Paul Bley Sankt Gerold Variations Mp3, Flac, Wma

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Paul Bley Sankt Gerold Variations mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Sankt Gerold Variations Country: Germany Released: 2000 Style: Free Jazz, Contemporary Jazz MP3 version RAR size: 1310 mb FLAC version RAR size: 1251 mb WMA version RAR size: 1106 mb Rating: 4.1 Votes: 989 Other Formats: AC3 FLAC AHX AUD VOC XM ASF Tracklist Hide Credits Variation 1 1 10:18 Written-By – Phillips*, Parker*, Bley* Variation 2 2 7:12 Written-By – Phillips*, Parker*, Bley* Variation 3 3 2:56 Written-By – Phillips* Variation 4 4 1:59 Written-By – Parker* Variation 5 5 6:20 Written-By – Phillips*, Parker*, Bley* Variation 6 6 3:56 Written-By – Bley* Variation 7 7 7:13 Written-By – Phillips* Variation 8 8 8:14 Written-By – Phillips*, Parker*, Bley* Variation 9 9 7:03 Written-By – Bley* Variation 10 10 5:22 Written-By – Parker* Variation 11 11 4:49 Written-By – Phillips*, Parker*, Bley* Variation 12 12 1:29 Written-By – Parker* Companies, etc. Phonographic Copyright (p) – ECM Records GmbH Copyright (c) – ECM Records GmbH Made By – Universal M & L, Germany – 51044887 Recorded At – Propstei St. Gerold Credits Design – Max Franosch Double Bass – Barre Phillips Engineer – Jan Erik Kongshaug Photography By – Dieter Rehm Piano – Paul Bley Producer – Manfred Eicher, Steve Lake Soprano Saxophone, Tenor Saxophone – Evan Parker Notes Recorded live, April 1996 at the Monastery of Sankt Gerold. An ECM Production ℗ 2000 ECM Records GmbH © 2000 ECM Records GmbH Printed in Germany Barcode and Other Identifiers Barcode: 6 01215 78992 8 Matrix / Runout (Variant 1): 06012 157 189-2 01 # 51044887 Matrix / Runout (Variant 2): 06012 157 899-2 01 # 51044887 Matrix / Runout (Inner ring): MADE IN GERMANY BY UNIVERSAL M & L A Mastering SID Code: none Rights Society: GEMA Label Code: LC 02516 SPARS Code: DDD Other versions Category Artist Title (Format) Label Category Country Year Paul Bley / Evan Parker Paul Bley / ECM ECM 1609, / Barre Phillips - Sankt ECM 1609, Evan Parker / Records, US 2000 012157 899-2 Gerold Variations (CD, 012157 899-2 Barre Phillips ECM Records Album) Related Music albums to Sankt Gerold Variations by Paul Bley Haydn Dickenson - East Artist Name Variation - Sweet Music Max Reger, Mark Latimer - Variations and Fugue on a theme of J.S. Bach, op. 81/ Variations and Fugue on theme of G.P. Telemann, op. 134 Eva Nordenfelt, Johann Sebastian Bach - Goldberg Variations Artist Name Variation - U Get Down Artist Name Variation - Sablier Artist Name Variation - The Best of Jacqueline Carrière et Jean-Pierre Carrière / Johannes Brahms - Oeuvres Pour 2 Pianos Et 4 Mains Paul Bley Trio - Paul Bley Trio Artist Name Variation - LAUTA.

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Peter Johnston 2011
The London School Of Improvised Economics - Peter Johnston 2011 This excerpt from my dissertation was included in the reader for the course MUS 211: Music Cultures of the City at Ryerson University. Introduction The following reading is a reduction of a chapter from my dissertation, which is titled Fields of Production and Streams of Conscious: Negotiating the Musical and Social Practices of Improvised Music in London, England. The object of my research for this work was a group of musicians living in London who self-identified as improvisers, and who are part of a distinct music scene that emerged in the mid-1960s based on the idea of free improvisation. Most of this research was conducted between Sept 2006 and June 2007, during which time I lived in London and conducted interviews with both older individuals who were involved in the creation of this scene, and with younger improvisers who are building on the formative work of the previous generation. This chapter addresses the practical aspects of how improvised music is produced in London, and follows a more theoretical analysis in the previous chapters of why the music sounds like it does. Before moving on to the main content, it will be helpful to give a brief explanation of two of the key terms that occur throughout this chapter: “free improvisation” and the “improvised music field.” “Free improvisation” refers to the creation of musical performances without any pre- determined materials, such as form, tonality, melody, or rhythmic feel. This practice emerged out of developments in jazz in the late 1950s and early 1960s, particularly in the work of Ornette Coleman and Cecil Taylor, who began performing music without using the song-forms, harmonic progressions, and steady rhythms that characterized jazz until that time.
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The New York City Jazz Record
BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 THE NEW YORK CITY JAZZ RECORD BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 BEST OF 2020 MUSICIANS OF THE YEAR ALBUMS OF THE YEAR MISCELLANEOUS CATEGORIES OF THE YEAR LAKECIA BENJAMIN (saxophone) JUHANI AALTONEN, JONAS KULLHAMMAR, JUHANI AALTONEN, JONAS KULLHAMMAR, TIM BERNE (saxophone) CHRISTIAN MEAAS SVENDSEN, CHRISTIAN MEAAS SVENDSEN, SOLO RECORDINGS BOXED SETS UNEARTHED GEMS ILMARI HEIKINHEIMO— ILMARI HEIKINHEIMO— MATS GUSTAFSSON (saxophone) CHRIS CORSANO—Mezzaluna (Catalytic Sound) PAUL DESMOND—The Complete 1975 Toronto Recordings ART BLAKEY & THE JAZZ MESSENGERS— The Father, the Sons & The Junnu (Moserobie) The Father, the Sons & The Junnu (Moserobie) (Mosaic) Just Coolin’ (Blue Note) JAMES BRANDON LEWIS (saxophone) SIGURD HOLE—Lys / Mørke ( Light / Darkness ) (s/r) DANIEL BINGERT—Berit in Space (Moserobie) PETER EVANS—Into the Silence (More is More-Old Heaven) HERMIONE JOHNSON—Tremble (Relative Pitch) CHARLES LLOYD—8: Kindred Spirits (Live From the Lobero) ELLA FITZGERALD—The Lost Berlin Tapes (Verve) CHARLES LLOYD (saxophone) (Blue Note) LUCA T. MAI—Heavenly Guide (Trost) LONDON JAZZ COMPOSERS ORCHESTRA— COLLOCUTOR—Continuation (On The Corner) FIRE! ORCHESTRA—Actions (Rune Grammofon) MODERN JAZZ QUINTET KARLSRUHE/ That Time (Not Two) MATTHEW SHIPP—The Piano Equation (Tao Forms) FOUR MEN ONLY—Complete Recordings (NoBusiness) CHARLES MINGUS—@ Bremen 1964 & 1975 (Sunnyside) ANDREA KELLER—Journey Home (s/r) DAVID KRAKAUER/KATHLEEN TAGG— UP-AND-COMERS OF THE YEAR CHARLIE PARKER—The Mercury & Clef 10-Inch LP ALAN WAKEMAN—The Octet Broadcasts (1969 and 1979) Breath & Hammer (Table Pounding) Collection (Verve) EMMET COHEN (piano) JON-ERIK KELLSO—Sweet Fruits Salty Roots (Jazzology) LATIN RELEASES (Gearbox) CHARLES LLOYD VARIOUS ARTISTS—Not Two..
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Barre Phillips (Bass) Album Title (Format): Arcus (Cd) Label (Country) (Catalog Number): Maya Recordings (UK) (MCD9101) Release Date: 1991 Duration: 6:56
Barre Phillips American bassist (October 27, 1934—) Track listing 1. title: Sundance personnel: Barre Phillips (bass) album title (format): Arcus (cd) label (country) (catalog number): Maya Recordings (UK) (MCD9101) release date: 1991 duration: 6:56 1 2. title: p.s.-Te Queremos personnel: Barre Phillips (bass), Joëlle Léander (bass), William Parker (bass), Tetsu Saitoh (bass) album title (format): After You Gone – A Memorial Concert for Peter Kowald (cd) label (country) (catalog number): Les Disques Victo (Canada) (VICTO cd 091) release date: 2004 duration: 6:40 3. title: Don’t Save personnel: Barre Phillips (bass), Derek Bailey (guitar) album title (format): Figuring (cd) label (country) (catalog number): Incus Records (UK) (CD 05) release date: 1990 duration: 10:10 4. title: Key Finder personnel: Barre Phillips (bass, voice), Keiji Haino (guitar, voice) album title (format): Etching in the Air (cd) label (country) (catalog number): PSF Records (Japan) (PSFD 74) release date: 1996 duration: 3:11 5. title: Death of Rationalism personnel: Barre Phillips (bass), Keiji Haino (guitar), Sabu Toyozumi (percussion) album title (format): Two Strings Will Do It (cd) label (country) (catalog number): PSF Records (Japan) (PSFD 45) release date: 1994 duration: 8:21 6. title: Mountainscapes 1 personnel: Barre Phillips (bass), John Sherman (sax, clarinet, synthesizer), Dieter Feichtner (synthesizer), Stu Martin (drums, synthesizer) album title (format): Mountainscapes (cd) label (country) (catalog number): ECM Records (Germany) (ECM 1076) release date: 1976 duration: 5:53 7. title: The Rugged Cross personnel: Barre Phillips (bass), Jacques Demierre (piano), Urs Leimgruber (sax) album title (format): ldp cologne (cd) label (country) (catalog number): psi Records (UK) (psi 05.03) release date: 2005 duration: 12:50 2 8.
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Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne
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Paul Bley Footloose Mp3, Flac, Wma
Paul Bley Footloose mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Footloose Country: France Released: 1969 Style: Free Jazz MP3 version RAR size: 1851 mb FLAC version RAR size: 1832 mb WMA version RAR size: 1749 mb Rating: 4.5 Votes: 434 Other Formats: MP4 AHX MOD FLAC MMF MP1 WAV Tracklist Hide Credits When Will The Blues Leave A1 Written-By – Ornette Coleman A2 Floater A3 Turns A4 Around Again B1 Syndrome B2 Cousins B3 King Korn B4 Vashkar Companies, etc. Licensed From – Savoy Records Printed By – I.D.N. Recorded At – Medallion Studio Credits Bass – Steve Swallow Design – Pierre Bompar Drums – Pete LaRoca* Liner Notes – Philippe Carles Photography By – Giuseppe Pino Piano – Paul Bley Producer [Serie Dirigee Par] – Jean-Louis Ginibre Written-By – Carla Bley (tracks: A2, A4, B1, B3, B4), Paul Bley (tracks: A3, B2) Notes Tracks A1, A2 and A4 recorded at Medallion Studios, Newark, NJ, August 17, 1962. Tracks A3, B1 to B4 recorded at Medallion Studios, Newark, NJ, September 12, 1963. Made in France Barcode and Other Identifiers Matrix / Runout (Side A runout, hand-etched): BYG 529 114 A. Matrix / Runout (Side B runout, hand-etched): BYG 529 114 B Rights Society: BIEM Other versions Category Artist Title (Format) Label Category Country Year MG-12182 Paul Bley Footloose (LP, Album) Savoy Records MG-12182 US 1963 Footloose (CD, Album, CY-78987 Paul Bley Savoy Jazz CY-78987 Japan 1995 RE, RM, Pap) Footloose (CD, Album, COCB-50603 Paul Bley Savoy Jazz COCB-50603 Japan 2001 RE, RM, Pap) Footloose (LP, Album, COJY-9050 Paul Bley Savoy
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Review of Barre Phillips and Motoharu Yoshizawa, Oh My, Those Boys
which issued a string of quality recordings in the ‘90s dialogue between saxophone and trumpet, in stop- and returned in more recent years, notably for a series time, provides the envoi to this album. Backing the of co-productions with Universal Japan in 2015 titled co-leaders is a muscular, hard-driving rhythm section “Free Jazz Japan in Zepp”. Lately, Chap Chap has been anchored by drummer Billy Drummond, who worked collaborating with NoBusiness, helping to cement the with Nat Adderley, bassist Nat Reeves and pianist Lithuanian label as a premier destination for archival David Hazeltine. avant garde material. Along with “Work Song”, this quintet also essays Oh My, Those Boys! adds to an early Chap Chap Cannonball’s “Sack O’Woe”, another soul jazz down- CD, Motaharu Yoshizawa’s Live “Okidoki”, which home classic with a fat backbeat, notable here for Pelt’s Laid Black contained 40 minutes of the bass duet with Barre driving solo and Hazeltine’s interaction with Marcus Miller (Blue Note) Phillips featured here, recorded in 1994 at Café Amores Drummond during the pianist’s solo turn. Soul jazz by Anna Steegmann in the Southwest Japan city of Hōfu. The release birthed various rhythms, among them the boogaloo contains two long free improvisations, the first one shuffle. Rather than reprise one of Cannonball’s Laid Black, bassist Marcus Miller’s 23rd album, is as abridged to 30 minutes on the LP version, which would boogaloos, Pelt has written his own, “Party Time”, an laid-back as it gets—the perfect soundtrack for an therefore be recommended only to hardened vinyl original that opens this CD and introduces us to easygoing summer.
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Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
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Le Caribou Sonore Presents: ...A Workshop with Joëlle Léandre
Le Caribou Sonore presents: ...a workshop with Joëlle Léandre When October 7-10, 2011 Where McGill University Faculty of Arts/ICASP Office 3465 Peel St., 3rd Floor Seminar Room Montréal QC AND Sala Rossa 4848 Boulevard Saint-Laurent Montréal QC Purpose This workshop provides a rare opportunity for younger improvisers and musicians to work with one of the most well-established and respected performers in contemporary, experimental and improvised music, Joëlle Léandre. The workshop includes: 1. an informal discussion with Joëlle Léandre and the Improvisation, Community and Social Practice (ICASP) reading group; 2. three days of intensive improvisation workshops with Joëlle Léandre; 3. a communal supper for all participants at Sala Rossa; 4. a final concert at Sala Rossa on Monday October 10th; and 5. a sound recording of the final concert for their personal use. This workshop is open to any interested musicians. Experience in contemporary improvisation is preferred, but not required. An interest and a willingness to explore new musical experiences is of utmost importance. Musicians accepted to the workshop will be expected to attend all Saturday, Sunday and Monday events. To apply, fill out the Le Caribou Sonore: Joëlle Léandre Workshop/Atelier application form and email it to: [email protected]. The workshop is limited to a maximum of 12 participants and all participants must be born on or after January 1, 1976. Acceptance into this workshop is by application only. The deadline for application submissions will be Sunday September 18,, 2011. For any questions, feel free to email: [email protected] Cost • $60.00 CDN/participant, payable by cash or cheque.
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Spring Party
KAMI OCTET Spring party Pascal Charrier composition, direction WITH Émilie Lesbros vocals Leïla Soldevila doublebass Pascal Charrier acoustic & electric guitar Yann Lecollaire clarinet Nicolas Pointard drums Paul Wacrenier piano Julien Soro alto saxophone Léo Pellet trombone www.nainoprod.com KAMI OCTET 1 Like a pilgrimage or a journey of initiation, new album SPRING PARTY’s music leads us into a voyager’s inner universe of imaginary landscapes. Combining written and improvised forms, KAMI OCTET’s repertory transports us to within the depths of intimate climes where voices merge and blend their timbres, re-emerging on a wave of primeval energy born of sensual rhythmics. High-flying improvisations spring out of moments of orchestral power and fragments of poetry recited over chamber music like a fine, suspended thread. Kami Octet’s music follows in the footsteps of the great Jazz and Free Music orchestras. LA MARCHE / THE WALK SPRING PARTY Tonight the moon didn’t look at me My feet as if I was a stranger didn’t lie Chiaroscuro to me LA MARCHE was dividing my soul between beginning and end My desires Cette nuit la lune and fears I suddenly found myself ne me regardait were still pas comme un étranger speaking in front of the “dogtree” to them Yet I thought I was driving Un clair obscur divisait mon âme I was everything on subterranean roads like a huge snake entre le début et la fin moving in the sand Je me trouvais soudain devant l’arbre chien LA MARCHE 2 / THE WALK 2 Il m’avait pourtant semblé naviguer par des voies souterraines The animal came in front of me then came inside me Immense serpent naviguant dans le sable He became my memory My wounds started to sing They were calling the water But it was gone KAMI OCTET 2 Kami Quintet has transformed into an ensemble of eight musicians to mark its ten years of existence roaming the jazz scenes of France and abroad.
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LINDA MAY HAN OH, the DOUBLE BASS, and ME by Ian Muldoon* ______
LINDA MAY HAN OH, THE DOUBLE BASS, AND ME by Ian Muldoon* _______________________________________________________ t was around 1990 that Lloyd Swanton’s double bass playing got me, a confirmed atheist, going back to “church”. The recital was at a little Chapel, of sandstone I and beauty, on the grounds of Sydney University organised by the indomitable Peter Rechniewski whose name was enough to get me to part with some of my hard earned cash in a performance by a band I’d never heard of called The Necks. The indomitable Peter Rechniewski: his tastes and Ian Muldoon’s seemed to be in perfect synchronicity… Rechniewski’s name was enough for me because his tastes and mine seemed to be in perfect synchronicity. Through his efforts over many years I was introduced to some outstanding music and groups, and the programme he organised always seemed great value for money. _________________________________________________________ *Ian Muldoon has been a jazz enthusiast since, as a child, he heard his aunt play Fats Waller and Duke Ellington on the household piano. At around ten years of age he was given a windup record player and a modest supply of steel needles, on which he played his record collection, consisting of two 78s, one featuring Dizzy Gillespie and the other Fats Waller. He listened to Eric Child’s ABC radio programs in the 1950s and has been a prolific jazz records collector wherever he lived in the world, including Sydney, Kowloon, Winnipeg, New York and Melbourne. He has been a jazz broadcaster on a number of community radio stations in various cities, and now lives in Coffs Harbour.
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PHILLIPS End to BEGINNING
MAY 2019—ISSUE 205 YOUR FREE guide TO tHe NYC JAZZ sCENE NYCJAZZRECORD.COM BARRE PHILLIPS END TO BEGINNING janis simon mulatu danny siegel nabatov astatke barker Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2019—ISSUE 205 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@nigHt 4 Laurence Donohue-Greene: interview : janis siegel 6 by jim motavalli [email protected] Andrey Henkin: artist Feature : simon nabatov 7 by john sharpe [email protected] General Inquiries: on The Cover : barre pHillips 8 by andrey henkin [email protected] Advertising: enCore : mulatu astatke 10 by mike cobb [email protected] Calendar: lest we Forget : danny barker 10 by john pietaro [email protected] VOXNews: LAbel spotligHt : pfMENTUM 11 by robert bush [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] Cd reviews 14 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, misCellany 33 Marco Cangiano, Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, event Calendar Tom Greenland, George Grella, 34 Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Mark Keresman, Marilyn Lester, Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Contributing Writers Mike Cobb, Pierre Crépon, George Kanzler, Steven Loewy, Franz Matzner, If jazz is inherently, wonderfully, about uncertainty, about where that next note is going to Annie Murnighan, Eric Wendell come from and how it will interact with all that happening around it, the same can be said for a career in jazz.
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John Surman Brewster’S Rooster
ECM John Surman Brewster’s Rooster John Surman: baritone and soprano saxophones; John Abercrombie: guitar; Drew Gress: double-bass; Jack DeJohnette: drums ECM 2046 06025 270 1112 (7) Release: June 2009 After many adventures through the genres, a jazz album. The wide range of John Surman’s musical interests has, in the last several years seen him in contexts ranging from early music with John Potter’s Dowland Project to Arab modes with Anouar Brahem, while his own albums have included encounters with church organ (“Rain on the Window”), strings (“The Spaces in Between”), classical brass ensemble (“Free and Equal”), and choir (“Proverbs and Songs”). “Brewster’s Rooster”, however, is in another tradition. For long-time Surman listeners it will likely bring to mind earlier meetings with his extraordinarily mobile baritone and fleet soprano – on his own “Stranger Than Fiction” or “Adventure Playground” albums, perhaps, or on Mick Goodrick’s “In Pas(s)ing” (a disc that also featured Jack DeJohnette’s drums), or with The Trio on Barre Phillips’s Mountainscapes” (which also included a guest role for John Abercrombie). “Brewster’s Rooster” draws upon much shared musical experience. Abercrombie and DeJohnette have also played together often since the early 70s, the former a member of several of the latter’s bands. Guitarist and drummer also played on sessions for ECM artists from Collin Walcott to Kenny Wheeler, and comprised two-thirds of the powerful Gateway trio. John Surman and Jack DeJohnette, meanwhile, have collaborated intermittently for more than 40 years, first meeting at a jam session at Ronnie Scott’s Jazz Club in 1968 when Jack was in London with Bill Evans.
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