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Special offer. The Brass Project

John Surman (soprano and baritone saxophones/alto and bass clarinets/piano), Henry Lowther, Steve Waterman, Stuart Brooks (trumpets), Malcolm Griffiths, Chris Pyne (trombones), David Stewart, Richard Edwards (bass trombones), Chris Laurence (double bass), John Marshall (drums/percussion)

John...

...it was clearly a halcyon period for both the Brass Project concept and Warren’s and Surman’s writing. There are brief but telling solos from Lowther, Waterman, Griffiths and Edwards, but...

Special offer. The Brass Project

John Surman (soprano and baritone saxophones/alto and bass clarinets/piano), Henry Lowther, Steve Waterman, Stuart Brooks (trumpets), Malcolm Griffiths, Chris Pyne (trombones), David Stewart, Richard Edwards (bass trombones), Chris Laurence (double bass), John Marshall (drums/percussion)

John...

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...it was clearly a halcyon period for both the Brass Project concept and Warren’s and Surman’s writing. There are brief but telling solos from Lowther, Waterman, Griffiths and Edwards, but...

About

The original conceptual idea for the Brass Project was to set John Surman’s improvising trio with bassist Chris Laurence and drummer John Marshall at the centre of a radiant brass choir of trumpets and trombones. With John Warren invited to contribute compositions and to conduct the group, the Brass Project quickly evolved into a more organic large ensemble, and by the time of this 1992 recording had become one of the most creative

configurations in Britain. The elegant arrangements of Warren’s and Surman’s profoundly melodic music inspire many eloquent and touching solos.

Artists

John Surman (soprano and baritone saxophones/alto and bass clarinets/piano), Henry Lowther, Steve Waterman, Stuart Brooks (trumpets), Malcolm Griffiths, Chris Pyne (trombones), David Stewart, Richard Edwards (bass trombones), Chris Laurence (double bass), John Marshall (drums/percussion)

John Warren

Contents and tracklist

Awards and reviews

April 2019

...it was clearly a halcyon period for both the Brass Project concept and Warren’s and Surman’s writing. There are brief but telling solos from Lowther, Waterman, Griffiths and Edwards, but of course the majority of the feature space is devoted to Surman on each of his four listed reeds... Yet, far from coming across as ‘horn with backing band’, the overall result is of an almost Ellingtonian ensemble which just happens to contain rather fine individual contributions. Brian Priestley
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