The album title – Words Unspoken – alludes to the instant musical understanding found by the members of this nimble quartet assembled by great British reedman John Surman. „My idea was to put together some musical ideas that would offer a collective sense of purpose but still be open enough to allow each of us to suggest other ways of developing the material together. Everything fell into place immediately. But I soon realized it wasn‘t so much the musical ideas that made it work, it was the musicians.”

The brilliant French Hammond organist and pianist Eddy Louiss worked with the likes of Kenny Clarke, Jean-Luc Ponty, and Stan Getz; reed player John Surman and drummer Daniel Humair have long been major forces on the European scene. Louiss also recorded the title piece on Stan Getz’s “Dynasty” album – here the trio presents a wilder version with fiery solos from Surman’s baritone and Louiss on Hammond. This trio likes their Sabi hot with a Spanish tinge.

John Surman is an exceptionally versatile musician and his instrumental prowess has been showcased in many contexts. Yet his solo albums may be the best sources for insights into his melodic imagination. If you want to understand the wellsprings of his creativity, the solo albums are the place to go; “Saltash Bells” ranks with the best of them. This time around the compositions were inspired by the West Country of John’s English childhood, memories of special places – and sounds. The title track refers to the echoes of bell ringing from Saltash church resounding around the Tamar River valley, at the border of Cornwall and Devon. “Whistman’s Wood”, meanwhile, evokes the mysterious petrified forest of Dartmoor … And so it goes, ancient haunts inspiring vivid new music.

Between 1979 and 1982, the Miroslav Vitouš Group was the primary outlet for the abundant improvisational skills of leader Vitouš and John Surman, exemplified by this 1981 release. Vitouš and Surman were well-matched in several ways, with roots and influences that extended beyond jazz, a love of playing freely and a commitment to using the full sound potential of their respective instruments: Surman sings at the top of the baritone sax’s range to match Vitouš’s fiddle-like arco flourishes on the double bass. Drummer Jon Christensen shared their passion for playing, as did Kenny Kirkland, only 24 at the time of this session, on his way to becoming one of modern jazz’s outstanding pianists. Repertoire includes classic Vitouš pieces, collective improvising and an early version of Surman’s relentlessly driving Number Six.

Jazz giants from six European countries coalesce to play wide-open music. One of Norway’s greatest jazz singers, Karin Krog has worked and recorded with Jan Garbarek and Clare Fischer. English multi-saxophonist John Surman and Krog have jointly won two Norwegian Grammys. Surman has played with Mike Westbrook’s Orchestra and John McLaughlin, as well as recorded a slew of records on the prestigious ECM label…