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	John Surman (Site not responding. Last check: 2007-10-09)
		Surman played with Alexis Korner, worked with Mike Westbrook until the late '60s, and recorded with him until the mid-'70s.
		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.
		Surman recorded with Stan Tracey and Karin Krog, while working with Miroslav Vitous and Azimuth.
	www.geocities.com /BourbonStreet/Delta/8586/jsurman.html (313 words)

	John Surman's Biography
		Born in Tavistock, Devon in 1944, composer/multi-instrumentalist John Surman is one of the key figures in a generation of European musicians who have crucially expanded the international horizons of jazz during the past thirty years or so.
		Surman also lead his own Octet in 1968 and performed in the big band directed by Mike Gibbs, but the formation of The Trio, in 1969, can be seen as a watershed in terms of his international profile.
		Surman took part in several tours over a period of years with the great Gil Evans Orchestra - being a member of the band which performed and recorded live in Perugia with Sting, in addition to a number other special concerts that the band staged with the likes of Van Morrison and John McLaughlin.
	www.johnsurman.com /biography.html (1435 words)

	John McLaughlin (musician) - Wikipedia, the free encyclopedia
		John McLaughlin (born January 4, 1942), also Mahavishnu John McLaughlin, is a jazz fusion guitar player from Yorkshire in England.
		The band was respected the world over for their technical virtuosity and complex fusion of jazz, Indian music, and electric jazz rock.
		John was one of the first westerners, if not the first, to attain any acclaim performing Indian music for Indian audiences.
	en.wikipedia.org /wiki/John_McLaughlin_(musician) (523 words)

	John Surman - musicolog.com
		Born in Devon in 1944, composer/multi-instrumentalist John Surman is one of the key figures in a generation of European musicians who have crucially expanded the international horizons of jazz in the 70s and 80s.
		Surman also had his own Octet, but the formation of The Trio, in 1969, can be seen as watershed in terms of his international profile.
		In 1994, Surman was commissioned by the Bath Festival, BBC Radio 3, the Arts Council and South West Arts, to write new music for various groupings from solo to Brass Project, and including a Nordic Quartet with Karin Krog, Terje Rypdal and Vigliek Storaas, to celebrate his 50th birthday year.
	www.musicolog.com /surman.asp (1226 words)

	John Surman - Wikipedia, the free encyclopedia
		John Douglas Surman (born 30 August 1944 in Tavistock, England) is a jazz saxophone, bass clarinet and synthesizer player and composer.
		During this early period he also recorded with (among others) saxophonist Ronnie Scott, guitarist John McLaughlin, bandleader Michael Gibbs, trombonist Albert Mangelsdorff, and pianist Chris McGregor's Brotherhood of Breath.
		These include a quartet with pianist John Taylor, bassist Chris Laurence, and drummer John Marshall; duets and other projects with Norwegian singer Karin Krog; and duets and other projects with American drummer/pianist Jack DeJohnette.
	en.wikipedia.org /wiki/John_Surman (412 words)

	John Surman: Free and Equal - PopMatters Music Review
		The title of John Surman's latest release refers to the fact that the brass ensemble that accompanies Surman and drummer/pianist Jack DeJohnette plays music that is entirely notated, while the two principals improvise freely.
		Surman is influenced not only by jazz and chamber music, but (like his labelmate Jan Gabarek) by folk music as well.
		In Surman's case, the folk music in question is that of his native British Isles, and the lyrical quality with which it infuses his playing and his composition is remarkable.
	www.popmatters.com /music/reviews/s/surmanjohn-freeandequal.shtml (823 words)

	Jazzmatazz Review - John Surman - Coruscating
		He played on John McLaughlin's landmark album Extrapolation in 1969 and formed the free-jazz group The Trio with Barre Philips and Stu Martin in 1970.
		Besides his work with jazz ensembles, Surman has done commissions for dance companies, collaborated with bassist John Warren on The Bass Project for brass and rhythm section (with Surman on reeds), and made several solo albums which involved the use of overdubbing his reeds and keyboards.
		Surman often likes to solo on top of textural, patterned playing as on some of his solo albums.
	home.att.net /~lankina/jazz/Reviews/R0101f.html (260 words)

	JOHN SURMAN / CUNEIFORM RECORDS
		This never before released album was recorded on October 7th, 1969 by John Surman and British jazz superstars.
		Soprano/baritone saxophonist John Surman is one of the UK's best known jazzmen, having released 8 albums under his own name between 1968 - 1974 for mainstream labels such as Deram and Island.
		On hand were drummer John Marshall, electric pianist John Taylor and Brian Odgers on bass guitar - later Mike Osborne appeared with his alto and joined us.
	cuneiformrecords.com /bandshtml/surman.html (321 words)

	John Surman: Rarum -- Selected Recordings Vol. 13 - PopMatters Music Review
		And now, or at last, we have Surman soprano solo, with Jack de Johnette in duo (1981), ranging from the sustained swinging squawk to terribly English but bringing in a lot of different noises, from which the sticking of a pig isn't necessarily absent.
		It was with Carney that Surman was compared when he appeared as a baby baritone virtuoso, and there are indeed some respects in which hardly anybody else matches that master.
		But I have to say that not everything in which John Surman is a master has equal appeal for me. He doesn't consistently avoid a certain slickness, and to some extent it can seem that when he is doing most, the tendency to fall into too exclusively virtuoso considerations becomes a shade too powerful.
	www.popmatters.com /music/reviews/s/surmanjohn-rarum13.shtml (1550 words)

	* Dusted Reviews - John Surman *
		Commotion surrounding Surman’s departure to Belgium (for what would become a creative and lucrative trio with bassist Barre Phillips and drummer Stu Martin) and a subsequent studio closing contributed to the tapes’ entombment.
		John Marshall’s muscular, if largely monochromatic, drums stick mainly to the task of fencing rhythmic boundaries with snare-stamped time keeping.
		Surman sticks to soprano for the first piece, nurturing a simple melodic kernel before spooling out coiled, undulating tonal ribbons that snake across a spacey modal backdrop.
	www.dustedmagazine.com /reviews/2197 (595 words)

	John Surman \| Way Back When (Site not responding. Last check: 2007-10-09)
		Most listeners know John Surman for his spacious baritone and soprano saxophone work on around thirty ECM releases, dating back to his appearance on Barre Phillips' Mountainscapes (1976) and his own label debut, Upon Reflection (1979).
		Surman's saxophone playing tends to be open, articulate, and lyrical, and he's usually at his strongest in acoustic settings.
		Surman describes the studio event as a “farewell jam session” with friends, and that's what it sounds like.
	www.allaboutjazz.com /php/article.php?id=17878 (397 words)

	John Surman \| Free and Equal (Site not responding. Last check: 2007-10-09)
		Back in 1948, when John Surman was only four years old, the United Nations announced the Universal Declaration of Human Rights - which, among other things, proclaimed all humans to be “free and equal.” Surman takes this document and this idea as inspiration for his new collaboration with Jack DeJohnette and the ten-piece London Brass.
		Surman is the unequivocal leader here, enlightened in his own signature off-center fashion.
		Like other collaborations between saxophonist Surman and drummer DeJohnette - who have been close for over 30 years - this body of work is designed to amplify their respective strengths.
	www.allaboutjazz.com /php/article.php?id=11674 (554 words)

	John Surman: Free and Equal
		There’s further blurring, as always with Surman, of the line between composition and improvisation.
		Surman is influenced not only by jazz and chamber music, but, like his labelmate Jan Gabarek, by folk music.
		Over the course of three albums together in the past twenty years Surman and DeJohnette have proven to be an interesting and ever-evolving improvisational duo.
	www.jazzitude.com /surman_freequal.htm (591 words)

	John Surman Discography
		John Surman, baritone saxophone on 1, soprano saxophone on 3; Eddie Louiss, organ on 1, 3, 4, piano and marimba on 2; Niels-Henning Ørsted Pedersen, bass on 2; Daniel Humair, drums
		Albert Mangelsdorff, trombone; John Surman, baritone saxophone; Eddy Louis, piano on 2, organ on 3; Niels-Henning Ørsted Pedersen, bass on 2; Daniel Humair, drums on 2
		John Surman, baritone and soprano saxophones, bass clarinet, synthesizers
	mysite.verizon.net /vze8f4kf/surman.htm (2843 words)

	John Surman Discography 2
		John Surman, baritone and soprano saxophones, alto and bass clarinets; John Taylor, piano
		John Surman, baritone and soprano saxophones, alto and bass clarinets; John Taylor, piano; Chris Laurence, bass; John Marshall, drums
		John Surman, baritone and soprano saxophones, bass clarinet; John Taylor, organ; Salisbury Festival Chorus, conducted by Howard Moody
	home1.gte.net /vze8f4kf/surman2.htm (1357 words)

	John Surman Discography
		Decca Eclipse ECS 2144 1968/69 John McLaughlin: Extrapolation.
		Acanta CC 23097) John Warren/John Surman: Tales of the Algonquin.
		ECM 1553 1994 John Surman: A biography of the Rev. Absalom Dawe.
	www.geocities.com /BourbonStreet/Quarter/7055/Surman (1632 words)

	Jazz Bulletin Board - John Surman 4 part radio series on the BBC
		His late 70s 'On Loan with Gratitude' with John Taylor, Ron Mathewson and Tony Levin is one of those MIA recordings crying out for reissue.
		The second part of the Surman series was very interesting - mainly surrounding the life (and bitter death!) of The Trio, with extensive commentary from Barre Phillips.
		Surman comes across as a great guy (indeed, in live performance his stage manner is very affable).
	forums.allaboutjazz.com /printthread.php?t=5727 (513 words)

	John Surman : Road to Saint Ives - Listen, Review and Buy at ARTISTdirect
		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.
		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.
	www.artistdirect.com /store/artist/album/0,,171306,00.html (372 words)

	Jazz Bulletin Board - John Surman Unissued Sessions
		August 29th, 2004 02:11 AM I e-mailed a guy in Germany who's John Surman disco is on the web - he said that he had heard of this in the early 1970's as a white label recording (test pressing) but knew no other details.
		But its very subtle and atypical of Surman so if you are a JS fanatic then yes it is worth it.
		Other Karin Krog albums that John Surman produced (but does not play on) are 'Something borrowed, something new' on the Meantime label and the recent 'Where you at' (on enja, with the trio of her old companion Steve Kuhn).
	forums.allaboutjazz.com /printthread.php?t=5752 (1098 words)

	Articles - ECM (record label) (Site not responding. Last check: 2007-10-09)
		ECM is best known for jazz music, but has released a wide variety of recordings, the artists associated with it often refusing to acknowledge boundaries between genres.
		Many of the label's early recordings shared a certain common esthetic framework, including a crisply nuanced recording sound, repetoire consisting mostly of original compositions by the artists, most of which did not "swing" in the conventional sense, and often stark and minimalist photographic cover art.
		John Potter of the Hilliard Ensemble has recorded works by John Dowland with jazz saxophonist John Surman and others, and Surman's Proverbs and Songs is a suite of choral settings of Old Testament texts, recorded in Salisbury Cathedral.
	www.zforever.com /articles/ECM_(record_label) (539 words)

	Junkmedia: John Surman : Way Back When (Site not responding. Last check: 2007-10-09)
		Although Surman and Davis had a mutual acquaintance in John McLaughlin, Surman never played with Miles.
		Not so much a chicken and egg argument as an indication of the amount of influence artists tend to have on one another, Way Back When is an exemplary pre-fusion document, rugged and impassioned in a way that later crossover attempts lacked.
		Surman's burly baritone work has outre tendencies that Davis would never have entertained.
	www.junkmedia.org /?i=1550 (429 words)

	John Surman News (Site not responding. Last check: 2007-10-09)
		News about John Surman continually updated from thousands of sources around the net.
		You could make a case for John Surman as England's Wayne Shorter, an enigmatic figure who's spent too much time since the late '60s shrouded in synthesized murk.
		ECM Though John Surman and Jack DeJohnette have a long, multifaceted shared history, it is overshadowed by the 1981 ECM album The Amazing Adventures of...
	www.topix.net /who/john-surman (177 words)

	Invisible Nature by John Surman CD (Site not responding. Last check: 2007-10-09)
		On their own, John Surman and Jack DeJohnette have both established long, storied careers as painterly musicians with expansive natures and an eye towards creating musical space.
		Much of the album is simply Surman improvising on sax or clarinet over DeJohnette's highly textured drumming, making the most of the spaces between the notes.
		Both Surman and DeJohnette know their way around electronics, though, and they often leave the acoustic world behind to explore more atmospheric modes through the use of gentle, moody synthesizers and electronic percussion that gives DeJohnette a wealth of tones at his fingertips.
	www.cduniverse.com /search/xx/music/pid/2898282/a/Invisible+Nature.htm (412 words)

	John Surman - Free Music Downloads, Videos, CDs, MP3s, Bio, Merchandise and Links
		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.
		One of England's top jazz players of the past several decades, Surman is particularly strong on the baritone.
		He also collaborated with the Carolyn Carlson dance company at the Paris Opera through the mid- and late '70s.
	www.artistdirect.com /nad/music/artist/bio/0,,499001,00.html (432 words)

	Amazon.com: Free and Equal [LIVE]: Music (Site not responding. Last check: 2007-10-09)
		John Surman (Performer), John Surman (Composer), Jack DeJohnette (Performer), London Brass (Performer)
		Invisible Nature [Live] ~ John Surman & Jack DeJohnette
		As usual with John Surman: "A Must", September 22, 2004
	www.amazon.com /exec/obidos/tg/detail/-/B00007L9PU?v=glance (415 words)

	Jazzcorner's Speakeasy - Top 10 1970s Jazz Artists
		Over the next few years Osborne was an important constituent of several fine bands, including the Michael Gibbs Band, Chris McGregor's Brotherhood Of Breath, Harry Miller's Isipingo and the group, ranging from a quartet to an octet, that he co-led with John Surman during 1968 and 1969.
		His relatively small recorded oeuvre does show the range of his playing, from deeply moving but unsentimental ballad interpretations with Westbrook to scorchingly intense free explorations with Isipingo or the trio.
		-John Surman (same as Garbarek, although some of his great work was done in the 60's, and I think he maintained a higher level of musicianship afterwards...).
	jazzcornertalk.com /speakeasy/showthread.php?p=382482 (1336 words)

	Canadian Jazz Musicians - canadajazz.com
		Tim Brady composer/guitarist has worked with Gil Evans, John Surman, Kenny Wheeler, etc.
		Eastwind Vancouver-based neo-bop quintet includes: Henry Boudin, saxes; Alan Penfold, brass; George McFetridge, piano; John Toulson, bass; Tom Foster, drums.
		John Korsrud Vancouver trumpet, leader Hard Rubber Orchestra
	canadajazz.com /artists.php (1671 words)

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