- REVIEWS -

Shifting Sands

"As pianist/composer Geoff Eales explains in his liner notes, this is the fusion album he has been waiting nearly 30 years to make, since fronting the self-explanatory Electric Eales band in the early 1980s.

He also explains that 'isorhythm' refers to a 'principle of construction where a fixed rhythmic pattern undergoes a series of melodic transformations throughout the course of a piece', but knowledge of all the above is by no means essential to appreciation and enjoyment of this fiercely lively, intelligently programmed album.

Eales is a keen and astute observer of the contemporary jazz scene, and he has hand-picked something of a dream band for this project: guitarist Carl Orr, saxophonist Ben Waghorn, electric bassist Fred T. Baker, drummer Asaf Sirkis and guest violinist Chris Garrick. He has also provided said band with a series of pleasingly varied, gutsy but subtle pieces, incorporating telling traces of so-called 'world' music (Sirkis particularly suited to these) but mostly drawing on the strengths of fusion music: bustling or anthemic themes, hard-hitting solos, thunderous climaxes, all held together by Eales's powerful acoustic piano or rattling fender rhodes.

Orr and Waghorn (the latter doubling effectively on bass clarinet) contribute spikily mesmerising and swaggering solos respectively, and the rhythm section is impeccable, Sirkis once again proving that he is one of the most sensitively propulsive percussionists in the music, alert to every rhythmic nuance yet also capable of delivering straightforward punch and drive where necessary.

Eales, a wide-ranging career (embracing everything from work on cruise ships to playing behind the likes of Shirley Bassey) behind him when he began making unalloyed jazz albums in the early 1990s, is a thoroughly mature and versatile musician, and this vibrant album is a welcome addition to his impressive discography."

Chris Parker
London Jazz (December 2011)

Shifting Sands (**** 4 Stars)

"If you've been following the late blossoming career of magisterial pianist Geoff Eales, Shifting Sands will probably come as a bit of a surprise. Most of Eales' previous studio outings - not least 2009's outstanding Master of the Game - have been boldly emotional trio-based affairs ; the new disc, by contrast, features a quintet ( bumped up to a sextet on two cuts by the presence of Chris Garrick on electric violin ) and is pretty full-throated fusion. It's hardly a new departure for the main man, however, since he led a fusion band - called Electric Eales, naturally - back in the 1980's, and he shows a fine grasp of group dynamics throughout here. True to its name, the title track refuses to be pinned down, moving from a furiously Middle Eastern-influence motif to solo piano and back again to ecstatic wigout with everyone in the highly talented ensemble racing to achieve lift-off first. The gorgeously poised, more sombrely meditative "Five Steps from Eternity" gives Eales space to stretch out. But this album is about kicking out the jams and it's a real pleasure to hear Eales digging out a deeply funky groove on Fender Rhodes on the likes of "Hot Night in Vindolanda" and "Ultimate Journey". Move over, Chick!!"

Robert Shore
Jazzwise (December 2011)

Shifting Sands

"Geoff Eales’ last album, Master of the Game, was a masterful example of jazz trio performance, with Geoff joined by bassist Chris Laurence and drummer Martin France. Never one for resting on his laurels, Eales’ follow up album has the pianist making a radical switch in musical direction: Shifting Sands sees Eales moving in the genre of jazz-rock/fusion. Let’s be honest – for many, jazz-fusion conjures up visions of loud, rambling musical explorations and players showing lots of technical prowess but little heart. Well, on Shifting Sands, Eales and his band Isorhythm, show that jazz-fusion can be exciting, intelligent and played with feeling

The title track, with its dramatic intro, is an exciting album opener, blending jazz and rock with an Arabian feel. Asaf Sirkis and Fred T Baker show how a really tight rhythm unit should sound, while Carl Orr plays scorching guitar lines, Geoff Eales’ piano chords dance all over the sound, and Chris Garrick’s electric violin and Ben Waghorn’s soprano sax, convey the feeling of being in the middle of busy Arabian market place. The mellow-sounding “Five Steps From Eternity” begins with some solo piano from Eales and features a haunting melody played on soprano sax. On “Hot Night In Vindolanda”, Sirkis lays down a heavy backbeat, joined by Baker, with a heavy, funk bass line. Eales comps elegantly on Fender Rhodes piano, as Waghorn blows his horn and Baker solos.

Fans of Eales’ piano playing will enjoy “They Can’t Harm You Now,” a beautiful, moving piece that features Waghorn on bass clarinet. “When The Spirit Soars” is aptly titled, beginning as a mid-tempo bluesy/funk number, before shifting up a gear and soaring off energetically, and then turning down the heat at the coda. Shimmering chords from a Fender Rhodes and the soft sounds of a soprano sax mark the beginning of “Ultimate Journey,” but don’t fooled, because this number does indeed, take you on a musical journey that includes an enthralling uptempo section, featuring blistering guitar, driving rhythm and animated soprano sax. A funky, rippling Fender Rhodes solo brings the energy level down, before making way for bass solo that is joined by some far-out electric violin playing by Garrick.

“The New Arrival” is the only solo piano track on the album, evoking memories of Eales’ well received “Synergy” album. It has all the Eales’ trademark sound – high keys, gorgeous melodies, imaginative use of space and chords that seems to float into your ears. The final track, “Getting Down With Dukey” (a tribute to the jazz-funk meister George Duke) does indeed get down and dirty, with Eales once more laying down funky lines on his Fender Rhodes, while the rest of the band whip up a storm. If you thought a jazz-funk band can’t move both your feet and your heart, think again, because Shifting Sands is proof positive that the two are not mutually exclusive. A fine album, indeed. "

George Cole
Author of The Last Miles (the music of Miles Davis 1980 - 1991) (November 2011)

Shifting Sands

"Pianist Eales has created a truly delightful work on this new recording, with the nine-minutes-plus title track a beautifully composed suite which sets the scene in exotic style. There are echoes of the Spanish-tinged work of Chick Corea here ( itself much imbued with the Moorish influences on Spanish culture ). There's great inventiveness, sensitivity and musical depth in Eales' soloing on this track,and elsewhere on the album. His group is completed by Ben Waghorn on saxaphones and bass clarinet, Carl Orr on guitar, Fred T Baker on electric bass and Asaf Sirkis on percussion, with Chris Garrick featured on electric violin on two tracks. This is a splendid achievement with strong soloing from all the players and imaginative compositions from Eales"

John Watson
www.jazzcamera.co.uk (October 2011)

Master of the Game

"Welshman Geoff Eales may never have created this masterful music had he remained an accompanist for such wildly diversze stars as Tammy Wynette, Shirley Bassey and Jose Carreras. Jazz is richer for his decision.

The album's title refers to Herman Hesse's masterpiece The Glass Bead Game, which has also inspired the second track, Magister Ludi. That book is certainly a heady stimulus and Eales's response rises to the challenge, Magister Ludi having both majestic solemnity and flaring imagination.

After an initial statement of a sombre theme from Chris Laurence's bowed bass, Eales' piano begins a series of profoundly moving embellishments, while Martin France's martial drumming unwinds to a looser impressionism.

Laurence plays a brooding solo with that thick-pile sound of his before France devises luminous cymbal textures behind the piano as the piece unravels to a lighter-than-air conclusion. Among the stream of exceptional compositions and beautifully open improvising, Eales and his colleagues pay tribute to the late Esbjorn Svensson (Lachrymosa), whose own trio never reached such heights."

John Shand
Sydney Morning Herald (January 2010)

Master of the Game

"Reinvention is in the air these days and pianist Geoff Eales has caught the bug. His "Master of the Game" (Edition) casts off any emulation of others as he aims for a personal (and successful) rebirth. All eight pieces are his, magisterial bassist Chris Laurence and drummer Martin France the expert mid-wives."

Peter Vacher
Jazz UK (June/July 2009)

Master of the Game

"Eales has always been a bold forager for material rather than a casual gleaner of unconsidered trifles. Who else would put Victor Feldman's A Face Like Yours on a contemporary record date ? That was the outstanding cut on "Red Letter Days", the trio disc Eales cut for Black Box with the then trio of Roy Babbington and Mark Fletcher right at the start of what has been a busy decade of jazz recording. Since 2001 Eales has been on 33 Records as well, but here he launches a new imprint with a beautifully considered performance, marked by his disciplined lyricism and sure touch. The leader gives equal weight to France - subtle and strong at the start of the title track - and to Laurence, who just sounds immense whenever he is featured; some of his plucked tones and arco accompaniments enter the room with with an almost physical presence. The Saddest Journey and Song For My Mother balance out the more upbeat tone of Inner Child and Awakening (try either of these on a jazz-piano fan and see who he comes up with), but the elegiac quality wins out near the end with Lachrymosa, dedicated to Esbjorn Svensson, one piano master tipping his hat to another."

Brian Morton
Jazz Journal (June 2009)

Master of the Game (**** 4 Stars)

"This CD with Chris Laurence (bass) and Martin France (drums) is a revelation. The trio's democratic approach references Bill Evans, and Evans's impressionism is reflected in several of Eales's originals, but his influences are wider than that. At home playing inside or outside, he's a natural improviser concerned with details of colour, mood and developing the overall arc of a performance."

Ray Comiskey
Irish Times (April 2009)

Master of the Game (**** 4 Stars)

"It seems to be Geoff Eales' fate to constantly invoke other pianists : Bill Evans for sensitivity, Keith Jarrett for clarity of tone, John Taylor for the symphonic voicings. But Master of the Game disproves the adage about old dogs and new tricks. The simmering insistence of Iolo's Dance and the sombre majesty of Magister Ludi unerringly recall the late Esbjorn Svensson. The dynamic sensitivity of the Chris Laurence/Martin France rhythm team also invite the E.S.T. comparison. Eales, truly master of the game, has never sounded more vigorous or lucidly lyrical."

Mike Butler
Manchester Evening News (April 2009)

Master of the Game (***** 5 Stars)

"For Master of the Game Eales has assembled a stellar new trio. Bassist Chris Laurence and drummer Martin France are among the very finest exponents of their respective instruments and it comes as no surprise that this is probably Eales' finest album to date

The playing is excellent throughout with Laurence and France playing key roles. The bassist is brilliant with or without the bow and functions both as a superb accompanist and a consistently interesting soloist. France is a master of his craft, his subtly propulsive style just right for the music, his rhythmic shading and attention to detail exquisite. The interaction between the three players makes for genuine musical conversation. Master of the Game is a great team effort.

However the ultimate credit must go to Eales for his masterful writing and excellent playing. Like the great John Taylor Eales just seems to get better with age. Master of the Game is a highly distinctive album in an overcrowded field. It deserves to propel Eales into the piano premier league."

Ian Mann
The Jazz Mann (March 2009)

Master of the Game (**** 4 Stars)

"Eales doesn't regard himself as a late bloomer - one early trio he led appeared on Welsh TV when he was still in his teens. All the same, the fiftysomething pianist has only started recording in his own name in the past 10 years, and Master of the Game - which, if there's any justice, should establish him firmly in the jazz premier league - is his first to feature only original compositions. As usual, there's a strong emotional core to the material: this is engaging, stylishly urbane music but with dark, volcanic urges bubbling just under the surface. Bill Evans is an obvious influence - but which contemporary piano trio leader can honestly claim to be without some debt to him ? - while the spirit of Keith Jarrett is in evidence on the haunting "Magister Ludi", inspired by Herman Hesse's magnum opus, The Glass Bead Game. And there's a bit of E.S.T. in "Lachrymosa" - after all, it was written as a tribute to the late Esbjorn Svensson. But the overriding sense on Master of the Game is of a famously "eclectic" pianist who's become a master of his influences and begun to speak in a voice that is distinctively and unmistakably his own."

Robert Shore
Jazzwise (March 2009)

Master of the Game

"Conceived as an antidote to the somewhat hackneyed standards-oriented piano trio, this band – completed by bassist Chris Laurence and drummer Martin France – was chosen by pianist Geoff Eales to explore a wide range of self-composed material ('to push the envelope' as he puts it). He could not have chosen better partners: Laurence, with both bow and fingers, is at once an eloquent, intensely melodic soloist and an utterly dependable accompanist; France is adept both at straightforward timekeeping (his pistol-crack rimshot playing in this mode is exemplary) and at more discursive, decorative kit work.

Overall, though, this is very much Eales's album, his compositions ranging easily between an affecting threnody ('Lachrymosa') dedicated to Esbjörn Svensson to anthemic themes in which Laurence complements his power and lucidity perfectly, his playing by turns rumbustious, delicate, playful and grave, as demanded by the various moods of his pieces.

Maturity – in its most complimentary sense – is perhaps Eales's hallmark; to a superb technique honed over years of professional playing in a wide variety of musical contexts, he is able to add more elusive qualities, chief among them grace, wit, control and musicianly intelligence. Recommended."

Chris Parker
The Vortex (March 2009)

Master of the Game

"Eales has long been a master of the game, if the game is about applying the methods of the great jazz piano virtuosos to a mixture of traditional standards and popular contemporary themes. But this is a big stride forward for him - partly because his double bass and percussion partners (Chris Laurence and Martin France) are way ahead of "the game" and partly because the original material seems to free Eales and let him open things up. The opening Iolo's Dance is a riff-driven vehicle for all three soloists, while Laurence's magisterial bowed sound imparts an appropriate weight to the anthemic Magister Ludi. The ballads are sumptuously couched in lustrous chords and seductive melodic turns, built around the the intertwined voicings of piano and bass. And the faster pieces exhibit a surging freshness. He sounds here like a master of an old game who is hunting for a new one"

John Fordham
The Guardian (March 2009)

Belgrade Jazz Festival, October 24-30, 2007

"Belgrade, the lively, super-friendly capital of Serbia ( and of the former Yugoslavia ), hosted one of the major, Newport-associated, European jazz festivals throughout the 1970's and 1980's. There followed a 14-year hiatus of terrible Balkan strife and isolation from which the new democracy is still emerging. The festival was revived by local enthusiasts in 2005, modestly at first with limited funding but each successive year has seen growth in support, sponsorship and musical quality. The wholly successful 2007 event, packed into a week with many of the finest US, European and local musicians and with the emphasis on current high form and consistent creativity, promises a rapid return to the glory days.

I attended with Cardiff jazz photographer, Tim Dickeson, and with a special interest this year. At Tim's initiative and with support from from Welsh Arts International, the festival invited Geoff Eales and the Dave Stapleton Quintet to appear as the centrepiece of short Balkan tours. They were unknown to Belgraders when they arrived but made such an impression that return visits are inevitable.

Geoff played his Jazz Piano Legends solo set ( as recorded on J2C 0701 ) to a wildly enthusiastic young audience at the City's main music school, some of his own compositions ( from Epicentre : 33 Jazz 162 ) at the Bitef Art Cafe and, to demonstrate his versatility, he joined the excellent Pera Joe Blues Band for a thrilling, post-midnight session of hard-driving Chicago blues in the Living Room club. He captured the crowd's attention from his opening "Night Train" and never let them off the hook, to the extent that he was called back for encore after encore. The band's faces when he added modern harmonic touch to fit perfectly with simple blues grooves were a delight."

Bob Weir
Jazz Journal International - January 2008

Epicentre

"This seventh solo outing sees Eales exploring fresh Keith Jarrett-esque territory. The album consists of an afternoon's worth of solo improvisations based almost entirely on original melodic material, and largely presented in the form of unedited first takes. The only standard here is Howard Dietz and Arthur Schwartz's "Haunted Heart", which is presumably included because if its appropriateness to the album's overriding mood - and apparent theme, since this album plays like a musical progress through emotional torment, culminating in the cosmic release of "Eternal Dance". Along the way Eales shows his mastery of an impressive array of styles, from the soulful groove of "Gospel Truth" to the bluesy riffing of "The Black Path", and from the wild free jazz of "Seizmic Shift", on which the Welshman does his level best to make the earth move, to the dramatic chordal clangour of the opening of "Dreams to Dust", a bittersweet tune that unfolds its tale of woe with hypnotic grace."

Robert Shore
Jazzwise (May 2008)

Epicentre

"Geoff's previous albums have featured mostly standards with rhythm section support. On his latest CD he is alone on a good, well-recorded Yamaha instrument playing his own compositions (apart from the neglected Dietz/Schwartz ballad, Haunted Heart), in a relaxed and highly inventive manner. The combination of prodigious technique, deeply-felt emotions and unhackneyed creative is wholly engaging.

His mastery of all pianistic styles and the quality and variety of his writing are equally impressive. The shade of Bill Evans is evoked on the beautiful, introspective opener. Geoff follows with a virile trip to the Deep South on the powerfully melodic Gospel Truth. Dreams to Dust is a moving portrayal of loss and regret. Emphatic Messengers' - style lines are seamlessly contrasted with lyrical responses on The Black Path. Prayer suggests Sunday afternoons in a Welsh chapel and is a fine demonstration of Geoff's nuanced touch and control. Seizmic Shift is like the soundwash for a space film from its cataclysmic opening through its abstract pictorial sequence of strange, threatening phenomena. Haunted Heart and When Words are the kind of tenderly interpreted love songs at which Geoff excels. The album reaches, all too soon, a whirling flourish of a climax with an Eternal Dance that would grace any Dave Brubeck album.

Although much of the playing is out-of-tempo, Geoff uses the freedom of solo performance with discipline and never a hint of self-indulgent rambling. His fine sense of form becomes more apparent with each listening.

The album is stylishly packaged with a striking cover image and several portraits of Geoff in action by photographer Tim Dickeson. I strongly recommend this recording as an outstanding example of refreshing, challenging, utterly sincere and beautifully performed solo piano playing"

Bob Weir
Jazz Journal International - December 2007

Epicentre

"'An afternoon of solo piano improvisation' is what is documented by this album from pianist Geoff Eales; mostly first takes have been used, the better 'to capture the spirit of the moment rather than edit the life and soul out of the music in the search for absolute perfection'.

The pieces' titles - the album consists of eight improvisations and one standard, the Dietz/Schwartz ballad 'Haunted Heart' - provide a good illustration of the range and depth of Eales's stylistic reach: 'Gospel Truth', 'Prayer', 'When Words are Not Enough', 'Eternal Dance' and so on indicate Eales's sources in everything from blues and gospel to post-bop and free jazz, and from folk to the classical tradition.

As admirers of his previous six albums will already know, Eales is a born improviser with an apparently unassuageable appetite for rhythmic and melodic exploration, so this modus operandi plays to his strengths: a sure technique that enables him to execute the most dazzlingly rumbustious runs with ease and grace; dynamic control that ensures clean, natural transitions between vibrant gospel- or boogie-woogie-inspired passages and the most hushed contemplation; and an overall tastefulness demonstrated by his programme's balance and variety.

After half a dozen recorded outings on which his parameters are basically set by his material, it's good to hear Eales allow himself free rein on this consistently enjoyable album."

Chris Parker
Vortex Jazz Club -2008

The Homecoming

"Regular touring and constant interplay has turned the Eales trio into a finely-tuned mechanism. Eales himself has always been an accomplished player, renowned for his keyboard animation, wholly committed to jazz now after years in more commercial music. He knows the piano canon, style for style, but hankers for a personal signature, his performances a compound of originals and standards, all delivered with an attractively pent-up abandon. He's the first among equals here, with Roy Babbington's sublime bass playing a key element in this brilliant album's soundscape, as are drummer Mark Fletcher's expert accents and fills. Eales's originals are often harmonically canny, typified by the reflective "Ballad For The Lost Souls", and he's good at reshaping familiar songs like "How Deep Is The Ocean?", making it sound more melancholy than usual. Hints of Evans and Tyner, yes, but it's mostly Eales you hear. This is easily the best of his recent releases."

Peter Vacher
Jazz UK - March/April 2007

The Homecoming

"Right from the opening track where bass and drums have their share of the soloing action it becomes apparent that this is a very special piano trio. Their controlled energy, intuitive interplay and absorbing inventiveness produce fresh-sounding jazz of a high order. It is a joy to hear players who are so well matched and mutually inspiring.

Geoff Eales emerged eight years ago from two decades of highly regarded studio work to concentrate on full-time jazz, his passion since childhood, hence the album title. He found his soulmates in Roy Babbington and Mark Fletcher and has recorded five previous albums as leader. This one is the most adventurous and easily the best.

One aspect that makes the trio so distinctive is Geoff's progress as a composer. He contributes six memorable originals to this album. "Ballad", "Waltz" and "2222 La Mesa" reflect his admiration for Bill Evans. "Be Quick" showcases his splendid touch and accuracy at speed. "Fletch Pot" is a feature for Mark Fletcher's fiery drumming and the gospel-tinged "Coming Home" is the ideal closing summary of the group's many qualities. The well-chosen standards are equally appealing. Geoff's ultra-slow, original treatment of "How Deep Is The Ocean?" is really outstanding.

The CD is recommended as a pianistic treat and everyone is urged to catch the trio when they next visit your area."

Bob Weir
Jazz Journal International - October 2006

The Homecoming

"As anyone present at the trio gig Geoff Eales played recently at the Vortex will know, he is one of the UK's most vibrant pianists, capable both of injecting life into standards and of infusing his original compositions with vigour and energy.

On this, his fifth album as leader, Eales is joined by his regular rhythm section, bassist Roy Babbington and drummer Mark Fletcher, on a skilfully varied programme that begins with a zesty visit to Cole Porter's 'All of You', emphasises all the rhythmic subtlety of 'Poinciana' and visits Jobim ('Triste'), Berlin ('How Deep is the Ocean?') and 'Beautiful Love' to great effect, Eales bouncing ideas off his bandmates in a series of bright but controlled explorations.

As might be expected from a man inspired by Bill Evans, though, there is a rich vein of tender thoughtfulness running through the trio's music, and 'Ballad for the Lost Souls', a threnody for victims of 9/11, is at once moving and challenging.

There are nods to other Eales heroes (Fats Waller, Charlie Parker, Evans himself), but overall, Eales, both as composer and soloist, is very much his own man, unshowily virtuosic, hard-swinging where required, but capable of affecting delicacy where appropriate, and his trio is a wonderfully responsive unit, which can be seen on a forthcoming autumn tour."

Chris Parker
Vortex Jazz CD Reviews - 2006

Purcell Room, South Bank Centre - September 11th, 2005

****

"The word "energetic" might not be the first adjective to spring to mind in describing the legacy of the Jazz pianist Bill Evans, who died 25 years ago this week. A stooped, scholarly looking figure who crouched low over the keyboard and produced some of the most introspective and harmonically challenging Jazz of the 1960s and the 1970s, Evans revolutionised the piano-bass-drums trio by encouraging his fellow musicians to join in a musical conversation rather than simply accompanying him.

In the opening concert of a three month national tour to celebrate Evans' legacy, the Welsh pianist Geoff Eales more than captured the essence of this three way dialogue, but he added a high level of energy that coursed through this set from it's opening notes to the dying chords of the encore. His virtuoso technique got inside Evans's style to the extent that pieces such as "Turn Out the Stars" became fresh interpretations, rather than convincing copies. In this case, the theme itself was set out clearly, with lovely rhapsodic runs weaving through it, commenting on the melody, playing tricks with the time and adding dazzlingly inventive new figures.

Central to the Evans concept was the notion of sharing the melodic development of a piece with the bassist, and a string of soloists he employed, including Scott leFaro, Eddie Gomez and Marc Johnson, became a roll call of the most adept bassists in Jazz.

Happily, Eales has found the ideal bassist to continue this tradition in Roy Babbington, whose deft fingering, innate sense of swing and melodic imagination was a perfect complement to the piano. I have seldom heard him play so well and his solos on pieces such as "My Romance" fizzled with energy and innovation. With Mark Fletcher rounding out the trio with some emphatic drumming, this sounded more like a top flight American band than a British group.

This is an exceptional piano trio, playing an unusual and varied repertoire with an uncanny level of skill and commitment, and well worth seeking out as it tours the country"

Alyn Shipton
The Times - Sept 2005

Synergy

" Solo piano is the ultimate test and Geoff Eales passes with ease. Like the stand up comedian, the solo pianist has no place to hide: technique, imagination and invention are all ruthlessly exposed. “What is this Thing Called Love?” is a tour de force not just with the fabulous technique deployed but with the structure and the various devices used to maintain interest throughout the journey through the piece. Geoff’s exuberance is there no matter what the tempo because it is a part of his creative energy that you can sense whatever the tempo. The jazz audience is often very conservative. People like musicians to fit neatly into categories, Geoff does not do that. He delights in technique not for its own sake but because it allows him to be clear. Some pianists’ styles are determined by their lack of technique, Geoff’s is determined by his vast experience and the fact that he has a technique that allows him to play most of what comes into his mind. In a recent interview Geoff said that he wanted to play fewer pieces from the American Songbook. Those tunes have strength and an endurance that have made them vital to improvisers from every generation. An improviser like Eales needs the audience to see the subtlety of his designs and that is difficult to see when the original structure is not known to the audience. The strongest pieces on this CD are from the Songbook tradition. The limpid impressionistic introduction to “Here’s that Rainy Day” adds to the romanticism of the piece. A similar mood is captured in the Bonfa piece at the start of the CD. . “All the Things You Are” undercuts expectations and gradually reveals the melody after some very complex variations. It is all played at a surprising and apt slow tempo. “My Romance” opens in meditative mood and then gradually moves into a different funky tempo. It is typical of the unexpected delights that you get throughout the album. The best of the original pieces is “Funkin’ at Greasy Jo’s” which has a catchy sustained rhythm that sounds great and cries out to be arranged for a larger ensemble too. If you have any love for solo piano jazz played with passion and intelligence by an original this is a CD you should seek out."

Jack Kenny
Jazz Views- March 2005

Synergy

"The world of commercial music simply couldn't function without phenomenally accomplished musicians like Geoff Eales.Without knowing it, you will have heard his keyboard playing on TV themes, film sountracks, advertizing jingles and so on. Fortunately he has started to record some of his own music and this is his first solo effort. To say that it covers a lot of ground is putting it mildly. From the delicate tracery of "No More Tears" to "Funkin' at Greasy Jo's", Eales conducts a kind of guided tour of pianistic moods and styles. A fascinating hour's music"

Dave Gelly
The Observer- January 16th 2005

Facing the Muse

" This is a superb set covering as it does jazz classics such as 'Round Midnight, standards like My Foolish Heart and self penned compositions such as a tribute to Bill Evans to highlight just 3 of the 11 stunning performances. If you get the chance to catch Geoff and his trio don't miss out, as it will be a memorable experience. Whatever CDs you buy this year include this, as talented musicians like this don't grow on trees. For information on Geoff why not visit his website www.geoffeales.com "

Clive Fuller
In Tune International - April 2003

Facing the Muse

" Leader Geoff Eales pays tribute to virtually all the really important, innovative pianists in modern jazz here with the notable exception of Bud Powell. Monk, Evans, Tyner, Hancock and Jarrett have all provided inspiration in abundance and most are honoured here with a composition for, or associated with them. His own personal and distinctive sound is perhaps best demonstrated on the lyrically intense version of Blame It On My Youth where Geoff's touch at the keyboard is light and flexible but extremely expressive. Well, You Have To is a lively romp honouring Monk, although for a real flavouring of that iconoclastic master of the keyboard you need to go 'Round Midnight of course, even though Geoff's reading is original and highly personal...Stokin is a first rate bouncing blues.

This is top flight piano trio music, beautifully fashioned and performed by Eales and expertly supported by the top rank rhythm team of Babbington and Fletcher.

Definitely one to go immediately onto the shopping list. "

Derek Ansell
Jazz Journal International - April 2003

Facing the Muse

" NEW HEROES... I am told we need 'new heroes', so let me introduce an unsung hero... Geoff Eales, a gifted home-grown, totally uncategorisable pianist-composer who burns with terrifying passion for the music. He used to sit in the hot seat with the BBC Big Band from where he would launch a piano solo like a scud missile in a shower of sparks. While we took cover under the sofa to avoid the falling debris from the ceiling, we gasped, astonished, as Eales' propelled the band's standard charts into the stratosphere through sheer mind blowing inventiveness. Eales' first trio CD, Facing The Muse (Mainstem) with bassist Roy Babbington and drummer Mark Fletcher, is a further revelation. While Eales pays tribute to his inspirations, his approach to a dusty standard such as Let's Face The Music And Dance is fasten seatbelts, hang on and prepare for the ride of your life. The originality of his direction on The Theme From Mash, Days Of Wine and 'Round Midnight " takes your breath away as Eales feverishly rewrites all the rules. In haste to create these new heroes, let's not overlook our unsung heroes? "

Chrissie Murray
Jazz at Ronnie Scott's- March/April 2003

Facing the Muse

" On hearing Eales, one of the first things that becomes clear is that you are listening to a pianist with an understanding and appreciation of the entire jazz piano tradition, who allows his flow of ideas to stem from his whole range of influences rather than playing in a particular 'bag' for a particular genre of repertoire.

Eales is complimented by his sidemen, Roy Babbington with his unobtrusive, but fluid and solid support on the bass, and drummer Mark Fletcher, who being one of the most versatile drummers on the scene, is the perfect foil for the eclectic choice of material on the CD.

High points include Eales' lively latin tribute to Monk Well You Have To, and his thoughtful impressionistic treatment of the aforementioned Thelonious's classic 'Round Midnight. "

Mike Gorman
Musician - March 2003

Facing the Muse

" Eales has never disguised his respectful devotion to masters such as Thelonious Monk, Bill Evans, McCoy Tyner, Chic Corea and Herbie Hancock, and his glossy technique as a straight jazz swinger is formidable... Eales's arranging talents reinvent familiar material and his sense of urgency, his fresh ideas and his enthusiasm are infectious. The M.A.S.H. theme is elegantly reworked, and Stokin', chorded by Jarrett and Tyner, builds into a driving solo. Blame It On My Youth is a poignant interplay with Roy Babbington's bass, while Days Of Wine and Roses glitters with casually scattered flourishes. Monk's almost inevitable 'Round Midnight opens with an unexpected abstractness against Mark Fletcher's cymbal sound, and it develops with a distinctly un-Monklike suaveness... This is a gracefully honest set of its kind. "

John Fordham
The Guardian- January 17, 2003

Facing the Muse

"Geoff Eales is a hard swinging pianist who is totally committed to the trio concept, and on this his third album (and first as leader for Mainstem) takes us a tour de force through eleven selections comprising of originals and some songs from the Great American Song Book.

Eales is a PhD music graduate from my home town, Cardiff, and this however is my first encounter with his music, although it transpires that my father taught Geoff during his school days in the mid-sixties! Joining the BBC Big Band in 1978 staying for four years, he has since worked with artists such as Rosemary Clooney, Teddy Edwards, Buddy Tate, amongst others.

Bassist, Roy Babbington, needs no introduction having spent so much time playing in the quartet of that illustrious British pianist, Stan Tracey as well as stints with Barbara Thompson, Ian Carr’s Nucleus, and also the BBC Big Band; whilst drummer Mark Fletcher has been steadily amassing a considerable reputation as one our leading drummers, and has been house drummer at Ronnie Scott’s Club since 1995.

The Trio are a regular working unit and this empathy and understanding is evident throughout. Cole Porter’s ‘Dream Dancing’ is taken at a fair clip swinging ferociously and can be a fair indication of what to expect from this exciting unit. The gentler side of the music comes to the fore in a lovely reading of ‘Blame It On My Youth’ and the original ‘Remembering Bill’ for Bill Evans. Other notable originals include a tribute to McCoy Tyner in ‘Don’t Be Coy’, and the blues drenched ‘Stokin’’.

‘Facing The Muse’ could almost be subtitled ‘Exorcising The Demons’ as the album makes continuous reference to some of the giants of jazz piano who have not only faced their own muse but also had an acknowledged influence on the pianist. It is therefore a tribute to Eales that in the midst of this he manages to make his own stamp on much of this fine album, and I have no hesitation in recommending this CD."

Nick Lea
Jazz Views- March 2003

The Scarisbrick Hotel,Lord Street, Southport - April 13th 2003

"Geoff Eales and the Arts Centre Steinway concert grand piano is a fantastic combination. Throw in Babbington and Fletcher and the Cambridge Theatre’s acoustics and the result is the best jazz trio sound since Oliver Jones visited Southport back in 1991. For good measure add a touch of magic from the ‘Piano legends’ and you have a jazz experience no one in the audience will forget in a hurry!

Geoff Eales is one of the few pianists in the world with a technique capable of interpreting the sounds of the ‘masters’ whilst still playing creative individual jazz. Roy Babbington has developed a style and range on the bass which turns it into a genuine solo instrument. Mark Fletcher’s cohesive drumming creates the drive and all three coalesce and swing remarkably.

Opening with Oscar Peterson’s ‘Hole in One’, Geoff set the scene for a journey through jazz piano evolution. His short rendition of Scott Joplin’s ‘The Entertainer’ demonstrated the era of stride. Fats Waller’s ‘Ain’t Misbehavin’’ took the genre forward with a more flexible right hand style and some double tempo. Art Tatum’s interpretation of ‘Tea for Two’ was incredible and highlighted Eales’ superb technical ability and fluency.

Dave Brubeck’s ‘Take Five’ gave the trio a chance to improvise in the strange land of 5/4 tempo on this Paul Desmond original. Errol Garner’s ‘Misty’ was appropriate for this concert by the (albeit not always visible) sea! The seashore mood was continued with some Jobim; ‘Triste’ was uptempo and very much in the trio’s own robust style with a tasty drum solo from mark. ‘Autumn Leaves’ with bowed bass, counterpoint and fugue owed much to J.S.Bach but was great jazz and a musical world away from the last number in the first set – Thelonious Monk’s ‘52nd Street’ – Tempus fugit!!

Everybody likes a Gershwin tune but not everybody recognises George’s own piano style. Geoff reminded us by opening the second set with ‘Lady be good’ and then switching into ‘Lullaby of Birdland’ from the man he described as Britain’s best pianistic export – George Shearing. Another, but less well known, export was Victor Feldman’s lovely ballad ‘A face like yours’. Geoff then put in a request from one of our members for the fabulous Bill Evans – ‘Waltz for Debby’ – outstanding.

One of Roy Babbington’s claims to fame is his recording of ‘Air on a G string’ for the Hamlet cigar TV ad (for which he says he was paid £7!!) and which formed the basis for a piece in the style of Jaques Loussier.

The next three were unashamedly modern jazz – McCoy Tyner’s ‘Stokin’, Herbie Hancock’s ‘Watermelon man’ and Ellington’s ‘Prelude to a kiss’ in Keith Jarret’s laconic style. Ellington also provided the last number ‘Take the A Train’, a popular closer for many jazz combos. However, despite protests from the staff about ‘time-up’ the audience just kept applauding until the trio came back for an encore and Geoff chose from the trio’s new CD Cole Porter’s ‘Let’s face the music and dance’. "

Southport Melodic Jazz Club

Taliesin Arts Centre, Swansea - November 2, 2002

" Pianist Geoff Eales holds a special place in the hearts of jazz enthusiasts and in this super concert, featuring Roy Babbington (bass), Mark Fletcher (drums) and Jim Mullen (guitar), he paid tribute to the giants of jazz piano.

Oscar Peterson, George Shearing, Errol Garner and Thelonious Monk were among those whose talents were celebrated here and the audience were enthralled.

Geoff's dexterous fingers danced their way through a cavalcade of jazz classics, including Lullabie of Birdland, Misty and A Face Like Yours.

The work of Dave Brubeck - the very first performance at the Taliesin way back in 1984 - was also included, with a rousing arrangement of Take Five.

Geoff's knowledge of the subject was admirable and he used this to great effect, delivering an informative commentary on the history of jazz piano and the pioneers who played such an important part. Musicianship of this quality is something to be savoured. "

South Wales Evening Post

Alexandra Theatre, Birmingham - April 13, 2002
(Jacqueline Barron & Michael Dore with the Geoff Eales' Trio)

" This evening was the end of a 5-date tour of a new and innovative show produced by Rayner Bourton. The somewhat sparse audience possibly due to sell out shows at both the Rep & Hippodrome enjoyed every last note of what was a most memorable evening.

The concept was a brilliant one and the jazz excellent and quite a revelation for those who had not heard Geoff Eales' wonderful playing before. Catch his 2 CDs "Red Letter Days" and "Mountains of Fire" on Black Box Music for proof of his skilful artistry.

The Geoff Eales Trio was really breathtaking right from the opening number "Fascinating Rhythms Overture" through to their "JS Bach Jazz Selection" and onwards to a rousing closer of "Fascinating Rhythms". The support given to both vocalists was faultless throughout an evening that was to put it plainly, magical. "

Clive Fuller
Encore - May 2002

Red Letter Days

" I always enjoy gutsy, positive piano players and Geoff Eales certainly falls into that category. This is my first hearing of this fine artist.

Eales is a robust, forceful player who makes full use of the resources of his instrument - he sounds completely at home solo and his two handed strength reminds me a lot of the confident sound that Oscar Peterson and Ray Bryant in particular produced without rhythm section backing.

Stylistically of the post-bop persuasion, Eales gets sympathetic support from Mark Fletcher's discreet, listening drumming and the consistent excellence of Roy Babbington's top class bass work. Guitarist Jim Mullen also appears on two titles, Hannah's Riff, So Long Sadness. Geoff Eales has written the album notes, commenting that the majority of his engagements fall into the solo and trio category and 'it's always a pleasure to be asked to get a quartet together and a particular delight to be able to include the great Jim Mullen in this format.

A previous album Mountains Of Fire Eales says, was 'devoted to breathing new life into well known standards.' For this new album he has included five of his own compositions: Killer Jane, Hannah's Riff, Hotting It Up, Song For My Mother, That Final Look but includes some old favourites, I Should Care, They Didn't Believe Me, But Beautiful, as well as Victor Feldman's excellent and neglected A Face Like Yours - fine bass solo from Roy Babbington on this one.

A most enjoyable album of contemporary jazz piano playing from a talented artist, with plenty to say. Audio quality is excellent. Playing time commendable. "

Pat Hawes

Red Letter Days

"This is a follow up album to "Mountains Of Fire" which I had the pleasure of reviewing well over a year ago. According to the liner the earlier disc was "a vehicle for breathing new life into a series of well-known standards, this CD offers the listener far more in the way of totally original material. To counter-balance this I have included some old favourites." This serves as a pretty accurate summation of the fare contained herein as expressed in the leader's own words. Geoff Eales is rapidly coming to occupy the territory in this country which is inhabited in The States by such worthies as Oscar Peterson, Monty Alexander and Kenny Barron. That is to say they each epitomise the modern mainstream whilst managing to impose their own styles on the music, and, at the same time, doing so in a completely tasteful manner. Eales is possessed of a sure and varied touch and has sufficient technique to express his ideas in a lucid manner. One of the refreshing aspects of his playing is the fact that he does not allow his facility to dictate his delivery. He does not, at any time, resort to glibness or coast to fill space. Eales has a well-developed sense of harmony and has obviously listened to such as McCoy Tyner and Cedar Walton, not only does he use their varied, often dense voicings, but there is also a great sense of drive in this area of his playing. He has an abundance of melodic invention and is the type of pianist ( as indicated by his CV ) who is more than comfortable in the many situations faced by the modern, working piano player. His compositions are interesting and often touching, and his versions of the better known numbers are assured and yet personal. It is always a pleasure to hear Jim Mullen and this excursion is no exception. Roy Babbington and Mark Fletcher are quite simply as good as you would hope to find on their chosen instruments and fulfil their roles here with style and confidence. This is the sort of disc that will probably come as a most pleasant surprise to the listener who normally focuses on the modern/mainstream of American pianists."

Dick Stafford

Red Letter Days

"Another varied and interesting programme from Geoff who is tastefully accompanied by Roy Babbington on double bass and Mark Fletcher on drums on seven tracks. Jim Mullen joins the trio for two tracks and there are four solo piano tracks.Geoff has the ability to mix a semi-classical-plu-McCoyTynerish approach to his playing, particularly evident in "I Should Care" and the almost concerto treatment of "But Beautiful" in the solo tracks.The Trio opens this very listenable CD with Victor Feldman's composition "A Face Like Yours" and Jim Mullen makes his masterly presence felt on "Hanna's Riff" - a finger-twisting blues by Geoff - and on a swinging version of "So Long Sadness". The overall balance of original and standard material makes Goeff Eales one of the unsung heroes of jazz music and composition and his super 67-minute CD amply demonstrates his talents. ".

John Critchinson
Jazz UK

Red Letter Days

"The opening "A Face Like Yours" (by Victor Feldman) offers an augury of good things to come, with Eales at once vigorous and rewarding. As noted before, there is something of Oscar Peterson's expansive dash in Eales' piano work, with plenty of room for dynamic turbulence and bravado. In contrast, "I Should Care" starts imposingly before settling into a thoughtful, soberly voiced exposition, flavoured with classical motifs and sudden percussive bursts. Babbington's lovely walking bass powers "Killer Jane" which turns into a down-the-line swinger, full-bodied in the Peterson manner. "They Didn't Believe in Me" is taken solo, Eales disguising the melody via some subtle harmonic choices. "Hanna's Riff" is up-tempo, Mullen phrasing with Eales on its jerky theme, the pianist building a strong solo before Mullen muscles in, with Fletcher as his look-out man.Best known as a singer's accompanist, Eales deserves top marks for this well-planned set. He's clearly at ease in a jazz situation and has his own distinctive way with the material, the ease of touch and keyboard command out of the top drawer. There's nothing hackneyed here. Recommended."

Peter Vacher
Jazzwise

Mountains of Fire

"On first reading the titles on this disc one could be led to expect another 'middle of the road' re-hashing of standard tunes with a couple of originals thrown in for good measure. Far from it, this disc contains a varied and contemporary series of readings of a choice selection of tunes.

Geoff Eales is an accomplished professional musician as his list of credits indicate - his work as a pianist includes playing for artists ranging from Nelson Riddle and Henry Mancini through to Kiri Te Kanawa, and Lesley Garrett And Jose Carreras.

With such a background it is quite a shock to realise what a consumate and powerful jazz player he is. He has obviously been influenced by many of the 'greats' of the post war period.

I can hear very strong echoes of Monk and McCoy Tyner. His style is varied both in touch and intensity of voicing.

'Here There and Everywhere' is a real swinger which begins with a delightful rephrasing of the melody. Eales is not averse to dropping in the odd quote such as 'Beautiful Dreamer' in 'Like someone in Love.'

Autumn Leaves has a wonderful 'Tynerish' intro and is a very refreshing version of an old chestnut.

I greatly enjoyed the two Eales originals [Blues for Shirl and the title track]. 'Mountains of Fire' is a 'Breckerish' theme and features some two fisted pianistics.

Whilst appreciating the appearance of Nigel Hitchcack on three tracks [including the originals] I would have rather the disc stuck to the Trio format for a sense of continuity. Hitchcock plays well throughout in a contemporary style with a sense of legato and tone reminiscent of Ernie Watts.

Thad Jones' 'A Child is Born' has always been a favourite, and this is a version I will continue to listen to as I will 'Some other Time' which is beautiful in its simplicity.

The other performers give excellent support throughout. I would strongly recommend this disc. Perhaps next time we could have a trio recording and a quartet recording."

Dick Stafford

Mountains of Fire

"I could tell you from the very first bar that I was going to enjoy this album. The trio launches vigorously into one of Lennon & McCartney's best tunes, and Geoff Eales captures its delicacy while swinging it powerfully, aided by Roy Babbington's double bass and (especially) Mike Smith's explosive drumming..

Geoff Eales is perhaps better known in recording studios than in jazz clubs, having accompanied an immense variety of artists: from Shirley Bassey to Petula Clark, from Kiri te Kanawa to Marlene VanPlanck. But Geoff shows on this CD that jazz is his first love. He even manages to bring freshness to old standards like Have You Met Miss Jones? and Autumn Leaves, with adventurous chording and unexpected twists. Hear, for example, how he tackles Falling in Love Again, dispelling all images of Marlene Dietrich with a performance of imagination and wit which reminds me of Dudley Moore at his most puckish.

On three tracks, altoist Nigel Hitchcock joins Geoff with a new bass-and-drums team. Hitchcock's saxophone sings plaintively on I Fall In Love Too Easily. But the superb basic trio of Eales, Babbington and Smith is capable on its own of producing plenty of variety: tenderly lyrical in A Child is Born; daring in Like Someone In Love (with Smith's drums telepathically shadowing the piano); classically sparing in the closing Some Other Time.

An excellent CD which leaves this listener wondering why we jazz buffs haven't heard more of Geoff Eales."

Tony Augarde
Crescendo & Jazz Music

Mountains of Fire

"Geoff is a very well-established pianist with a CV that reads like a 'who's who' of show business and here he turns in a CD of well-chosen and cleverly-arranged and executed Trio and Quartet jazz.

He is accompanied by Roy Babbington (bs) and Mike Smith (dms) in the Trio and by Laurence Cottle (ebs) and Ian Thomas (dms) plus Nigel Hitchcock (alto sax) in the Quartet. The inspired arranging of the material includes some very inventive intros, notably to Here, There and Everywhere, Like Someone In Love, Autumn Leaves and I Fall in Love too Easily and Geoff's superb playing shows just how good you can make a McCoy Tyner influence sound.

There are also some subtle, tasteful alternate changes to shake off the '2-5-1s' and two beautiful solo performances of You Must Believe in Spring and the final track Some Other Time.

Nigel Hitchcock's contributions are indications of just how forceful and imaginative Nigel is, and the two rhythm sections perfectly complement the material they play. There is little more to say about this great CD except BUY IT!"

John Critchinson
Musician

Mountains of Fire

"If you read Nick Lea’s glowing review of Geoff Eales latest album in last month’s review pages and were sufficiently impressed to place a rush order then you will surely want to add these back catalogue recordings to your collection.

Frankly it beggars belief that a pianist of Eales calibre had to wait over 20 years before making his first recording as leader. Not that he was exactly wasting his time: the sleeve notes tell of a distinguished career with the BBC big band, as well as session, TV and theatre work with the peerage of showbiz and light classical performing artists.

These antecedents can be clearly heard in his playing which combines the florid, decorative style of a concert pianist with the ability to intersperse hard swinging passages of great originality and wit.
With all the techniques of a classically trained pianist at his disposal it would be easy for him to simply dazzle us with arpeggios and glissandi but his performances though chock full of musical incident are in fact very concentrated. On the debut album only one track exceeds seven minutes and that is largely due to the presence of altoist, Nigel Hitchcock.

Filigree decoration, fugal runs, rubato passages vie with charging block chords and humorous quotations making for a rich tapestry of jazz invention that is enormously satisfying and entertaining. Consider Autumn Leaves on the first of these two discs: the opening prelude is a stunning Bach-like passage which leads is into a contrapuntal treatment of the melody, a fugue like chase follows weaving in and out of the boppish figures in the right hand. So much to charm the ear and all within the space of five and a half minutes! This is followed by a version of Young & Foolish that barely alludes to the melody except by reference to its underlying chord structure over which Eales lays a musical narrative of flowing legato sublimity.

These and a version of You must believe in Spring, in which his classical sensibilities are again on show, are my favourite tracks from the trio but also deserving of a mention are the pieces in which Eales is joined by altoist Nigel Hitchcock, a young lion of NYJO fame now enjoying star exposure as a member of the highly rated Jazz Couriers revival band. His penetrating sound reminiscent of Jackie McLean comes over well on the uptempo Blues for Shirl (propelled by the driving bass guitar sound of Laurence Cottle and quite exciting in this context), but he sounds a little too strident and unfeeling in the ballad setting I fall in Love Too Easily. A very accomplished player nonetheless.

In the second album Red Letter Days Eales takes a longer view of each piece but without committing the indulgence of verbosity. A mixture of unhackneyed standards and originals he again gives his technique free-reign even managing to squeeze a quote from Mozart’s 40th into I Should Care whilst his reading of Golsons Killer Joe replete with feminine cadences becomes Killer Jane. Sometime Ago, a tune we associate with Bill Evans, is given a much more robust workout than it received at the great man’s hands without sacrificing its essentially rhapsodic quality whilst the trippingly, limpid beauty of Song for My Mother makes its point without resort to heart on sleeve sentimentality. Both these pieces feature well stated bass solos by Roy Babbington that make their presence felt without attempting to hi-jack the whole show. Mark Fletcher’s drumming is similarly sympathetic to the wider enterprise.

The guest on this occasion is the stellar guitarist, Jim Mullen, whose Wes Montgomery like lines enhance a couple of tracks with their bluesy inflections There are also two solo pieces: an impassioned rendition of But Beautiful and sturdy piece called Hotting it Up full of barrelhouse allusions; but it is the trio tracks that focus our attention and enable us to conclude that they stand shoulder to shoulder alongside the best international performances."

Euan Dixon
Jazz Views- April 2003

For more reviews visit Recordings