GIGS: c. 1960 – weekly Jazz Workshop sessions by Mike Westbrook’s Band at the Plymouth Arts Centre; 1962 – Mike Westbrook’s Band at the Plymouth Arts Festival. The line-up of the band at this time is uncertain (and probably fluctuating) but included Mike Westbrook (trumpet), John Surman (baritone) and Keith Rowe (guitar) plus tenor, trombone, piano, bass, drums. Westbrook relocates to London late ’62, followed by Surman and Rowe. Alan Jackson (drums), Lou Gare (tenor) and Mike Osborne (alto) join by Spring 1963. Gigs at The Marquee and the Richmond Community Centre jazz club, and at The Mercury Theatre, Notting Hill. Feb 1965 afternoon concert and evening dance at Dartington Hall. Six concerts in Plymouth before late 1965; weekly sessions at the Royal College of Art and the ICA Gallery in late ’65. By this time the line-up was Mike Westbrook, John Surman (baritone and soprano saxes), Henry Lowther (trumpet), Mike Osborne (alto sax), Lou Gare (tenor sax), Ken McCarthy (piano), Tom Bennellick (French horn, tuba), Malcolm Griffiths (trombone), Keith Rowe (guitar), Lawrence Sheaff (bass) and Alan Jackson (drums). Lowther replaced by Alan Ellis before the end of 1965. A six week club engagement at a club in Looe, Cornwall.

___________________________________________________________________________________________________________________________________________

Mike Westbrook and his Orchestra – Westward Television broadcast

Recorded 4 August 1965, unknown venue, Plymouth

Mike Westbrook; John Surman, baritone and soprano saxophones; Henry Lowther, trumpet; Mike Osborne, alto saxophone; Lou Gare, tenor saxophone; Ken McCarthy, piano; Tom Bennellick, French horn, tuba; Malcolm Griffiths, trombone; Keith Rowe, guitar; Lawrence Sheaff, bass; Alan Jackson, drums

Details unknown unissued

It is not known if a copy of this broadcast survives. It is not catalogued in The South West Film and Television Archive (holders of the Westward Television material), although there is still a considerable backlog of uncatalogued footage.

___________________________________________________________________________________________________________________________________________

John Surman – private lp

Recorded 1 September 1965, Plymouth

John Surman, soprano and baritone saxophones; Mike Westbrook, piano; Ken Foster, bass; Stuart Hutchinson, drums (1); Gordon Clarke, drums (2,3); Penny Weekes, percussion (2)

Blues de Camera (Surman) private pressing

A Night In Tunisia (Gillespie)

The Furore (Surman)

This information comes from a note in Jazz Journal 25/9 (September 1972) by John Voder, which details the album as ‘a private album recorded in Plymouth, September 1, 1956. Probably only 20-30 copies were pressed’. In 1956 Surman was 12, and 1965 or 1966 are surely the correct dates. No copy of this recording is known to exist (although John Surman may have it of course).

___________________________________________________________________________________________________________________________________________

GIGS: 12 February 1966 – Padgate Jazz Festival, Mike Westbrook Big Band, the Keith Rowe Quartet and the John Surman Quartet

___________________________________________________________________________________________________________________________________________

Peter Lemer Quintet – ‘Local Colour’ session

Recorded by Eddie Kramer at KPS Sound Studios, London, April 2nd & 23rd, 1966.

George (Nisar Ahmad) Khan, tenor sax; John Surman, baritone and soprano sax, bass clarinet; Peter Lemer, piano; Tony Reeves, bass; John Stevens, drums.

The stagger (Lemer) 10’25 unissued

Ictus (C. Bley) 8’40

Discharge (group imp.) 3’27

unknown title 3’16

unknown title 4’27

Carmen (Lemer) 7’36

These were preliminary sessions for the album 'Local Colour'. The Quintet recorded a further session on May 22nd, 1966 (& May 5th?) with Jon Hiseman replacing John Stevens on drums and this was the date released on ESP S 1057. These April recordings suffer from distortion in places, particularly affecting the piano, which might explain why the session was rejected.

___________________________________________________________________________________________________________________________________________

Mike Westbrook Sextet - BBC Radio session

Recorded c. May 1966, BBC studios, London. First broadcast in BBC Radio's Light Programme series "Jazz Club", 5th June 1966.

Mike Westbrook, piano; Malcolm Griffiths, trombone; John Surman, baritone sax; Mike Osborne, alto sax; Harry Miller, bass; Alan Jackson, drums

And Don’t Come Back (Westbrook) unissued

Time Remembered (Westbrook)

Marching Song (Westbrook)

___________________________________________________________________________________________________________________________________________

Peter Lemer Quintet – ‘Local Colour’

Recorded May 22 1966, London

George Nisar Ahmad Khan, tenor saxophone; John Surman, baritone and soprano saxophones, bass clarinet; Peter Lemer, piano; Tony Reeves, bass; John Hiseman, drums

Ictus (Carla Bley) 6:52 ESP-Disk 1057 [LP/CD]; Getback [LP/CD]

City (Lemer) 7:38

Flowville (Lemer) 7:30

In The Out (Lemer) 9:20

Carmen (Lemer) 10:35

Enahenado (Lemer) 2:50

Ictus [Take 1 - inc] (Carla Bley) unissued

Ictus [End section – re-takes] (Carla Bley)

Flowville [False start] (Lemer)

Flowville [Take 2 – inc] (Lemer)

Flowville [End section – re-takes 1-2] (Lemer)

Carmen [Take 1] (Lemer)

Carmen [Take 2 – unedited] (Lemer)

In The Out [False start] (Lemer)

In The Out [Take 2] (Lemer)

Unknown Title (Lemer)

___________________________________________________________________________________________________________________________________________

Mike Westbrook Sextet - studio session

Recorded 28 August 1966 at Olympic Sound Studios, London.

Mike Westbrook, piano; Malcolm Griffiths, trombone; Mike Osborne, alto saxophone; John Surman, baritone and soprano saxophones; Harry Miller, double bass; Alan Jackson, drums

Effervescence [Take 1] unissued

Effervescence [Take 2 – false start]

Effervescence [Take 3] 8:55

Trombone In The Basement

Time Remembered [Take 1]

Time Remembered [Take 2]

Time Remembered [Take 3]

Lament

A Three Note Theme

And Don’t Come Back

Marching Song

Ballad [Take 1]

Ballad [Take 2]

Ballad [Take 3]

___________________________________________________________________________________________________________________________________________

John Surman – Mike Osborne Quartet - studio session

Recorded 28 August 1966 at Olympic Sound Studios, London.

Mike Osborne, alto saxophone; John Surman, baritone saxophone; Harry Miller, double bass; Alan Jackson, drums

Harem (Surman)

Several takes and part-takes unissued

___________________________________________________________________________________________________________________________________________

Mike Westbrook Sextet - concert recording

Recorded live in Plymouth, circa 1966?

Mike Westbrook, piano; Malcolm Griffiths, trombone; John Surman, baritone saxophone; Mike Osborne, alto saxophone; Harry Miller? double bass; Alan Jackson, drums

Pow! (Surman) unissued

One Way Split (Osborne)

If I Cared (Westbrook)

Event: i Gathering/ii Ritual/iii Circle Dance (Surman)

Spaces (Westbrook)

Waltz For G (Surman)

Can’t Get It Out Of My Mind (Westbrook)

Lifeline

Unknown Title (Surman)/Up ‘N’ Out (Westbrook)

The Girl From Ipanema (Jobim/de Moraes/Gimbel)

___________________________________________________________________________________________________________________________________________

Cornelius Cardew - BBC Radio broadcast

Recorded April 8 1967, Commonwealth Institute, London. BBC recording broadcast Music Programme June 2nd 1967.

John Tilbury, piano; Zygmunt Krauze, piano; David Bedford, melodica, piano, auto-harp; Robin Page, guitar; Keith Rowe, electric guitar; John Surman, saxophone; Lou Gare, saxophone; John White, trombone; Egon Mayer, violin; Lawrence Sheaff, cello; Eddie Prévost, percussion

Treatise (Cardew) unissued

___________________________________________________________________________________________________________________________________________

Mike Westbrook Concert Band - BBC Radio session

Recorded c. May 1967, BBC Radio studios (London). From Westbrook's suite "Celebration". BBC Radio's Light Programme series "The jazz scene", broadcast 4th June 1967.

Mike Westbrook, piano; Dave Holdsworth, trumpet, flugelhorn; Tom Bennellick, French horn; Dave Perrottet, valve trombone; Malcolm Griffiths, slide trombone; Mike Osborne, alto saxophone; Dave Chambers, tenor saxophone, clarinet; John Warren, alto and baritone saxophone, flute; John Surman, baritone and soprano saxophone, bass clarinet; George Smith, tuba; Harry Miller, bass; Alan Jackson, drums

Parade (Westbrook) unissued

Image (Surman)

A Greeting (Westbrook)

Portrait (Westbrook)

Celebration Blues (Westbrook)

___________________________________________________________________________________________________________________________________________

The Mike Westbrook Concert Band – ‘Celebration’

Recorded July 29 & August 5, 1967, London

Dave Holdsworth, trumpet, flugelhorn; Dave Perrottet, valve trombone; Malcolm Griffiths, trombone; Tom Bennellick, French horn; George Smith, tuba; Mike Osborne, alto saxophone; Bernie Living, alto saxophone, flute; Dave Chambers, tenor saxophone, clarinet; John Surman, baritone and soprano saxophones, bass clarinet; Mike Westbrook, piano; Harry Miller, bass; Alan Jackson, drums

Pastoral (Westbrook) 2:42 Deram SML 1013 (UK) [LP], Deram 844852-2 (UK) [CD]

Awakening (Surman) 6:02

Parade (westbrook) 4:30

Echoes And Heroics (Westbrook) 8:17

A Greeting (Westbrook) 5:43

Image (Surman) 6:38

Dirge (Surman) 4:16

Portrait (Westbrook) 7:33

Full-page advert for this album; Jazz Journal review; ‘Celebration’ on Mike Westbrook’s pages

___________________________________________________________________________________________________________________________________________

Humphrey Lyttelton and his Band - BBC Radio broadcast

Recorded 3 December 1967, broadcast on the BBC Radio 3, "Jazz Scene"

Humphrey Lyttelton, trumpet; Butch Hudson, trumpet; Greg Bowan, trumpet; Bobby Pratt, trumpet; Les Gordon, trumpet; Chris Pyne, trombone; Eddie Harvey, trombone; Mike Smith, trombone; Tony Coe, tenor saxophone; Tony Roberts, saxophone; John Surman, baritone and soprano saxophone; Bob Cornford, piano; Dave Green, bass; Tony Taylor, drums; also featuring Ronnie Baker and John Sands

Caribbean Cabush (Graham) unissued

A Blues Called Blues (Harvey)

Holy Main (Littleton)

Blue Monk (Monk; arr. Gibbs)

Daydream (Strayhorn; arr. Harvey)

St. Louis Blues (Handy)

Caribbean Cabush (Graham)

___________________________________________________________________________________________________________________________________________

Chris McGregor Group - Audience recording

Recorded live December 31, 1967 at Ronnie Scott’s, London

Chris McGregor, piano; Ronnie Beer, tenor sax; Dudu Pukwana, alto sax; Jimmy Phillips, soprano sax; Mike Osborne, alto sax; Mongezi Feza, trumpet; Malcolm Griffiths, trombone; Pat Higgs, trumpet; Mick Collins, trumpet; Chris Pyne, trombone; John Surman, baritone sax; Dave Holland, bass; Alan Jackson, drums

White Lines 5:30 unissued

Travelling Somewhere 6:04

New Year Carnival 10:39

Nick Thethe (Pukwana) 10:41

The Bride (Pukwana) 12:31

___________________________________________________________________________________________________________________________________________

Mike Westbrook Sextet - BBC Radio broadcast

Recorded c. January 1968, BBC studio (London), broadcast on BBC Radio 1 series 'Jazz Club', 31st January 1968

Mike Westbrook, piano; Malcolm Griffiths, trombone; Mike Osborne, alto saxophone; John Surman, baritone saxophone; Harry Miller, bass; Alan Jackson, drums

Twist (Westbrook) unissued

The Search (Westbrook)

If I Cared (Westbrook)

Portrait (Westbrook)

Yugoslavian Dance (Surman)

___________________________________________________________________________________________________________________________________________

GIGS: Mike Westbrook Concert Band – March 1968, Camden Festival, London. Reviewed in Jazz Journal 21/4 (April 1968): “The first London performance of Mike Westbrook’s ‘Marching Song’ took place at the Camden Festival in March. The two-hour work demonstrated just how much Westbrook has established an original technique, and how the Concert Band retains its position at the stylistic centre of a triumvirate of the most exciting young large ultra-modern jazz groups in the country, with the fierce Chris McGregor Big Band at one end and the more academic (but still exciting) Graham Collier Dozen at the other. Baritone and soprano saxophonist John Surman is a member of all three bands, and as well as contributing four of the themes of ‘Marching Song’ provided some of the best solo work of the evening, and was particularly forceful in duet with Mike Osborne. Other good moments came from the two trombonists (updated Ellingtonians with Roswell Rudd-like drive and perfect control in both ranges), Nisar Ahmed Khan (coming on like Booker Ervin during the R&B segment), the fine two bass team, Alan Jackson’s drumming (almost rendering the second drummer redundant), and the flugelhorn of Dave Holdsworth bringing the mood back beautifully to the ‘fifties. The piece itself spanned many moods, pastoral to martial, and reached a brilliant and exhilarating climax with a brass anthem scored against free reeds and rhythm, creating an effect of military band amongst joyous crowds. Personnel: Mike Westbrook (pno); John Surman (bari/sop/bs-clt); Mike Osborne (alt/clt); Bernie Living (alt/flt); Nisar Ahmed Khan (ten/flt); Dave Holdsworth (tpt/fl-g); Mike Collins (tpt); Tom Bennellick (Fr-h); Malcolm Griffiths, Paul Rutherford (tbn); George Smith (tuba); Harry Miller, Dave Holland (bs); Alan Jackson, Dennis Smith (dm).”

___________________________________________________________________________________________________________________________________________

Graham Collier – ‘Workpoints’

recorded live March 1968, Student’s Union Debating Society, Southampton University Spring Arts Festival

Kenny Wheeler, Harry Beckett, Henry Lowther, trumpet, flugelhorn; Chris Smith, Mike Gibbs, John Mumford, trombone; Dave Aaron, alto, tenor and soprano saxophone, flute; Karl Jenkins, baritone and soprano saxophone, oboe, piano; John Surman, baritone and soprano saxophone, bass clarinet, piano; Frank Ricotti, vibraphone, bongos; Graham Collier, bass; John Marshall, drums

Deep Dark Blue Centre (Collier) 18:13 Cuneiform 213/214 [2CD]

The Barley Mow (Collier) 5:45

Workpoints - Part One (Collier) 12:46

Workpoints - Part Two (Collier) 10:14

Workpoints - Part Three (Collier) 11:17

Workpoints - Part Four (Collier) 16:31

First issued in 2005. The second CD in this set features a 1975 sextet concert without Surman.

___________________________________________________________________________________________________________________________________________

GIGS: Graham Collier - 17 March 1968, Purcell Room, Royal Festival Hall, London. Reviewed by Barry McRae in Jazz Journal 21/5 (May 1968): “March 17^th saw the London premiere of ‘Workpoints’, the work written by Graham Collier under a bursary from the Arts Council. In keeping with his musical principles, Collier did not produce a composition in which the parts were regimentally laid down. Instead, he provided an adaptable framework in which the men in his excellent, young band could move freely. Since this has always been his credo it is instructive to look beyond the single piece and examine the entire concert which included three selections of an earlier vintage.

All had a strongly collective flavour and it was difficult to draw the line between Collier’s contribution and the subtle coalescence of his sidemen. In either event, the individuality of Collier’s thematic suggestions offered outstanding launching pads for them. When the musical directions imparted by the leader were discernable with certainty, however, they revealed a genuine talent. The canonic build up by the band from a simple Kenny Wheeler/Dave Aaron unison was beautifully accommodated. A simple modal figure by Collier’s bass was taken up by each section to create contrasting stratas, above which a simple Karl Jenkins oboe solo was set. These were hardly revolutionary in themselves but were devices that were well integrated in the full orchestral panoply.

In contrast there were moments when Collier employed techniques that I have never heard outside his music. One case in point was his use of unison baritones to give a depth to the ensemble that reminded us of the bassist’s own instrument. The tonal quality of his trombone writing was also highly original, although in performance the trombone choir was occasionally rather stiff – a somewhat understandable state of affairs in view of the band’s lack of permanency as a unit.

Where Collier’s music really scores is in his realisation that the modern approach to jazz writing demands that ample space be left for individual expression. He was aided at this Purcell Room concert by some outstanding solo contributions. Kenny Wheeler’s exciting and highly professional trumpet, Harold Becket’s lyrical flugelhorn and John Mumford’s brassy and extrovert trombone were very prominent. John Surman was the outstanding voice and, as one of the most expressive players in Europe, was well suited to the atmosphere of the group. A new name to me was Frank Ricotti, a youthful and adventurous vibes discovery, who more than compensated for the occasional inaccuracy with a drive and fervour that will surely establish him as an important new voice.

One can only hope that the Arts Council authorities appreciate the extent of Collier’s success. With ‘Workpoints’, he was as much a musical ‘director’ as he was a composer. His writing avoided the stultifying effect that would have accrued from a more formal approach and the result was jazz that must have been as stimulating to play as it most certainly was to hear.”

___________________________________________________________________________________________________________________________________________

John Surman/Russ Henderson’s Calypso Jazz - BBC Radio Broadcast

Recording date unknown; broadcast on BBC Radio 1’s 'Jazz club', April 1968

Personnel unknown, but include John Surman, baritone saxophone; Russel Henderson, piano

Unknown track listing including:

My Pussin’ (Roberts) unissued

___________________________________________________________________________________________________________________________________________

Mike Westbrook Sextet - BBC Radio broadcast

Recording date unknown; broadcast on BBC Radio 1’s ‘Jazz Club’ on June 5th 1968

Mike Westbrook, piano; Malcolm Griffiths, trombone; Mike Osborne, alto saxophone; John Surman, baritone saxophone; Harry Miller, double bass; Alan Jackson, drums

Spaces (Westbrook) unissued

One Way Split (Osborne)

Gee Baby, Ain’t I Good To You (Redman)

Flashpoint (Surman)

___________________________________________________________________________________________________________________________________________

Mike Westbrook Sextet - Radio broadcast

Recorded live at the Montreux Jazz Festival, June 15, 1968

Mike Westbrook, piano, Malcolm Griffiths, trombone; John Surman, baritone sax; Mike Osborne, alto sax; Harry Miller, bass; Alan Jackson, drums

Out and About (Surman) 10:27 unissued

The Girl From Ipanema (Jobim/de Moraes/Gimbel)/? 11:28

Unknown 8:24

Forever And A Day? (Westbrook) 7:08

The Lamplighter? (Surman) 8:02

___________________________________________________________________________________________________________________________________________

GIGS: Russ Henderson Steel Band/John Surman – 21 July 1968, Queen’s Square, Crawley According to the sleeve note of the expanded CD issue of ‘Ronnie Scott & The Band Live At Ronnie Scott’s’ The Band began rehearsals on Monday, 5 August 1968.

___________________________________________________________________________________________________________________________________________

The Mike Westbrook Concert Band – ‘Release’

recorded August 7 & 9, 1968, London

Dave Holdsworth, trumpet, flugelhorn; Malcolm Griffiths, Paul Rutherford, trombone; Mike Osborne, Bernie Living, alto saxophone; Nisar Ahmad Khan, tenor saxophone; John Surman, baritone saxophone; Mike Westbrook, piano; Harry Miller, bass; Alan Jackson, drums

The Few (I) (Westbrook) 4:51 Deram SML 1031 (UK) [LP], Deram 844851-2 (UK) [CD]

Lover Man (Davis/Ramirez/Sherman) 1:10

For Ever And A Day (Westbrook) 2:45

We Salute You! (Westbrook) 0:54

The Few (II) (Westbrook) 1:49

Folk Song (I) (Westbrook) 3:04

Flying Home (Goodman/Hampton/Robin) 4:19

Sugar (Mitchell/Alexander/Pinkard) 2:22

A Life of Its Own (Westbrook) 3:38

Take Me Back (I) (Westbrook) 3:19

Rosie (Westbrook) 6:47

Who's Who (Westbrook) 2:57

Gee Baby, Ain't I Good To You (Redman/Razaf) 1:13

Can't Get It Out Of My Mind (Westbrook) 4:20

The Girl From Ipanema (Jobim/de Moraes/Gimbel) 2:57

Folk Song (II) (Westbrook) 2:19

Take Me Back (II) (Westbrook) 1:05

Jazz Journal review; a contemporary advert for this album. In Jazz Journal 22/5 (May 1969), Steve Voce wrote: “One of the most shattering experiences in what has been perhaps a well-shattered life in jazz occurred some years ago. The location, rather prosaically, was the Padgate Teacher-Training College and, equally prosaically, the event was an afternoon jazz concert to be given by a band made up of teenagers. I had never heard of them before and assumed with ignorant condescension that they would be inept and terrible. The case proved to be quite the reverse, and I was so shaken by the prodigious talents of the young men concerned that even the dozen or so pre-breathalizer pints that I hastily shifted afterwards didn’t restore my equilibrium. During the evening the band played for dancing and stormed with prodigious drive through a number of swing era standards.

That the band concerned can still produce and indeed amplify the best swinging from the earlier days is proved in Mike Westbrook’s latest LP, where Flying Home, for instance, is played with an intensity that makes the Hampton versions sound like teatime with Donald Peers.

The Westbrook band which, since days before that Padgate concert, has always had a remarkable team of soloists and arrangers, was perhaps the first of a powerful English movement now headed by various bands led by Mike Gibbs, Graham Collier, Neil Ardley, John Surman and of course Westbrook himself. The movement has also brought to light equally creative young men like Michael Garrick and guitarist Louis Stewart. It is gratifying to see a musical fusion taking place also between these younger men and some of the more established people like Ronnie Scott, Humphrey Lyttelton and Tubby Hayes.”

___________________________________________________________________________________________________________________________________________

Alexis Korner Blues Incorporated - BBC Radio session

recorded August 8 1968, Maida Vale Studio 5, London; broadcast on BBC Radio 1 Jazz Club

Alexis Korner, guitar, voice; Chris Pyne, trombone; John Surman, baritone saxophone; Dave Holland, bass

Unknown tracklisting including:

I Wonder Who (Doyle) 4:37 Bootleg Him! RAK SP 51 [2LP], Castle Music ESMCD 806 (UK) [CD]

Dee (Korner) 3:47

___________________________________________________________________________________________________________________________________________

GIGS: Mike Westbrook Band – 10 August 1968, 8^th National Jazz & Blues Festival, Kempton Park Racecourse, Sunbury-on-Thames. Reviewed by Dave Illingworth in Jazz Journal 21/9 (September 1968): “The Saturday afternoon programme was devoted to jazz, with the Mike Westbrook Band opening up with an abbreviated version of a suite entitled ‘Release’. This was a dig at pop music, (taking in Flying Home and Mama Too Tight on the way) during the course of which the band out-rocked all other comers, thanks to the drive of Alan Jackson, the trombones and saxes. The idea of the suite may have been a tongue-in-cheek one, but proved as Shepp and Mingus have done before, that hard blowing over tough R&B backing can be an exciting prospect.” Westbrook (pno); Dave Holdsworth (tpt/flg-h); Paul Rutherford, Malcolm Griffiths (tbn); John Surman (bari/sop); Mike Osborne (alt); Bernie Living (alt); Nisar Ahmed Khan (ten); Harry Miller (bs); Alan Jackson (dm).

___________________________________________________________________________________________________________________________________________

John Surman – ‘John Surman’

recorded August 12 & 14, 1968, London

on tracks 1-4: Mike Osborne, alto saxophone; John Surman, baritone saxophone; Russell Henderson, piano; Harry Miller, bass; Stirling Betancourt, drums; Errol Phillip, congas
on tracks 5-7: Kenny Wheeler, Harry Beckett, trumpet, flugelhorn; Malcolm Griffiths, Paul Rutherford, trombone; Tom Bennellick, french horn; John Surman, baritone saxophone; Russell Henderson, piano; Dave Holland, bass; Alan Jackson, drums; Stirling Betancourt, timbales; Errol Phillip, congas

Obeah Wedding (Francisco) 6:28 Deram MLR-1030 (UK) [LP], DES-18027 (USA) [LP], 844884-2 (UK) [CD] Vocalion CDSML8402 (UK) [CD]

My Pussin (Roberts) 5:52

Good Times Will Come Again (Henderson) 6:10

(Don't Stop The) Carnival (Rollins) 5:46

Incantation (Surman)

Episode (Surman)

Dance (Surman) 20:56

USA edition titled ‘Anglo-Sax’. Tracks 1 and 4 were also issued on a 7" single, Deram DM 224 (UK). March 1969 Jazz Journal review; advert here

___________________________________________________________________________________________________________________________________________

GIGS: Mike Westbrook Band - 16 August 1968, Harrogate Jazz Festival. Ronnie Scott & The Band – 19 August 1968, Ronnie Scott’s Club, for four weeks

___________________________________________________________________________________________________________________________________________

Chris McGregor – ‘Up To Earth’ session

recorded c. 1968, London

Mongezi Feza, pocket trumpet; Mike Osborne, alto saxophone; Evan Parker, tenor saxophone; John Surman, baritone saxophone; Chris McGregor, piano; Barre Phillips, double bass; Louis Moholo, drums

Unknown unreleased

Unknown

___________________________________________________________________________________________________________________________________________

Gitte and the Band – ‘My Kind Of World’

Recorded September 4-5, 1968, Cologne

Gitte Haenning, voice; Benny Bailey, Derek Watkins, Idrees Sulieman, Dusko Goykovic, trumpet; Ake Persson, Nat Peck, Eric van Lier, trombone; Derek Humble, alto saxophone; Johnny Griffin, Tony Coe, Ronnie Scott, tenor saxophone; John Surman, baritone and soprano saxophone; Francy Boland, piano; Jimmy Woode, bass; Kenny Clarke, Kenny Clare, drums

My Kind Of World (Woode) 2:59 Hörzu SHZE 280 (Germany) [LP], VeraBra 2020-2 [CD] Bureau (Germany) [CD]

A Sack Full Of Dreams (McFarland) 3:41

A World Without Love (Lennon/McCartney) 2:07

Go To Hell (Morris/Bailey) 3:34

Imagination (van Heusen/Burke) 3:25

Please Send Me Someone To Love (Mayfield) 3:10

Out Of This World (Arlen/Mercer) 1:22

Marriage Is For Old Folks (Shuman/Carr) 3:35

I Love The Life I Live (Dixon) 2:22

November Girl (Woode) 4:37

reissued as ‘Gitte Haenning Meets The Francy Boland Kenny Clarke Big Band’

___________________________________________________________________________________________________________________________________________

Mike Osborne - BBC radio session

Recorded c. September 1968, London; broadcast BBC Radio 3, 18th September 1968

Mike Osborne, alto saxophone; John Surman, baritone saxophone; Dave Holland, bass; Harry Miller, bass; Alan Jackson, drums

Configuration (Surman) unissued

Intersection (Surman)

Falling (Surman)

___________________________________________________________________________________________________________________________________________

Various artists – ‘Mumsy, Nanny, Sonny And Girly’ (aka Girly) film soundtrack

Recorded 4 October 1968, Putney; film released 1969

Orchestra includes Kenny Wheeler, trumpet; Alan Civil, French horn; Jack Brymer, clarinet; Roy Willox, John Surman, reeds; Vic Flick, guitar; Dave Richmond, bass guitar; Barry Morgan, drums

Unknown tracklisting, composed by Bernard Ebbinghouse; there is no independent release of this material

___________________________________________________________________________________________________________________________________________

GIGS: Scott Walker – 4 October to 20 October 1968. Scott Walker’s backing on his 17-day UK tour was Ronnie Scott & The Band with additional members including Terry Smith (guitar) and (possibly) Tubby Hayes; John Surman Trio – 11 October, London Jazz Centre Society, Conway Hall, Red Lion Square; Ronnie Scott & The Band – 21 October, one week residency at Ronnie Scott’s club (see album entry below); Mike Westbrook Concert Band, Ronnie Scott and The Band - 23 October, Jazz Expo ’68, Hammersmith Odeon, London. Jazz Expo ’68 reviewed by Barry McRae in Jazz Journal 21/12 (December 1968): “This year’s British contribution was larger than last and gave reason for continued optimism. I missed the Rendell-Carr set and thought that honours were divided between the Ronnie Scott Band and the Mike Westbrook Concert Band. Scott’s, the more confident and the more carefully arranged, offered fine solo work by Kenny Wheeler, John Surman, Ray Warleigh and the leader himself. The style might be described as mid-Atlantic hard bop with modern overtones but the result was stimulating.

Westbrook’s policy is more advanced and slightly more ambitious. At Expo, however, the band was not at its best. There seemed to be an air of nervousness amongst them and only the ubiquitous Surman and trombonist Malcolm Griffiths came near to their normal form. The collective passages by the band were good and a Shepp-like atmosphere created, as the moods were quickly changed – moving away from an r&b type stomp or tasteful balladeering by altoist Mike Osborn, to a raving flying home.”

Steve Voce reviewed Ronnie Scott and The Band in the same issue: “When it was announced I looked forward to Ronnie’s new band (with Kenny Wheeler, John Surman and Ray Warleigh), but suspected the idea of Tony Oxley and Tony Crombie on drums… I first heard the band on BBC 2 when it suffered the disadvantage of having to play a Glenn Miller number (to tie in with the Glenn Miller film which had just been shown). The noise was suitably daunting, primarily because I had been expecting the group to produce merely an up-dated version of earlier Scott band sounds. In the event Scott had given the younger musicians their head, with the result that the sound was undigestible at one brief hearing. However, reports say that, with reservations about the two drummers, the band is exciting and purposeful.”

___________________________________________________________________________________________________________________________________________

Ronnie Scott and The Band – ‘Live At Ronnie Scott's’

recorded 25 and 26 October 1968, London

Kenny Wheeler, trumpet, fluegelhorn; Chris Pyne, trombone; Ray Warleigh, alto saxophone; Ronnie Scott, tenor saxophone; John Surman, baritone and soprano saxophone; Gordon Beck, piano, organ; Ron Mathewson, bass, electric bass; Tony Oxley, Kenny Clare, drums

Recorda Me (Henderson) 4:33 CBS 52661 (UK) [LP], Columbia 494439 2 (UK) [CD], Sony 88697072392 (UK) [CD]*

King Pete (Holloway) 6:46

Second Question (Wheeler) 7:22

Marmasita (Henderson) 6:30

Too Late, Too Late (Westbrook) 6:13

Lord Of The Reedy River (Leitch) 5:00

Macumba (Beck) 10:33

May Day* (Scott) 4:44

Sweet Dulcinea Blue* (Wheeler) 3:54

Quiet Nights* (Jobim) 4:17

Hank’s Tune* (Mobley) 5:40

Jazz Journal review; small advert

___________________________________________________________________________________________________________________________________________

Ronnie Scott and The Band – tv broadcast

recorded 30th October 1968; broadcast as two programmes of ‘Jazz At The Maltings’ 1968

Kenny Wheeler, trumpet; Chris Pyne, trombone; Ronnie Scott, Ray Warleigh, John Surman, reeds; Gordon Beck, piano; Ron Mathewson, double bass; Tony Crombie, Tony Oxley,

drums; Jon Hendricks, vocal; Benny Green, master of ceremonies.

Recorda Me (Henderson) unissued

A Shade Of Jade (Henderson)

Sweet Dulcinea Blue (Wheeler)

Lord Of The Reedy River (Leitch)

The Squirrel (Dameron; arr. Deuchar)

This Could Be The Start Of Something (Allen)

Home (Hendricks, Lewis)

Roza (Lobo)

No More (Hendricks)

Lament (Hendricks)

Every Day I Have The Blues (Chatman)

Very few ‘Jazz At The Maltings’ recordings are known to survive, having fallen victim to the wholsale wiping of tape that destroyed a terrible quantity of the BBC archive in the 1970’s. None at all are listed in the BBC programme catalogue or the by BFI, so it is likely that if these recordings exist at all, they survived in the hands of private collectors, or by chance.

___________________________________________________________________________________________________________________________________________

Ronnie Scott and The Band – BBC radio broadcast

Recorded 6 November 1968, Playhouse Theatre London; broadcast on BBC radio 3’s Jazz Club

Kenny Wheeler, trumpet; Chris Pyne, trombone; Ronnie Scott, Ray Warleigh, John Surman, reeds; Gordon Beck, piano; Ron Mathewson, acoustic double bass; Tony Oxley, drums

Unknown tracks unissued

___________________________________________________________________________________________________________________________________________

GIGS: Ronnie Scott & The Band – 7 November 1968, London School of Economics; Mike Westbrook Band (Mike Osborne, John Surman, Malcolm Griffiths, Harry Miller, Alan Jackson) – 9 November 1968, Beck Isle Museum and Arts Centre, Memorial Hall, Pickering, Yorkshire; 10 November, Whitley Bay Arts Association, YMCA, Whitely Bay, Yorkshire; 11 November, Mid-Northumberland Arts Group, County Technical College, Ashington, Northumberland; 12 November, Town Hall, Bishop Auckland, County Durham; Mike Westbrook Concert Band - 13 December 1968, London Jazz Centre Society, Conway Hall, Red Lion Square; reviewed by Fred Bouchard in Jazz Journal 22/2 (February 1969): “The third of six projected concerts in Red Lion Square, WC1, presented by the London Jazz Centre Society under the collective title ‘Jazz Is Alive And Well’ (contrary, one suspects, to popular opinion,) was surrendered to the Mike Westbrook Concert Band – a rampaging, frowsy tentette who were very much alive and kicking. The pieces presented (this reviewer caught the second set only) were puzzling pastiches of simple, effective big-band choruses mixed jarringly with vast, fuzzy, multi-improvisational passages. The traditional ensemble work, blown direct and clean, frankly emulated familiar sounds: the saxes in particular sounded like Ellington (John Surman can do a good Harry Carney) or Basie (Mike Osborne makes a tight-lipped Marshall Royal.) Flying Home, superimposed logically and cleverly on Opus One, was pelted out in slap-dash Mingus fashion, with arresting tempo changes. The less derivative group sketchings, however, clung hard and fast to the other extreme: out-of-pitch duets, inchoate free blowing, slow-fuse crescendo roars – sometimes with leg-pulling private joke effect – whatever coherence of which was further mutilated by the spelean acoustics of Conway Hall. Thus the oil-and-water schizophrenia of the band’s music – not a mature finished chart in the lot.

Straddling and unifying the tried-and-true and flimsy-shimsy were the individual solo efforts, a very different matter. All horns (but one) acquitted themselves adequately, in some cases admirably. John Surman conjured up late Tintoretto – dark, writhing, bigger than life. He soloed with passion and no end of ideas, displaying enormous energy and facility on baritone as well as soprano sax. Malcolm Griffiths delivered an adept, gritty trombone chunk on Home/Opus that really got under the skin of the thing. The same piece had Dave Holdsworth, who, as the lone trumpet, had to spread himself thin to provide a roof for his six comperes on horns, take his turn with brittle gusto over some sharp drumming by Alan Jackson.

There was a refreshing variety in the solo styles: Alan Skidmore (tenor) favoured a glancing, cadenze-like approach, while Bernie Living (flute and alto with pitch problems on both) brought down his phrases with a shotgun. A foil to both was the cleanly-sculpted alto-work of Mike Osborne, who treated the folks to some healthy Oliver-Nelson-ish stuff toward the end of the evening. The rhythm played with assurance and drive, sustaining soloists consistently through long ensemble tacets and prodding them through riffs. Westbrook, who has a strong arranger’s keyboard approach, should allow himself some solo space, rather than tasteless, spoofing vocals, like the bitter and dreary treatment of I’m Old Fashioned.

This band fortunately doesn’t inhibit itself with fustian academics and pussy-footing (as plied, for example, by their predecessors in the Conway series, the New Jazz Orchestra,) and so it can collectively foment exciting and infectious moments, particularly riffing behind key soloists. Yet neither does it supply itself with the meaty, original arrangements necessary to fully exploit and direct the obvious creative powers of its members. It’s like a big, happy, irresponsible bloke with no ties and an identity problem. Too much licence makes its own straightjacket.”

Ronnie Scott and The Band – 23 December 1968 three week residency at Ronnie Scott’s Club with John Hendricks; 10 January 1969, Jazz Centre Society, Conway Hall, Red Lion Square, reviewed by Fred Bouchard in Jazz Journal 22/2 (February 1969): “Ronnie Scott’s octet paced briskly through a programme of originals: two rich ones by flugelhornist Kenny Wheeler (There’s Always Someone Watching, Sweet Dulcinea Blue), two light ones by keyboardsman Gordon Beck (Music from the Film of the Same Name, Macumba), two penned by tenor-of-fortune Joe Henderson on his recent visit (Ricorda Me, The Kicker), two features dedicated to John Surman (Mike Westbrook’s Too Late, Too Late and Laurie Holloway’s King Pete, and ‘Hymie’ Donovan’s Lord Of The Reedy River. Wheeler’s writing, like his blowing, is lucid, gentle and brilliant. Dulcinea is a pretty waltz with airy, holdback resolutions, though it slumps at the end. The thorny, shifting chorus of Watching is too long for effective repetition. The composer plays with cool distinction on both – beautiful. Though alternatively foggyand screeching on Too Late (a loping, pyramidal riff) and bullish on Sweet, Surman cut a snaky groove on Music, and was up and away on his strident soprano on Pete. Henderson’s expert compositions provided fine showcases for Chris Pyne (trombone) and Ronnie, who weaved good lines through the breaks in Kicker. Gordon Beck’s Music has lodged in my ear and won’t come out – a polished rock; on his blow-torch Macumba and Sweet his bits were facile. But for his annoying habit of slow-down cross-rhythms behind soloists, Tony Oxley stirred the soup adequately. Pete King, looking for all the world like a Velasque courtier, made some genial comments on Watching, Kicker, and was really persuasive on Macumba, the uproarious closer which had everybody in the band shouting, then everyone in the audience.”

Bouchard reviewed an undated Jon Hendricks gig in the same issue of Jazz Journal: “The most alert house group I have heard in months at Ronnie Scott’s was the octet supporting Jon Hendricks the last night of his engagement. The band got to unwind things with half a set’s worth of engaging arrangements framing generally good solos by Ronnie himself, John Surman (soprano sax) and Chris Pyne (trombone), the later two having speedily trotted over with their axes from 100 Oxford Street where, not an hour before, they had been sitting in exhilaratingly with Humphrey Lyttelton’s Homey Jazz Band and titillating the jitterbuggers. Kenny Wheeler had a delicious flugelhorn spurt on a medium Latin piece.

Hendricks came on beaming in red corduroy and rasped out some genial but preponderantly show-type stuff, featuring one or two of his juch-copied verbalized ‘horn’ solos. All numbers were delivered with consummate grace and charm. J. J. Johnson’s Lament, as a classically arranged by Gil Evans, became an intriguing and moving ballad with Hendricks following Miles Davis’ bittersweet line. A heartfelt, breathy verse on Motherless Child introduced startlingly a funky, stop-time Comin’ Home, with a heated solo for clubowner. Hendricks’ sly working into his act of three of his kids was an unexpected kick rather than a corny trick. There’s no flies on anybody in that family: Michele handled a bop solo on Shiny Stockings with hip aplomb, and was eventually joined by Charlene and Eric in an ingenious Jack Spratt (you know, the Mother Goose rhyme) while Tony Oxley (drums) and Jon (cowbell) bided good time. The set closed with a door-slamming Roll ‘Em Pete with Pete King rolling a furious cannonade on alto and an euphoric chunk of Hendrickian ‘tenor’ wailing, sublime scatting from syllabic and melodic standpoint.”

___________________________________________________________________________________________________________________________________________

John McLaughlin – ‘Extrapolation’

Recorded January 18, 1969, London

John Surman, baritone and soprano saxophones; John McLaughlin, guitar; Brian Odgers, bass; Tony Oxley, drums

Extrapolation (McLaughlin) 2:57 Marmalade 608007 (UK) [LP], Polydor 841598 [LP/CD]

It's Funny (McLaughlin) 4:25

Arjen's Bag (McLaughlin) 4:25

Pete The Poet (McLaughlin) 5:00

This Is For Us To Share (McLaughlin) 3:30

Spectrum (McLaughlin) 2:45

Binky's Beam (McLaughlin) 7:05

Really You Know (McLaughlin) 4:25

Two For Two (McLaughlin) 3:35

Peace Piece (McLaughlin) 1:50

Jazz Journal review here; review of the reissue in 1970, again from Jazz Journal

___________________________________________________________________________________________________________________________________________

To Blow Your Mind - NDR radio broadcast

recorded January 24, 1969 Großer Sendesaal des Funkhauses Studio 10, Hamburg; NDR Jazz Workshop No. 60

Bernard Vitet, trumpet, flugelhorn; Eje Thelin, trombone; Rolf Kühn, clarinet, alto sax; Heinz Sauer, soprano and tenor sax; Barney Wilen, soprano and tenor sax; John Surman, baritone sax; Joachim Kühn, piano, organ; Mimi Lorenzini, guitar; Günter Lenz, electric bass); Jean François Jenny-Clark, bass; Aldo Romano, drums; Stu Martin, drums, percussion

El Dorado (J.Kühn) 8:00 unissued

Rhythm one (Thelin) 5:40

Invention for 6 and 1 (R.Kühn) 8:00

Shadows (J.Kühn) 7:40

Skandal (J.Kühn) 10:25

Noninka (Martin) 9:41

Blues (Surman) 7:34

Circus (R. Kühn) 6:27

Dur Dur Dur (Wilen) 6:23

Atlantis (Thelin) 4:56

To Your Father (J. Kühn) 4:50

Revised Edition (Surman) 7:05

To Blow Your Mind (J. Kühn) 10:53

___________________________________________________________________________________________________________________________________________

Mike Gibbs Orchestra – BBC radio broadcast

Recorded c. February 1969 Lancaster University; first broadcast 23 February 1969 BBC Radio 3

Jack Bruce, bass; John Marshall, drums; Phil Lee, guitar; Frank Ricotti, vibes; Roderick Tearl, Henry Lowther, trumpets, flugelhorns; Alan Skidmore, tenor saxophone; John Surman, soprano and baritone saxophones; Dick Hart, tuba; Mike Osborne, alto saxophone; Chris Pyne, Mike Gibbs, trombones; Mike Pyne, piano

Sweet Rain (Gibbs) 5:58 unissued
Family Joy, Oh Boy! (Gibbs) 8:19
Nowhere (Gibbs) 7:07
Fly Time High (Gibbs) 10:59
Feelings and Things /June 15^th 1967 (Gibbs) 9:54
Liturgy/And On The Third Day (Gibbs) 7:34
Some Echoes, Some Shadows (Gibbs) 9:24

Steve Voce, in Jazz Journal 22/5 (May 1969) wrote: “Gibbs’ band was obviously going to be a good one, as a glance at the line-up indicated. But we had already been fired by some telephone conversations we had had with Mike during the previous couple of weeks. He is quite single-minded in his intensity over music, and such enthusiasm as he showed is inevitably both infectious and awe-inspiring.

Appropriately the evening began with Sweet Rain, featuring John Surman in a muscular and yet delicate reading of this lovely ballad. Surman’s command of the soprano is as complete as his mastery of the baritone, and his pithy opening statement was backed by Phillip Lee’s delicately-chorded guitar and John Marshall’s drums. As Surman reached the end of his solo the orchestra came in and right away set the tone of the evening in a beautifully-orchestrated passage. Mike Osborne, an altoist who improves with every hearing, came next, backed strongly by Jack Bruce’s bass-guitar. Bruce was most impressive throughout this concert, although there is something dogmatic about the electric bass which seems to impair its flexibility. His performance on the legitimate bass on the NJO’s LP was, from my point of view, far more imposing.

Alan Skidmore came next, with his tenor skirling confidently and economically in a solo which, like most of his work that evening, had the aura of early Coltrane, while somehow remaining independent of any substantial influence.

The next piece, Family Joy, Oh Boy, was a simple theme which rocketed along with great drive, and provided a great leaping-pad for Bruce’s guitar. After the orchestra had stated the theme, it was repeated in fairly deadpan fashion by Frank Ricotti’s vibes and then given over to ta torrential solo by Bruce, which would have been quite impossible on the orthodox bass.

Fly Time High (Sigh) was written by Gibbs in 1961 while he was at Berklee with Gary Burton, and it had a melodic sweetness which much reflected Burton’s thinking. Two other pieces written for Burton, Feeling And Things and June 15^th 1967 also made their appearance, but the high spot of the concert were the two pieces which Gibbs tells me were inspired by the French composer Messiaen, Liturgy and And On The Third Day, the latter in particular a most substantial work. Mike was at great pains to emphasise that he in no way attempted to reflect the religious inspiration of Messiaen. It might not have been religios, but the performance of And On The Third Day was certainly inspired, and made one hope that Verve will now go chasing after the Gibbs orchestra to catalogue alongside the New Jazz Orchestra.”

___________________________________________________________________________________________________________________________________________

John Surman – ‘How Many Clouds Can You See?’

recorded March 1969, London

on track 1: Harry Beckett, trumpet, fluegelhorn; Malcolm Griffiths, trombone; Mike Osborne, alto saxophone; Alan Skidmore, tenor saxophone; John Surman, baritone saxophone; John Taylor, piano; Harry Miller, bass; Alan Jackson, drums
on track 2: John Surman, baritone saxophone; Alan Jackson, drums
on track 3: Dave Holdsworth, Harry Beckett, trumpet; Chris Pyne, Malcolm Griffiths, trombone; George Smith, tuba; John Surman, soprano saxophone; Mike Osborne, alto saxophone; Alan Skidmore, tenor saxophone, flute; John Warren, baritone saxophone, flute; John Taylor, piano; Barre Phillips, bass; Tony Oxley, drums
on tracks 4, 5: John Surman, baritone and soprano saxophones, bass clarinet; John Taylor, piano; Barre Phillips, bass; Tony Oxley, drums

Galata Bridge (Surman) 14:56 Deram DML-R1045 (UK) [LP], Deram 844882-2 (UK) [CD], Vocalion CDSML 8428 (UK) [CD]

Caractacus (Surman) 4:19

Premonition (Warren) 4:24

Event –

(a) Gathering

(b) Ritual

(c) Circle Dance (Surman) 18:38

How Many Clouds Can You See? (Surman) 3:26

Jazz Journal review; advert; the Deram CD package lists the tracks as above, but the CD actually places the second LP side before the first, i.e. using the order above, the CD tracks are ordered 4, 5, 1, 2, 3; this is corrected on the Vocalion issue

___________________________________________________________________________________________________________________________________________

John Surman/Alan Skidmore/Tony Oxley – ‘Jazz in Britain '68-'69’

recorded 1968 and 1969, London

on track 1: Mike Osborne, alto saxophone; Alan Skidmore, tenor saxophone; John Surman, baritone saxophone
on track 2: Harry Beckett, fluegelhorn; Malcolm Griffiths, trombone; Mike Osborne, alto saxophone; Alan Skidmore, tenor saxophone; John Surman, baritone saxophone; John Taylor, electric piano; Harry Miller, bass guitar; Alan Jackson, drums
on track 3: John Surman, piano; John Taylor, electric piano; Harry Miller, bass guitar; Alan Jackson, drums
on tracks 4-6: Kenny Wheeler, fluegelhorn, trumpet; Alan Skidmore, tenor saxophone; John Taylor, piano; Harry Miller, bass; Tony Oxley, drums

Bouquet Garni (Cooke) 3:19 Decca Eclipse ECS 2114 (UK) [LP] Vocalion CDSML 8418 (UK) [CD]

Shepherd Oak (Surman) 7:18

Bessie [Part 1] (Surman) 4:44

Bessie [Part 2] (Surman) 8:11

Circles On Ice (Warren) 11:05

Winter Song (Surman) 7:10

details for these tracks are unknown, but a comparison of the personnel of Surman’s tracks (1-3) on this release with personnel on ‘How Many Clouds Can You See?’ suggest that they may derive from the same sessions. The remaining tracks (4-6) share personnel with Alan Skidmore’s ‘Once Upon A Time’ album

___________________________________________________________________________________________________________________________________________

The Mike Westbrook Concert Band – ‘Marching Song’

recorded March 31, April 1 & 10, 1969, London

Dave Holdsworth, Kenny Wheeler, trumpet, fluegelhorn; Greg Bowen, Tony Fisher, Henry Lowther, Ronnie Hughes, trumpet; Malcolm Griffiths, Paul Rutherford, Mike Gibbs, Eddie Harvey, trombone; Tom Bennellick, french horn; Martin Fry, George Smith, tuba; Mike Osborne, alto saxophone, clarinet; Bernie Living, alto saxophone, flute; Alan Skidmore, tenor saxophone, flute; Nisar Ahmad Khan, Brian Smith, tenor saxophone; John Surman, baritone and soprano saxophones; John Warren, alto and baritone saxophones, flute; Mike Westbrook, piano; Harry Miller, Barre Phillips, Chris Laurence, bass; Alan Jackson, John Marshall, drums

Hooray! (Westbrook) 6:24 Deram SML 1047 (UK) [LP], Deram MWB S-1 (USA) [2LP], Deram 844853-2 (UK) [2CD]

Landscape (Westbrook) 15:28

Waltz (Westbrook) 5:54

Landscape (II) (Westbrook) 8:00

Other World (Westbrook) 9:35

Marching Song (Westbrook) 3:02

Transition (Westbrook) 3:01 Deram SML 1048 (UK) [LP], Deram MWB S-1 (USA) [2LP], Deram 844853-2 (UK) [2CD]

Home (Westbrook) 9:44

Rosie (Westbrook) 6:36

Prelude (Surman) 4:43

Tension (Surman) 4:38

Introduction/Ballad (Westbrook) 8:23

Conflict (Westbrook) 9:43

Requiem (Westbrook) 1:53

Tarnished (Surman) 5:58

Memorial (Westbrook) 2:18

The original UK edition was two LPs issued separately as Volume 1 and Volume 2. The USA edition and the CD reissue have both volumes in one package. Jazz Journal review; pre-release advert here

___________________________________________________________________________________________________________________________________________

Mike Gibbs Orchestra – BBC radio broadcast

Recorded 11 April 1969, Lancaster University; first broadcast 30 April 1969 BBC Radio 3

Jack Bruce, bass; John Marshall, drums; Phil Lee, guitar; Frank Ricotti, vibes; Kenny Wheeler, Henry Lowther, trumpets, flugelhorns; Alan Skidmore, tenor saxophone; John Surman, soprano and baritone saxophones; Dick Hart; Bob Cornford, piano; Mike Osborne, alto saxophone; Chris Pyne, trombone; Mike Pyne, piano

track listing unknown unissued

___________________________________________________________________________________________________________________________________________

GIGS: April 12 1969 – Melody Maker Pollwinners Concert, Royal Festival Hall, London – Mike Westbrook Band, Ronnie Scott Band, Georgie Fame, Chris Pyne, Sandy Brown, Joe Harriott, John Surman, Harold McNair, Stan Tracey, Rendell-Carr, Ron Matthewson, Tony Oxley, Cleo Laine, John Dankworth Band, Tubby Hayes. Barry McRae (Jazz Journal 22/5 May 1969) wrote: “The programme closed with the Mike Westbrook Concert Band. Their section started like the more disastrous Duke Ellington performances, with musicians returning from the bar throughout the first five minutes. Musically they settled quickly and there were excellent solos from Paul Rutherford, Malcolm Griffiths and John Surman (on soprano). Westbrook himself sang I’m Old Fashioned in a hilarious parody of 1940s pop and shocked one of the most unresponsive audiences I have ever seen, even at the RFH. Many walked out and almost all who remained sat in stoney-faced amazement. The band’s continuous performance made its usual use of a sterling march theme, which was gradually broken down into the flowing rhythms of the new jazz and so became the cushion on which Surman’s fiery soprano rested. It represented the high-spot of the evening but there had been disappointingly few others with which to compare it.”

___________________________________________________________________________________________________________________________________________

Flashpoint – NDR radio broadcast

recorded April 18, 1969, Studio 10 des Funkhauses NDR, Hamburg; NDR Jazzwprkshop No. 62

Kenny Wheeler, trumpet, fluegelhorn; Erich Kleinschuster, Malcolm Griffiths, trombone; Mike Osborne, alto saxophone, clarinet; Alan Skidmore, tenor saxophone, flute; Ronnie Scott, tenor saxophone; John Surman, baritone and soprano saxophones, bass clarinet; Fritz Pauer, piano, organ; Harry Miller, bass; Alan Jackson, drums

Jack knife (Surman) 5:30 unissued

Gratuliere (Pauer) 10:38

Hallo Thursday (Surman) 10:40

Undercurrent (Surman) 8:10

Mayflower (Surman) 9:30

Dallab (Wheeler) 5:15

Puzzle (Kleinschuster) 5:55 ‘Norddeutscher Rundfunk: Die Jazz-Werkstatt '68-‘69’ 654 057

Background (Surman) 7:30 ‘Norddeutscher Rundfunk: Die Jazz-Werkstatt '68-‘69’ 654 057

Where fortune smiles (Surman) 11:45 unissued

Aqua regis (Surman) 4:00

Beyond the hill (Surman) 8:10

Once upon a time (Surman) 9:00

Flashpoint (Surman) 10:30

___________________________________________________________________________________________________________________________________________

GIGS: Graham Collier Dozen – 26 April 1969, Purcell Room, London (programme included ‘Workpoints’) – may not feature Surman? Mike Westbrook Band – 18 May, Mermaid Theatre, Puddle Dock, London, premiere of ‘Metropolis’. Barry McRae (in Jazz Journal 22/7 July 1969) wrote: “Metropolis, Mike Westbrook’s work produced under a bursary from the Art’s Council, was premiered at the Mermaid Theatre in May, thanks largely to the untiring efforts of the London Jazz Centre. Musically it was an enormous success both in conception and execution. There were times in the opening movements when the two ‘rhythm sections’; one, the group’s normal duo and the other, drummer John Marshall plus bass guitarist Chris Lawrence, tended to clash. But, elsewhere, there was little hint that rehearsal time had been limited, and the score was played with professional aplomb.

Unlike certain earlier suites by this composer, no use was made of themes by other writers and, in using original material only, Westbrook seemed more in control of the directional reins. What he has written in ‘Metropolis’ is an excellent frame for the men in the band. Although its score is never musically easy, it is never esoteric and makes no attempt to intimidate the laity. It functions as an expedient for passing on his inspiration for collective use and he is fortunate in having men able to expand his superstructure into an emotional whole.

Westbrook does not wait on inspiration, however, and has worked hard on this piece. He uses in multi-voiced plasticity the entire range of sounds available to him. His problem, both aesthetically and acoustically, is how to deal with discords, over and above those required to spice his free collective passages. He resolves the problem bya attenuating their value with the contrast of a very basic and heavy bass guitar riff, dividing the listenenrs ear into two compartments. Their attention is thus split between the flowing and linear interaction of his soloists and the socking rock of the r&b beat.

Despite the overall excellenece of the suite, I had two slight reservations. My main complaint was the over-emphasis of the amplified guitar figures that occasionally competed with the horn soloists – never more noticeably than during the first half of John Surman’s second long solo. My second objection concerned the instances when Westbrook scored his trombones with a tuba. The effect was to give the section a Kentonian sound that was not only stiff but uncharacteristic in the flexible atmosphere of the Concert Band.

Little criticism can be levelled at the band’s soloists although, despite the overall standard, two efforts really stood out. The first, by Kenny Wheeler, was a trumpet solo of real invention, never relying on the safe phrase, and burnished with the sparkling tonal quality that always distinguishes his work. The second was a prodigious exercise on trombone by Paul Rutherford, demonstrating not only his melodic ingenuity but also his accuracy in all ranges of the instrument. With two blistering solos by Malcolm Griffiths, two powerful John Surman workouts, beautiful flugel solos from both Henry Lowther and Harold Beckett and a muscular contribution from Alan Skidmore, there were further reasons why ‘Metropolis’ should succeed.

In providing the very basic pulse of the bass guitar and the rhythmic background of riffs, Westbrook has made his music accessible to all. I cannot help wondering whether the audience’s reception would have been as ecstatic had the often dense contrapuntal passages been played against an equally broken background. We will never know the answer but, in the final analysis, I would have preferred to have had the rock beat played down a little. This was an outstanding jazz work with no need for listening aids and Westbrook is to be congratulated for producing music that inspires his sidemen to add solos completely in his own idiom. No jazz writer can be asked to do more.”

___________________________________________________________________________________________________________________________________________

The Nice – ‘The Nice’

Recorded c. 1969

Keith Emerson, keyboards; Lee Jackson, bass, voice; Brian Davison, drums; with horn section of Kenny Wheeler, Joe Newman, Chris Pyne, Joe Harriott, Alan Skidmore, John Surman, Pepper Adams

For Example (Emerson) 8:51 Immediate IMSP 029

Other tracks are without Surman

___________________________________________________________________________________________________________________________________________

Erich Kleinschuster Sextet and John Surman - Radio Broadcast

recorded June 13, 1969, Austrophon Studio, Vienna

Robert Politzer, trumpet, flugelhorn; Erich Kleinschuster, trombone; Hans Salomon, alto sax, tenor sax, bass clarinet; John Surman, soprano sax, baritone sax; Fritz Pauer, piano; Jimmy Woode, bass; Erich Bachträgl, drums

Imaginary Mirror (Kleinschuster) 9:23 unissued

Flash Point (Kleinschuster) 10:00

Waltz for G (Kleinschuster) 8:58

Mrs. Smith (Surman) 5:23

Beginning (Surman) 8:16

Blue Note (Surman) 7:38

Most collectors list this as June 13 1968, with Rudolf Hansen on bass. However, Dr Emil Ceska was kind enough to provide correct details from a copy of the original session log in the possession of a collector, which gives the correct date and personnel as here

___________________________________________________________________________________________________________________________________________

Geo Voumard – ‘25 ans de jazz et de complicités musicales’

Recorded 1969 at the Montreux Jazz Festival

John Surman Et Le Geo Voumard Tentet: John Surman, Géo Voumard, Raoul Schmassmann, Benny Bailey, Buck Clayton, Lucky Thompson, Guy Laffite, Stéphane Grapelli, Don Byas, Mike Thevenoz

29. G.W.B. (Warren) 4:41 Disques Office DO 65223

First issued in 1999; only this 1969 track features Surman

___________________________________________________________________________________________________________________________________________

GIGS: Mike Westbrook – 2 July 1969, Radio One Jazz Workshop; John Surman – 5 July 1969, Bedford College, Inner Circle, Regents Park, London; Mike Westbrook and his Band – 18^th – 25^th July 1969, Dartington Jazz Summer School, Dartington, Devon (Westbrook, Surman, Osborne, Griffiths, Miller, Jackson)

___________________________________________________________________________________________________________________________________________

Alan Cohen Band - BBC radio session

Recorded c. 1969, BBC studio, London; Broadcast on BBC Radio’s Jazz Club

Alan Cohen, soprano and tenor saxophone; Derek Watkins, trumpet; Dave Holdsworth, trumpet; Chris Pyne, trombone; Mike Gibbs, trombone; Brian Smith, trombone; Mike Osborne, alto saxophone; Art Themen, tenor saxophone; John Surman, baritone saxophone; George Smith, tuba; Dave Holland, bass; John Marshall, drums

Opus de Funk unissued

‘Round Midnight

Let’s Call This

Green, Purple and Blue

Pink Honey

___________________________________________________________________________________________________________________________________________

Humphrey Lyttelton – ‘Duke Ellington Classics’

Recorded July 31, 1969, London

Joe Temperley, John Surman, baritone saxophone; Eddie Harvey, piano; Dave Green, bass; Tony Levin, drums

Cottontail (Ellington) 5:54 Black Lion BLP12108 (UK) [LP]

Other tracks are without Surman; ‘Cottontail’ is included on a various artists compilation ‘They All Play The Duke’, Jazz Colours 874740-2 (Germany) [CD]

___________________________________________________________________________________________________________________________________________

GIGS: Mike Westbrook Sextet – 4-7 August 1969, Ronnie Scott’s club upstairs room; John Surman – 8 August 1969, Bluecoat Hall, Liverpool (Surman, Mike Osborne, Harry Miller, Alan Jackson, John Taylor); 9 August, National Jazz, Blues & Pop Festival, Plumpton Racecourse, Sussex; Chris McGregor, August 1969, Ronnie Scott’s club upstairs room, reviewed by Barry McRae in Jazz Journal 22/10 (October 1969): “If Ronnie Scott’s excellent new ‘upstairs’ policy persists we are in for some rare treats for, despite a fire delaying the opening, the first week set a frightening standard. The sign on the door read Chris McGregor but the pianist’s regulars Barry Guy, Louis Moholo and Monks Feza were augmented by Westbrook favourites Mike Osborne (alt) and John Surman (sop/bari) and S.M.E. expatriate Evan Parker (ten).

The outcome was some of the most exciting live jazz I hve heard this year. Moholo, who in the past I have sometimes found stiff, was magnificent and it was his unflagging drive that lifted every soloist, to say nothing of the powerful collective ensemble. The soloists, foir their part, responded admirably. Guy and the leader played with real passion, Osborne demonstrated how well he can now play in a free context and Feza produced his own brand of individual and fiery pocket trumpet. Surman was brilliant and, on the night I visited, said he really wanted to play. Both his baritone and soprano work confirmed this attitude and his group playing on the latter horn deserved special mention. His solo talent will be known to most readers but it was noticeable how much attention he paid to inventiveness while in a contrapuntal role.

I have left mention of Parker until last because he strikes me as the most improved jazzman in the country. Perhaps due to his experience with John Stevens, he is a superb group player. In this pick-up unit he seemed to balance the four man front perfectly, always sensing when to drop to his lower register with Ayler-like growls and when to pierce its upper limits with Barbieri-like screams. Not that his style really resembles either but he shares Barbieri’s awareness of timbre and seems to have developed a melodic sense that does hint at the Ayler school.

In commenting on the players individually I might be guilty of suggesting a band of disparate parts. Nothing could be further from the truth for this was a tremendous collective achievement – the ensemble at times crying in full throat with an animation that verged on hysteria. The effect was exhilarating, completely unselfconscious and abandoned in a total manner. There was never musical disintegration and the result underlined the fact that McGregor is a remarkable catalyst who deserves to keep such a group together on a permanent basis.”

___________________________________________________________________________________________________________________________________________

The John Surman Quartet – tv broadcast

Recorded August 1969, Ronnie Scott’s, London; broadcast on ‘Jazz Scene At The Ronnie Scott Club’ 1969

Mike Osborne, alto saxophone; John Surman, soprano and baritone saxophones; Harry Miller, double bass; Alan Jackson, drums; Ronnie Scott, master of ceremonies

Play-on (Surman) unissued

El Vino (Surman) -

Slightly Oliver (Surman) -

Play-out (Surman) -

Subbed (Osborne) -

Caractacus (Surman) -.

___________________________________________________________________________________________________________________________________________

The Mike Westbrook Concert Band – tv broadcast

Recorded 20th August 1969, Ronnie Scott’s, London; broadcast on ‘Jazz Scene At The Ronnie Scott Club’ 1969

Kenny Wheeler, Ian Carr, Harry Beckett, Dave Holdsworth, trumpet; Malcolm Griffiths, Paul Rutherford, trombone; John Surman, Mike Osborne, Alan Skidmore, Bernie Living, John

Warren, reeds; Mike Westbrook, piano; Chris Spedding, guitar; Harry Miller, Chris Laurence, double bass; Alan Jackson, John Marshall, drums; Ronnie Scott, master of ceremonies

Metropolis (Westbrook) unissued

As with ‘Jazz At The Maltings’, almost no ‘Jazz Scene At The Ronnie Scott Club’ recordings are known to survive. Only two all are listed in the BBC programme catalogue, neither of which are this date.

___________________________________________________________________________________________________________________________________________

GIGS: John Surman Spectacular, 100 Club, London, ?October 1969. Reviewed by Barry McRae in Jazz Journal 22/11 (November 1969): “John Surman is regrettably leaving this country to live on the Continent but his last date at the ‘100’ Club will give his followers memories to cherish until his return. Billed as the ‘Surman Spectacular’ the evening proved to be just that. The club was filled to capacity and air became a luxury, obtainable only from the odd few yards near the door. The night began with the leader fronting his usual octet but, as it wore on, the group on stage was in a constant state of flux. Musicians replaced flagging colleagues and others augmented the line up. Surman was superb, not only on baritone but also on his ever improving soprano. Nevertheless it was the artistic high-water mark of the performance.

Critic Brian Blain colourfully describes these as mayhem and in a sense this is very apt. There is obviously no thought for coherence in the orthodox manner. In its place is a textural unity, similar to that found on Ayler’s ‘New York Eye And Ear Control’, Shepp’s ‘One For The Trane’ or Coltrane’s own ‘Ascension’. Just as the New Orleans’ ensemble is a melodic jumble to the uninitiated, this ruffled surface is merely a ripple that covers a strongly flowing musical stream.

As always, solos emerged from the ensemble and Alan Skidmore, Malcolm Griffiths and Mike Osborne stood out. The latter, in particular, was in excellent form. He seems to be concentrating on the freer side of his playing and, in this session, showed no real reluctance to colour his formally cultured tone with the cries and shrieks of today. This does not disguise him, however, and his natural melodic flair is simply directed to more fragmentary form.

Considerable demands were made on the rhythm players and it was the indefatigable Alan Jackson on drums and the ferocious Barry Guy on bass who took the honours. In all, it was a completely entertaining evening, one that convinces me that this music could be reaching a far wider audience if given the chance. The British jazz scene will be the poorer for the (at least temporary) absence of John Surman but the ‘Spectacular’ confirmed the depth of talent that remains.”

___________________________________________________________________________________________________________________________________________

‘Michael Gibbs’

Recorded September-December 1969, London

collective personnel: John Wilbraham, Derek Watkins, Ken Wheeler, Henry Lowther, Nigel Carter, Ian Hamer, Maurice Miller, trumpet, fluegelhorn; Cliff Hardie, Chris Pyne, Bobby Lambe, David Horler, Ray Premru, Ken Goldy, Maurice Gee, trombone; Alan Civil, Valerie Smith, Nicolas Busch, Jim Buck Jr., french horn; Dick Hart, Martin Fry, tuba; John Surman, Alan Skidmore, Ray Warleigh, Tony Roberts, Mike Osborne, Duncan Lamont, Barbara Thompson, reeds; Fred Alexander, Alan Ford, cello; Chris Spedding, Ray Russell, Phil Lee, guitars; Mick Pyne, Bob Cornford, keyboards; Jack Bruce, Brian Odgers, bass guitar; John Marshall, Tony Oxley, drums; Frank Ricotti, percussion; Michael Gibbs, arranger, conductor

Family Joy, Oh Boy! (Gibbs) 8:49 Deram 1063 (UK) [LP], Deram 844907-2 (UK) [CD] Vocalion CDLK4253 (UK) [2CD]

Some Echoes, Some Shadows (Gibbs) 9:03

Liturgy / Feelings And Things (Gibbs) 8:29

Sweet Rain (Gibbs) 6:18

Nowhere (Gibbs) 8:01

Throb (Gibbs) 3:55

And On The Third Day (Gibbs) 10:08

Jazz Journal review; advert; another advert; The Vocalion 2-CD set includes both this record and 'Michael Gibbs: Tanglewood 63' (for details of which see below)

___________________________________________________________________________________________________________________________________________

Alexis Korner’s New Church and friends - studio session

Recorded September 23 – October 1 1969, Olympia Studios, London

Alexis Korner, Peter Thorup, voice, guitar; Paul Rodgers, Annette Brox, voice; Harry Beckett, Henry Lowther, trumpet; Malcolm Griffiths, Chris Pyne, trombone; Ray Warleigh, alto saxophone; Lol Coxhill, tenor saxophone; John Surman, baritone saxophone (1), piano (5); Andy Fraser, bass guitar; John Marshall, drums

Mighty Mighty Spade And Whitey (Mayfield; arr. Surman) 4:05

Funky (Korner) 3:03

Wild Injun Woman (Fraser) 3:55

I See It (Staples) 2:32

You Don't Miss Your Water Till Your Well Runs Dry (Bell; arr. Surman) 3:51

All tracks are on the album ‘Both Sides’; track 1 is also included on ‘Alexis Korner: Bootleg Him!’; tracks 1 and 5 are included on ‘Alexis Korner and... : The Collection’ (Castle CCSCD 150 [CD])

___________________________________________________________________________________________________________________________________________

John Surman – ‘Way Back When’

Recorded October 7, 1969, Tangerine Studios, London

John Surman, baritone and soprano saxophones; John Taylor, electric piano; Brian Odgers, electric bass; John Marshall, drums; Mike Osborne, alto saxophone on 5, 6

Way Back When - Part 1 (Surman) 7:30 Cuneiform 200 [CD]

Part 2 (Surman) 5:38

Part 3 (Surman) 4:49

Part 4 (Surman) 3:40

Owlshead (John Warren) 13:54

Out And About (Surman) 8:20

A few no-label 'test pressing' LP copies were made of this music, which was subsequently issued on an unofficial Japanese CD. The Cuneiform 2005 edition is the first official release.

___________________________________________________________________________________________________________________________________________

GIGS: Mike Gibbs Orchestra – October 1969, Lancaster University. Surman’s presence is not confirmed; John Surman, Mike Westbrook, etc. – October 1969, Newcastle Festival

___________________________________________________________________________________________________________________________________________

Various artists – ‘Amougies/European Music Revolution’ film soundtrack

Recorded 28 October 1969, Actuel Music Festival, Amougies, Belgium

Unknown details; artists features are The Art Ensemble of Chicago, Don Cherry and Ray Draper, Joachim Kühn, Anthony Braxton and John Surman, Frank Zappa, The Nice and The Pink Floyd

___________________________________________________________________________________________________________________________________________

The Trio - radio broadcast

Recorded at Philharmonie, Berlin, November 7, 1969

John Surman, reeds; Barre Phillips, bass; Stu Martin, drums

Unknown title 3:29 unissued

Porte des Lilas (Cooke) 5:22

Silvercloud (Phillips) 6:43

Oh Dear (Surman) 5:29

Unknown title 2:44

___________________________________________________________________________________________________________________________________________

The Down Beat Poll Winners In Europe – ‘Open Space’

Recorded November 10-11, 1969, Berlin

Karin Krog, voice; Albert Mangelsdorff, trombone; John Surman, baritone and soprano saxophones; Francy Boland, piano; Niels-Henning Ørsted Pedersen, bass; Daniel Humair, drums

Maiden Voyage (Hancock) 5:29 MPS 15259, MPS/BASF CRM 720, MPS/BASF 21 20720-1, MPS 15006 (France) [LP]

Triple Play (Boland) 3:40

Here's That Rainy Day (Burke/van Heusen) 2:31

Winter Song (Surman) 6:50

Nature Boy (Ahbez) 3:22

Hello Thursday (Surman) 10:01

Open Space (Mangelsdorff) 6:20

Ryoan-Ji (Krog/Mangelsdorff/Surman) 6:03

___________________________________________________________________________________________________________________________________________

Rolf & Joachim Kühn – ‘Monday Morning’

Recorded November 1969, Berlin

Eje Thelin, trombone; Rolf Kühn, clarinet; John Surman, baritone saxophone; Joachim Kühn, piano, alto saxophone; Barre Phillips, bass; Stu Martin, Jacques Thollot, drums

Black Out (J. Kühn) 0:51 Hörzu SHZE909BL (Germany) [LP]

Strangulation Of A Monkey (R. Kühn) 5:43

Dance Of A Spaceman (R. Kühn/Jürgensen) 9:14

Reflections Of A Monday Morning (R. Kühn) 2:58

Oh! Grand Pa (J. Kühn) 7:18

Don't Think (J. Kühn) 5:42

___________________________________________________________________________________________________________________________________________

Catching The New Ones - radio broadcast

Recorded November 28, 1969, Großer Sendesaal des Funkhauses Studio 10, Hamburg; NDR Jazz Workshop No. 64

Allan Botschinsky, trumpet, flugelhorn, mellophone; Roger Guerin, trumpet, fluegelhorn; Slide Hampton, Nick Evans, Radu Malfatti, trombone; Leszek Zadlo, sopranino, soprano, alto, and tenor saxophone; Herb Geller, sopranon, alto and tenor saxophones, clarinet, flute, oboe; John Surman, baritone and soprano saxophones, bass clarinet; Pierre Cavalli, guitar; Steve Kuhn, piano; Palle Danielsson, bass; Stu Martin, drums

Catching the New Ones (Hampton) 6:17 unissued

Joachim (Martin) 6:47

Raindrops, Raindrops (Kuhn/Wallin) 6:27

Transmutations (Cavalli) 10:30

Let Me Play the Lion, Too (Geller) 13:20

Pretty Thing (Hampton) 7:13

Wintersong (Surman) 7:30

Black Horse (Evans) 6:15

284, YLEM, Sanidhama (Malfatti) 11:00

Spanish mode (Hampton) 11:40

Time and thoughts (Hampton) 7:45

Mini Rock (Hampton) 7:05 Norddeutscher Rundfunk: Die Jazz-Werkstatt '70 (NDR 654 094)

Brasilian Story (Guerin) unissued

___________________________________________________________________________________________________________________________________________

Freidrich Gulda - NDR TV Workshop (radio broadcast)

Recorded NDR Studio B, Hamburg, December 7/12, 1969

Freidrich Gulda, keyboards; Kenny Wheeler, trumpet, flugelhorn; John Surman, soprano and baritone sax; Barre Phillips, bass; Pierre Cavali, guitar; Klaus Weiss, drums

To John Coltrane (Gulda) 5:34 unissued

To Joao Gilberto (Gulda) 8:29

To Albert Heath (Gulda) 6:25 Norddeutscher Rundfunk: Die Jazz-Werkstatt '70 (NDR 654 094)

To The New People (Gulda) 11:55 unissued

___________________________________________________________________________________________________________________________________________

Baden-Baden New Jazz Meeting - radio broadcast; various artists – ‘Gittin’ To Know Y’All’

Recorded December 12-14 1969, Südwestfunk Studios, Baden-Baden

Kenny Wheeler, flugelhorn; Hugh Steinmetz, trumpet; Lester Bowie, trumpet; Eje Thelin, trombone; Albert Mangelsdorff, trombone; Roscoe Mitchell, soprano and alto sax, flute; John Surman, soprano and baritone sax; Joseph Jarman, alto sax, vocal; Willem Breuker, tenor sax, clarinet; Bernt Rosengren, tenor sax, flute, oboe; Alan Skidmore, tenor sax; Gerd Dudek, tenor sax, flute; Heinz Sauer, tenor sax; Terje Rypdal, guitar; Dave Burrell, piano, celeste; Leo Cuypers, piano, prepared piano; Palle Danielsson, bass; Barre Phillips, bass; Arjen Gorter, bass; Steve McCall, drums; Tony Oxley, drums, percussion; Claude Delcloo, drums; Karin Krog, vocal, piano

Babudah (McCall) 17:11 unissued

Hollow's Ecliptic No. 3 (Jarman) 18:13

Dear Uncle Alban (Krog/Cuypers) 5:44

Forever (Surman) 4:16

Gittin' to Know Y’All (Jarman) 34:42 MPS 15269, MPS/BASF CRM 728, MPS/BASF 21 20728-5, MPS 15038 (France) [LP], MPS POCJ 2553 (Japan) [CD]Now Now part 1 (Burrell) 15:46 unissued

Now part 2 (Burrell) 13:19

Everything is Water (Krog/Creeley) 11:50

Down with the Revisionists (Rosengren) 13:37

Sorrowful Day (Krog/Surman) 7:46

Open Space (Mangelsdorff) 8:33

Ved Sørevatn (Rypdal) 8:38 MPS 15269, MPS/BASF CRM 728, MPS/BASF 21 20728-5, MPS 15038 (France) [LP], MPS POCJ 2553 (Japan) [CD]

Glancing Backwards (for Junior) (Surman) 10:45 unissued

Unknown Title 13:06

Unknown Title 7:17

Unknown Title 10:52

Unknown Title 8:24

Unknown Title 8:29

Unknown Title 0:57

For My Two JBs (Krog) 1:09 MPS 15269, MPS/BASF CRM 728, MPS/BASF 21 20728-5, MPS 15038 (France) [LP], MPS POCJ 2553 (Japan) [CD]

Unknown Title 1:35 unissued

May Hunting Song (Breuker/Surman) 4:50 MPS 15269, MPS/BASF CRM 728, MPS/BASF 21 20728-5, MPS 15038 (France) [LP], MPS POCJ 2553 (Japan) [CD]