This concert may have been held to celebrate John Surman’s 65^th birthday, but, on the basis of this performance, the saxophonist’s enthusiasm and passion for music of all genres has not been dulled by age as of yet. 

After the interval we were treated to the only planned European performance of tunes from his latest ECM release, Brooster’s Rooster, with the all-star American rhythm section that appears on the album. First, though, Surman provided his own support set in the form of music for solo saxophone and electronics and a collection of duets with kooky Norwegian singer Karin Krogg. 

The constant variation in textures and instrumentation eradicated the possibility of the onset of any boredom, while multi-reedist Surman proved himself to be a broad and consummate musician. His sound on soprano veered from the warm and flutey to a Baroque-reminiscent staccato (he has recorded two albums of John Dowland songs with vocalist John Potter), and it was this resourcefulness which engaged the listener, rather than his accompanying ‘electronics’, which often sounded like pre-recorded demo tracks labelled ‘whimsical’ or ‘melancholy’ on a mid-range Yamaha keyboard. 

In addition to evading the cumbersomeness often associated with the bass clarinet and baritone saxophone, Surman also managed to inject his improvisations with an absorbing sense of narrative. This was abetted further by the probing drumming of Jack Dejohnnette, perennially keen to join Surman and John Abercrombie on the improvisational front line, and often delegating time-keeping duties to solid bassist Drew Gress in order to play more adventurously himself. 

We were lucky to observe a snapshot of the saxophonist’s expansive portfolio over the course of his two sets this evening. Executed with a breathless verve that was inspiring to witness, we caught a glimpse of the wealth of influences that have contributed towards the musical palette of one of British jazz’s most eclectic practitioners.

Sam Braysher