Tag Archive: John Surman


In 2011, the venerable Cuneiform label released Flashpoint: NDR Jazz Workshop April ’69, an audio and video document of John Surman‘s live ten-piece jazz orchestra delivering five hard original tracks that reveal his canny depth and diversity as a young composer, arranger, and bandleader. The saxophonist was busy throughout 1969: He’d just completed recording his second album, How Many Clouds Can You See (released in 1970) and played on 11 additional albums in 1969, including John McLaughlin’s Extrapolation.
2025’s Flashpoints and Undercurrents amounts to a historic document. It contains the five selections from the 2011 release — here, all are extended takes — and replaces the video with a second audio disc from the same sessions that…

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Lucian Ban and Mat Maneri have been playing Transylvanian-tinged music together for 15 years, the last half-decade with reeds master John Surman. The trio’s latest release, Cantica Profana – as well as a companion album, The Athenaeum Concert – shows the three improvisors at the top of their form. The collaboration began with 2020’s Transylvanian Folk Songs, a set of tunes based on field research of Bela Bartók. Bartók’s recordings include thousands of melodies, which Ban and Maneri whittled down to just a handful. Most of the ones they chose were originally played by violin, flute, and bagpipes, an orchestration not impossibly distant from the contemporary group’s combination of viola, saxophone/clarinet, and piano.

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There’s an ineffable sense of mystery to this collection of previously unreleased material from saxophonist John Surman and vocalist Karin Krog. Recorded over three days in 2013, abandoned when the theatre project it was commissioned for never came to fruition, and finally unearthed by Trunk Records, Electric Element sees the duo (along with Surman’s son Ben) abandon traditional jazz entirely in favour of a set of wonderfully weird vocal and electronic experiments.
Over nine tracks – five substantial compositions and four brief interstitials, which mainly act as codas to the longer pieces – Surman shirks his sax in favour of wind synth, bass and contrabass clarinet, plus various effects units. Krog, for her part, shrieks, growls, mutters, and…

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