music all the time or don't play at all.
"I need to be full on with it. I can only be okay that wayyou just have to play, and that's how it is for me, and what keeps me going. What keeps me fresh is the way that people play. I listen to what others do and pick up on that and they'll take from me sometimes. The only difference is when I'm playing solo concerts. But then it's the audience, and if it's the audience you need to get them to throw you an idea or tell them to drop something like, 'Come on, I want for it to rain, make rain noises for me.' Then a vibe sets up, you get some feedback, and that's how it works."
John Surman, Brewster's Rooster
John Surman/Howard Moody, Rain On The Window
The Dowland Project, Romaria
John Surman, The Spaces in Between
John Surman, Glancing Backwards: The Dawn Anthology
John Surman, Way Back When
John Surman, Free and Equal
John Surman/Jack DeJohnette, Invisible Nature
John Surman, Coruscating
Tomasz Stanko, From the Green Hill
John Dowland, In Darkness Let Me Dwell
Anouar Brahem, Thimar
John Surman, Proverbs and Songs
John Surman Quartet, Stranger Than Fiction
John Surman/Peter Warren, The Brass Project
John Abercrombie/Marc Johnson/Peter Erskine/John Surman, November
John Surman, Adventure Playground
John Surman, Private City
Paul Bley, Fragments
John Surman, Such Winters of Memory
John Surman, The Amazing Adventures of Simon Simon
Miroslav Vitous, First Meeting
John Surman, Upon Reflection
Mick Goodrick, In Pas(s)ing
Barre Phillips, Mountainscapes
John Surman, How Many Clouds Can You See?
John McLaughlin, Extrapolation
(Polydor, 1969) Photo Credits
Page 1, Page 2 (top), Page 6: Robert Lewis, courtesy of ECM Records
Page 2 (bottom): Rogan Coles
Page 4: Esther Cidoncha