| | John Surman Invisible Nature CD John Surman Discography of CDs
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Recorded live at the Tampere Jazz Happening, Tampere, Finland and Jazz Fest Berlin, Berlin, Germany in November 2000. Includes liner notes by John Surman.
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. Together, in the live duo performances captured on INVISIBLE NATURE, they increase their impact by scaling back their sound. 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. Whether working up a free-jazz firestorm or creating delicate, evocative moods, Surman and DeJohnette are locked into each other's playing, coming together to form a single, extremely expressive, musical mind.
Engineers include: Ralf Siren, Ekkehard Stoffregen, Steve Lowe.
Personnel: John Surman (bass clarinet, soprano saxophone, baritone saxophone, synthesizer); Jack DeJohnette (piano, drums, electronic percussion).
Liner Note Author: John Surman.
Recording information: JazzFest, Berlin, Germany (11/2000); Tampere Jazz Happening (11/2000).
Photographers: W. Patrick Hinely; Jan Jedlicka.
Personnel: John Surman (soprano saxophone, baritone saxophone, bass clarinet, synthesizer); Jack DeJohnette (piano, drums, electronic percussion).
Producers include: Steve Lake, John Surman, Veli-Pekka Heinonen, Ulf Drechsel.
Down Beat (May 2002, p.55) - 4 out of 5 stars - "...Surman and DeJohnette...play more centered and grounded, touching the earth as their linear and kinetic interplay mirrors variants on folky/jazzy melodic kernals..."
JazzTimes (5/02, pp.136-7) - "...An engaging album that bears up to repeated plays..." Invisible Nature Music | List Price | $30.99 (You save $5.40) | | Category | Rock/Pop Albums, Jazz Instrument CDs, Live Performances, Reed, Jazz | | Label | ECM | | Orig Year | 2002 | | All Time Sales Rank |  116004  | | CD Universe Part number | 2898282 | | Catalog number | 016376 | | Discs | 1 | | Release Date | Feb 26, 2002 | | Studio/Live | Live | | Mono/Stereo | Stereo | | Personnel | Jack DeJohnette - piano, drums, electronic percussion
John Surman - bass clarinet, soprano saxophone, baritone saxophone, synthesizer
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John Surman Invisible Nature Songs Invisible Nature Review
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These songs are my humble attempt to play the studio as an instrument, and were recorded between late June and mid September of 2007. They were inspired by all those before me, particularly the producers of the early Dub recordings, Teo and electric Miles, the later Beatles recordings, and so on. There’s also the influence of electronic and experimental music, Hip Hop beats, and the not so humble drum machine!Some of the tracks have an early industrial feel, such as Summon Some Industrial Noise, No Rush, and the beginning of Jam in the Boiler Room. The Beat Market, Jungle Walk, China Cymbals, and Lazy Caravan are more beat oriented, while Distant Trumpets, and Jam in the Boiler Room are free spirited, somewhat like a jam session. Ambient Drums, Rumble, and Distant Trumpets have an ambient feel to them. The album ends with an electronic love song, Mystic Embrace!What all of these tracks have in common are beats, and a touch of noise. The bass frequencies are strong, so you can feel them, as well as hear them. Like all recordings of this nature, watch your ears and your speakers!Track Descriptions1. Ambient Drums starts the album out, with sounds that will swell in your head and vibrate your body!2. The Beat Market, is where there is more than beats for ...
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NOTE TO THE LISTENER:This work was created with the intention that it be listened to in silence. Most of the recorded material is simply inaudible in contexts like driving, washing dishes, dinner parties, or sporting events. However, once one has established a relatively silent environment, ambient noise should then be included as an enjoyable and integral element in the composition. The volume should be adjusted accordingly to strike a harmonious balance between the recording and ones immediate sonic environment, with perhaps a slight emphasis on the volume level of the sound recording. When a suitable volume level has been determined, let it remain at that level for the entire disc.Bret Ellerton has worked in the field of music for many years now in a variety of contexts. His work ranges from experimental and ambient soundscapes, phonography and film soundtracks, to collaborative ensemble ...
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