by Jason Ankeny
For Morning Glory, John Surman sets aside his signature baritone saxophone in favor of soprano sax, bass clarinet and synthesizer -- the result is a record as radiant and beautiful as its title portends, comprised of four epic tracks that despite their scope represent his most mainstream work to date. The skill and dexterity of the improvisations here is astounding -- Surman and sidemen Terje Rypdal (guitar), Chris Laurence (bass), John Taylor (electric piano), Malcolm Griffiths (trombone) and John Marshall (drums) connect on an almost telepathic level. But for all its experimental approaches and ingenious ad-libbing, Morning Glory is a remarkably generous album, inviting and approachable like few avant-jazz dates before it -- so much of Surman's brilliance hinges on his refusal to alienate listeners regardless of their personal leanings and expectations, while at the same remaining true to his singular muse.