As he approached his seventieth birthday, Eales was looking for pastures new and using the time to plan his long held plans for new music that would broaden the scope of his musical palette still further. The result of this burst of creative energy, amid some difficult times personally, has seen the fruition of Eales's musical Spirit of the Mine depicting 200 years of coal mining in his native Wales through the mediums of music, verse and dance as well as this new album.

Writing new music for especially for a carefully chosen cast of some of the finest players in the UK, Eales has brought together a disparate set of musical pieces, some of which are grandiose in their concept, and managed to present them as a cohesive whole that makes for a thrilling listening experience.

Such a project is in danger of having its longueurs, or simply becoming over indulgent as concept overwhelms content, but Eales is too wily to fall into such musical cul de sacs and always has a surprise or two up his sleeve.

The pianist strengthens his ongoing musical relationship with vocalist extraordinaire Brigitte Beraha, and the depth of understanding between the two is captured gloriously on a selection of compositions that open the first half of the album.

From the jazz rock influenced 'The Sword' with spirited alto playing from Ben Waghorn to the gentle opening of 'The Deal' with piano, Shirley Smart's exquisite cello and Beraha's tender vocal that becomes heated and passionate by turns; and the appropriately title 'Frazzled' that whisks the listener through riff driven motifs to some of the most out playing of the album with a searing alto contribution from Jason Yarde, with bassist Matt Ridley skilfully holding it all together.

The vocalist's interaction with the ensemble on this is phenomenal in an extraordinary performance. In immediate contrast is 'Feather Light' with Brigitte's vocal and Andy Finden's flute recalling Chick Corea's first Return to Forever line up.

Jacqui Hicks is the featured vocalist on two lovely ballads, 'Love Not Meant To Be' and the moving 'Song For My Mother'; and Brenda Ford is majestic on 'The Saga of Salome' taking on the song that was meant for Tina May before illness struck. Ford quite rightly looks to put her own stamp on the song, and the result is a stunning performance that also serves as a fitting tribute to Tina who sadly passed away in March 2022, and to whom the album is dedicated.

It takes a certain nerve to arrange an excerpt from Hildegard Von Bingen's 'O Virtus Sapientiae' that features some beautiful soprano saxophone from Mark Lockheart in dialogue with Brigitte Beraha and then follow it with a rock anthem, 'The Final Twist', as the penultimate number.

Showing no signs of slowing down anytime soon, this is a superb offering from Geoff Eales, and just leaves us wondering what we can expect next."

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After a successful collaboration with Eales on Transience in 2016 vocalist Brigitte Beraha is back, filling the album with her powerful vocals. However, this time round, Beraha is not alone: singers Jacqui Hicks, Jenny Howe and Brenda Ford also feature, making for a rich and broad palette. Each vocalist has an opportunity to shine, and on tracks such as The Deal, Love Not Meant To Be and Song For My Mother, the singers passionately and skilfully capture the essence of Eales lyrics.

The record successfully merges a wide range of styles: Feather Light has a Latin groove which hints at Chick Corea and Love, Sacred And Profane features asymmetrical rhythms which are reminiscent of Eastern European folk music. The track Frazzled definitely deserves a mention: possibly not to everyone's taste, it allows the musicians to truly let go and let their imaginations run wild, with dissonant off-beat riffs mixed with extreme free-wheeling improvisation.

The Saga of Salome is almost operatic and recitative in style, perhaps due to Eales' experience within opera. The Final Twist is similarly reminiscent of musical theatre. The framing tracks, the Prologue and Epilogue, include references to classical masterpieces such as Debussy's Danse Sacrée and Danse Profane.

Stylistic experimentation is at the heart of this record. Expressive vocals are supported by playful interjections from the instrumentalists, notably drummer Sophie Alloway and bassist Matt Ridley. Eales' exemplary pianism radiates through the set: he adapts to the style of each track and supports each musician, whilst still adding his soulful touch."

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As the title suggests this is Eales, like a Welsh Ovid, meditating on the mysteries of love in all its forms, earthly and heavenly. But love can also mean loss, because Tina May was meant to appear here, but sadly died before recording her contribution.

But other voices abound. As with Eales' previous Transience, Beraha is a vital voice across the composition, notably book ending the work with her wordless invitation on 'Prologue' or closing it over Eales' elegaic keys on the 'Epilogue'. Brenda Ford, stepping into May's shoes, is a filthily witchy Salome (Oscar W would approve) while Jacqui Hicks can move between yearning soul and Lloyd Webber showbizzery. And with his years in the business, Eales can call on just the right instrumentalist to fit his vision: who other than Mark Lockheart, with his own sacred music experience, could bring transcendance to 'Virtus Sapiente' (again with the other worldly Beraha), while the splenetic Yarde is perfect for 'Frazzled' (catch him live if you can trading licks with Alloway). Eales of course also writes poetry so the lyrics have their own dramatic edge; okay, a little on the nose sometimes but that comes from Eales' rage against constraint, his ecstatic chutzpah. Highly enjoyable, highly dramatic: you can't help but love it, which ever way your love lies."

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A Fats Waller medley - Ain't Misbehavin' and Honeysuckle Rose - received rapturous applause, likewise Art Tatum and Tea for Two replete with quotes. Eales said: He was like god. A narrative was developing... Oscar Peterson. On hearing Tatum the great Canadian decided to stop playing, said Eales. Sometime later OP returned to his practice and the rest is (jazz piano) history. Eales headed straight down the historical track on Night Train calling at Bebop Central to take a look at Bud Powell's Bouncing with Bud and Thelonious Monk's 'Round Midnight and Well, You Needn't. The house lights went up as Eales closed the first set with Errol Garner's Misty.

As the second set opened, Fred Thelonius Baker was in the house to listen to his old pal Eales in the 'locked-hands' style of George Shearing. From Lullaby of Birdland to Bill Evans. Eales took a moment to fondly recall a tour he had undertaken in 2005 playing the music of Evans, adding the itinerary on that occasion sadly didn't take him as far north as Berwick. Waltz for Debby provided some compensation, and, perhaps, the Welshman will one day return to play a Bill Evans' concert. Eales made the observation that Evans, Horace Silver and Cecil Taylor were born within a twelve month period (1928-29), yet each went on to forge his own distinctive style... the impressionism of Evans, Silver's contrasting Blue Note bluesy bop style and the freeform idiom pioneered by Taylor.

Geoff Eales rounded off his entertaining presentation with compositions by a stellar triumvirate of contemporary jazz pianists. McCoy Tyner's Passion Dance - in an aside Eales suggesting those present with an understanding of such matters would know that Trane's one-time sparring partner often incorporates fourths rather than thirds in his playing - and ECM mainstay Keith Jarrett's My Song leading into Chick Corea's up tempo Armando's Rhumba.

Eales' matinee performance comprised a plethora of styles and to think all were expertly executed by one man... Geoff Eales! By way of farewell, Eales played Eales. The Maltings' Jazz Weekend is in its infancy. On this evidence, it could develop into a fully-fledged Berwick Jazz Festival.

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Naturally, the music is highly emotional, but is never cloying or melodramatic. There is also an overt nod to the group Azimuth, comprised of Taylor, Wheeler and vocalist Norma Winstone on a number of the tracks. While the band is a quintet, the bass and drums support the Azimuth instrumentation via Eales, trumpeter Noel Langley and vocalist Brigitte Beraha.

Although the sound of this trio comes remarkably close at times to that of Azimuth, (indeed, there are quite a few spots which could mistaken for an ECM record - but this is a compliment), it is quite clear that the effort is one in honor of those performers and not one of crass imitation. Langley and Beraha are magnificent throughout, as are bassist Chris Laurence and drummer Martin France, and of course Eales himself.

The album has a very strong internal consistency which produces a flow from piece to piece as the pacing carries one along. There are moments of somber introspection as well as knowing acceptance, along with those joy and exhuberance. This is music, which in its nature is abstract, that has a deeply human component which actively reaches out to the listener. The feeling is uncanny and not a little unnerving, but which resolves into a very satisfying and personal performance. In the end, we really know who Eales is and how he views the world.

The mood is set up by the opening track, "Sleep Eternal," which is a beautiful group improvisation that introduces the sounds of Langley and Beraha. "Life Dance" which follows is based on the odd meters that characterize the folk music of Eastern Europe, and which celebrates existence. Beraha's voice floats high above the band in the opening of "Atonement" and blends perfectly with Langley's horn in this beautiful, slow piece.

"Translucence" is a short solo improvisation by Eales that stops time with its gorgeous harmonies, while Langley and Beraha once again closely mesh on the dramatic opening of "We All Must Change." Placed at the center of the album, "Quirk Of Fate" provides a bit of release with its bluesy swing, but "Gently Into The Night" returns to the main mood of the optimistic acceptance of our human existence.

The longest track is "Remembering Kenny," a direct outpouring of everything Eales felt about Wheeler over the years, but especially after the October 31, 2014 memorial service for him at St. James Church in Paddington, England. Langley is again wonderful as he plays through this multi-sectional piece (somewhat of a Wheeler trademark) with its different mood.

Transcience is a masterpiece in its own low-key way. Eales should be congratulated and ought to receive much deserved recognition for this deeply moving music. Bravo!

Track Listing: Sleep Eternal; Life Dance; Atonement; Translucence; We All Must Change; Quirk Of Fate; Gently Into The Night; The Dark Glass; If Only...; Nocturne; Remembering Kenny; Celestial Vision.

Personnel: Geoffrey Eales: piano; Brigitte Beraha: voice; Noel Langley: trumpet, flugelhorn; Chris Laurence: double bass; Martin France: drums."

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I have always thought that his most empathetic trio was that with Chris Laurence and Martin France, and his Master of the Game set has been one of my favourite albums by the pianist. Reuniting this core trio some six years later was an another masterstroke, and the rapport between the three is again immediately apparent. So much so that two numbers are given over to the trio on 'Life Dance' that utilises Eastern European dance rhythm and some unusual time signatures, and some fine playing from Laurence; and the unpredictable 'Quirk Of Fate'.

Written at a time of intense sadness for Eales, and recorded just seven months after his mother's passing the sense of loss in almost palpable at times, yet throughout there remains a sense of optimism and hope of better things and Eales exuberance and joy in music making still shine through in his writing and playing, and that of the quintet as a whole. The album opens with a spontaneous improvisation from the instumentalists before the voice of Beraha enters to tell her tale that is 'Sleep Eternal'. The use of the voice on one of his recordings is a first for the pianist and he makes wonderful use of Behara's skills as an interpreter of lyrics and wordless improviser. The vocalist reciprocates with some sterling work, making a huge impact to the tonal palette and expressiveness of the ensemble, most notably on 'Atonement' and 'Gently Into The Night'.

In Noel Langley, Eales has found the perfect voice and interpreter for his music. Langley brings an innate sensibility to the compositions, and his soft toned yet full sounding trumpet and flugel playing is flawless throughout. So much atuned is he to the the music and rhythm section he never appears to be taking a solo, more his improvisations are a natural and organic part of the composition, and without which the piece would sound incomplete.

Interspersed throughout the album are three shorter interludes, two for solo piano improvisations, deliberately kept reigned in and contained, and 'Nocturne' based on a wish of the pianist's mother that he write a piece similiar to Chopin's 'Nocturne in E Flat Op 9 No. 2, with fragments of Chopin's melody drifting in an out before the piece closes with a segment from the hymn, 'What A Friend We Have In Jesus'.

The highlight of the album comes in the penultimate track, 'Remembering Kenny' inspired by Kenny Wheeler's Memorial Concert, and a piece that evolves though multiple sections. Once again Langley is all over this music, from the solo trumpet introduction and coda, to the deeply grooving theme statement his trumpet sound is strong and commanding. Eales gets over a cracking and exuberant solo over a buoyant momentum from bass and drums before one again the piece slows and subdues for Chris Laurence's bass solo, and the trumpet re-enters heralding a new movement. From lyrical reflection and pensiveness, to turbulent driven sections that have the listener hanging on, Langley rides the storm with some highly effective overdubbed horn work that truly livens up the senses and the quartet deliver a superlative performance that is truly unforgettable. To follow this, and close the album, Eales presents us with 'Celstial Vision' with it's gospel inflected groove that once again restores calm and tranquility and a much needed release from the drama of the preceding piece."

Fantastic album that is well conceived and executed from beginning to end, and hopefully the association with Noel Langley is one that the pianist will wish to continue and nurture, as I feel that there is much more to come from this inspired pairing."

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New album Transience communicates warmth, depth and sincerity, accentuated by Brigitte Beraha's singularly lithe, adventurous vocal delivery, with the line-up completed by Noel Langley (trumpet, flugelhorn), Chris Laurence (double bass) and Martin France (drums). The sense of loss described by Geoff Eales at the passing away of his mother (just a few months prior to this recording), coupled with the jazz world's mourning of Kenny Wheeler and John Taylor, has clearly contributed to the artistic aura of these twelve pieces - yet the performances here breathe emotional sensitivity and sparkle rather than maudlinness.

This classic, lyrical jazz feel - especially with its prominence of trumpet/flugel and voice - frequently echoes the timbres of Norma Winstone and Kenny Wheeler (an especially heartwarming correlation). But Eales' compositional breadth and clear, pianistic direction offer his personnel the scope to open up their own creativity across this expressive landscape; and his storytelling, through words and music, becomes a particularly strong element. Sleep Eternal, for example, wistfully reflects on old age and childhood, Beraha's soft, extended lines elegantly waltzing to the pianist's delicacy and Noel Langley's haunting responses. Piano trio Life Dance gyrates energetically to an Eastern folkiness, revealing the sharpness of Eales' dexterity; and Atonement's weighty themes of reconciliation are elucidated through pervading vocal and instrumental tenderness, Beraha's contribution most definitely integral to the quintet.

Impressions of pilgrimage and reflection are never far away, and sprightly We All Must Change provides Beraha with the opportunity to soar (though its conciliatory lyrics perhaps veer towards preachy). Quirk of Fate swings and trips to Eales' chordal blues perkiness, possessing attractive Dave Brubeckian vigour; and the sweet, vocal reassurance of Gently into the Night is uplifted by its steady instrumental ebb and flow, Langley's closing trumpet ascension particularly effective. Elsewhere, there are fascinating pictorialisations and techniques, such as Eales' and Beraha's domino effect in beautifully constructed duo showcase If Only..., and Nocturne - modelled on Chopin, at the request of the pianist's late mother - movingly references the hymn What A Friend We Have In Jesus, sounded emphatically by Langley's crystalline trumpet.

At almost ten minutes' duration, Remembering Kenny joyfully captures the spirit of the much-missed trumpeter's output, with Eales recalling his memorial service's closing blessing, "the trumpet shall sound...". Here, as throughout this recording, Chris Laurence and Martin France offer rhythmic stability and panache, whilst Noel Langley's exuberant, dual-tracked improvisations (in fact, quite a duel) imaginatively and affectingly suggest an ongoing musical dialogue between heaven and earth! And, suitably following, Celestial Vision's open-skied, countryfied piano melodies draw these colourful searchings to a close with assured repose.

Transience certainly wears its heart on its sleeve, doing so with attractive musicality and candid devotion."

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Elsewhere Eales has recorded with an orthodox piano trio featuring bassist Chris Laurence and drummer Martin France on the appropriately named "Master of the Game" from 2009. He has collaborated with the classical and flautist Andy Findon on the album "The Dancing Flute" while at the other end of the scale he has dipped a toe in free jazz waters with a collaborative trio featuring saxophonist Ben Waghorn and bassist Ashley John Long on the aptly titled "Free Flow", recorded live at two separate performances at Dempsey's in Cardiff in 2010/11.

"Transience", Eales latest album release, finds the Welsh born musician leading a new quintet, one that features former colleagues Laurence and France alongside Loose Tubes trumpeter Noel Langley and vocalist Brigitte Beraha.

Eales has described "Transience", his thirteenth album release, as the most personal recording of his career. In his notes to the album he explains; "Of all my albums this is the closest to my heart. Recorded seven months after my mother's passing, my intense sense of loss has very much informed the emotional landscape of the music. Losing a loved one makes one realise just how precious, fragile and transient life is. Furthermore, in the last year we have lost so many musical luminaries, none more brilliant than those two beacons of infinite light - Kenny Wheeler and John Taylor. This has brought the sentiments of this album into even greater focus for me." The album is dedicated to the memories of Valerie Eales, Kenny Wheeler and John Taylor.

Lurence and France have both worked extensively with both Taylor and Wheeler making them natural choices for this project. Langley has been a long time admirer of Kenny Wheeler's work and pays his own homage on Eales' composition "Remembering Kenny".

"Transience" is the first album by Eales to feature the sound of the human voice. The Norma Winstone inspired singer Brigitte Beraha gives life to Eales' words on some pieces as well as appearing as an accomplished wordless vocal improviser. One of the most accomplished and adventurous vocalists on the UK jazz scene Beraha released her debut solo album "Flying Dreams" in 2008. She has also recorded in a duo setting with pianist John Turville ("Red Skies", 2013) and work with the collaborative groups Babelfish and Solstice. She has also made guest appearances on a number of albums by other artists including Phronesis pianist Ivo Neame.

Eales' notes also shed light on each of the twelve individual pieces. Not surprisingly the mood of the album is often sombre and reflective and Beraha's Winstone-like vocal timbres are perfectly suited to the aesthetics of the music. This is exemplified on the opening piece "Sleep Eternal" which begins with the sound of a collective improvisation by the four instrumentalists, initiated by Eales at the piano and featuring the delicately melancholy sound of Langley's flugel horn and France's exquisite cymbal touches. This passage morphs almost imperceptibly into the song itself with Beraha intoning Eales' words, written from the point of view of an elderly woman looking back on her childhood as she prepares for the inevitable. Beraha's flexible vocals impart an elegant dignity to the lyrics as Laurence and Langley add suitably eloquent and lyrical instrumental solos.

The album is not all about loss and regret, the vivacious "Life Dance" incorporates Eastern European dance rhythms in three, five, seven and eleven and incorporates more agile soloing from Laurence, a musician who is also an acclaimed classical bassist. In this trio performance there is also a series of sparkling exchanges between Eales and the consistently excellent France.

Beraha and Langley return for "Atonement", a song that reflects on the subject of forgiveness with Eales' liner note declaring "there is nothing as sweet as the tears that flow when conflict finally gives way to reconciliation". The piece features Beraha's voice both as a vehicle for Eales' lyrics and as a wordless improviser. Langley's flugel playing is sublime and there are also concise and lyrical solos from Laurence and Eales.

"Translucence" is a beautiful solo piano meditation that makes effective use of space with every note seeming to hang in the air. Eales speaks of the piece being "improvised from a blank canvas" and states that Langley placed a clock on the piano keyboard that wound down from two minutes to zero as Eales played. The ruse certainly appeared to work, focussing Eales' mind and distilling his thoughts to their finest essence.

The full quintet appears on "We All Must Change", a song whose lyrics reflect on the fragility of life and calls for a collective change of attitude, a contemporary plea for peace, love and understanding. Beraha is at her most Winstone like as she delivers the words and more. She shares the lead with solos from Laurence on bass and Langley on burnished flugel horn, plus Eales himself on piano, as France's brushed drums wander in and out.

"Transience" is released on pianist, composer and educator Issie Barratt's Fuzzy Moon record label. "Quirk Of Fate", a celebratory trio performance speculates on the fact that if Eales and Langley had not both attended Barratt's 50th Birthday Concert at London's Kings Place then "Transience" might never have happened. Eales describes the piece as "a quirky, edgy blues, but just when we think it's going to be a regular twelve bar fate throws a spanner in the works". There's some sparkling interplay between Eales, Laurence and France with both the bassist and drummer enjoying their individual features but the main emphasis is on the stunning group rapport which brings back fond memories of the "Master of The Game" album.

The title of "Gently Into The Night" tips its hat in the direction of Eales' fellow countryman Dylan. However, in contrast to Thomas' verse Eales' lyrics treat death as a "welcome refuge from pain and suffering" and suggest that it is nothing to fear. The piece deploys some of the same compositional devices as the earlier "Life Dance", particularly with regard to the asymmetrical rhythms, but the mood of this "lullaby" is very different with Beraha's soothing vocal allied to Eales' delicately lyrical piano and Langley's softly valedictory flugelhorn.

"The Dark Glass" is the second of two improvised solo piano pieces. The title alludes to Corinthians, Chapter 13, Verse 1 "for now we see through a glass, darkly". Like its predecessor, "Translucence", it's tantalisingly brief but the mood is less serene, darker, and slightly fractured. It leads directly into "If Only", the song's title coming from the phrase that Eales' father uttered repeatedly after Valerie's death. The mood take its cue from "The Dark Glass" with Beraha asking a series of rhetorical questions as she duets effectively with Eales' piano on this achingly sad piece.

"Nocturne" is a piece written by Eales that draws its inspiration from two of his mother's favourite pieces of music, Chopin's "Nocturne in E Flat Op. 9 No. 2" and the hymn tune "What A Friend We Have in Jesus". Beginning as a solo piano piece it later expands to incorporate the rest of the band and includes a direct quote from the hymn written by Joseph M. Scriven and Charles C. Converse with Langley stating the melody and Beraha providing ethereal choir like vocals.

"Remembering Kenny" was written by Eales in response to Kenny Wheeler's memorial service. A multi-sectional composition it embraces a variety of styles and moods and is something of a tour de force for Langley as he pays tribute to Wheeler on both trumpet and flugel. There's also a superb piano solo from Eales, one of his most joyous of the set, and surely intended as a celebration of Wheeler's life. Lawrence's bass solo is more sombre but there's also an exuberant solo from the brilliant France before a final trumpet valedictory.

The album concludes with the gentle gospel groove of "Celestial Vision", a trio performance by Eales, Laurence and France. The music is intended to convey a spirit of "peace and salvation" and is, by turns reminiscent of Abdullah Ibrahim, Keith Jarrett and Tord Gustavsen. There's a delightfully melodic bass solo from Laurence and France keeps things ticking along beautifully. Eales' own playing with its light, sure touch is tastefulness personified.

Whichever context, configuration or style he's playing in we've come to expect something special from Geoff Eales and this album is no exception. With its mix of solo, trio and quintet pieces it's particularly well programmed and holds together well as a single entity. And despite the darkness of the subject matter the mood is not overwhelmingly bleak, instead the album ultimately become a celebration of life itself.Perhaps the quote by photographer Steven Cropper reproduced on the album packaging captures the feeling best;

"Stare wide- eyed at the world, Preserve your sense of wonder, Cherish all that is remarkable, For turn around and it's gone".

For all his virtuosity Eales' own playing is refreshingly ego free and he gives his colleagues plenty of room to express themselves. Everybody performs well with Langley's contribution a particular delight. Eales also impresses as a lyricist, his highly personalised words are ideally suited to the nature of this project and Beraha conveys them with just the right amount of dignity and eloquence.

If there's a fault it's that it sometimes sounds a little too much like Norma Winstone and Kenny Wheeler for comfort, but bearing in mind that the latter is one of the album's dedicatees perhaps that's no bad thing. There also moments when this immaculately crafted album reminds me of the music of the Printmakers group co-led by Winstone and pianist Nikki Iles, again a comparison that could be taken as a recommendation.

Track Listing: Sleep Eternal; Life Dance; Atonement; Translucence; We All Must Change; Quirk Of Fate; Gently Into The Night; The Dark Glass; If Only...; Nocturne; Remembering Kenny; Celestial Vision.

Personnel: Geoffrey Eales: piano; Brigitte Beraha: voice; Noel Langley: trumpet, flugelhorn; Chris Laurence: double bass; Martin France: drums."

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The album's title is a direct reference to the transient nature of life and the track names often reflect this. Eales' virtuoso playing evinces an ethereal quality on two short solo numbers Translucence and The Dark Glass. Nocturne follows suit but for a plaintive multi-tracked ending replete with choir-like vocals. We All Must Change is lyrically reminiscent of Winstone's 1972 album Edge Of Time and Beraha's spoken word passage on If Only... is particularly moving.

The longish penultimate number, Remembering Kenny, dedicated to the late Kenny Wheeler, is the centrepiece of the album. Noel langley's playing here is particularly effective in evoking the spirit of the late hero of British jazz. The composition comprises diverse elements opening with an elegiac section followed by a livelier passage which includes collective improvisation. This structure mirrors Wheeler's unbiased penchant for embracing a broad spectrum of jazz and the piece concludes with a brief rendition of the poignant opening statement. This track is worth the entry price alone."

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In 2004 Eales recorded Synergy released on Basho Records which contained a mixture of self penned originals and well known standards, and this was followed up in 2007 with Epicentre that concentrated primarily on original compositions. On this latest outing the pianist kicks away the crutches and relies on nothing but his prodigious technique and intuition in a set of twelve improvisations that are varied in scope and emotional than can be found in many preconceived or prepared albums.

In taking the plunge with Invocation, Eales is possibly leaving himself wide open for accusations of emulating a format the has pretty much been nailed down by Keith Jarrett, and although the pianist makes no secret of his admiration for Jarrett he comes across as very much his own man.

If the two pianists do share traits, then it is the broad scope that their music encompasses, not constrained or concerned by musical genres they permit themselves to follow wherever the music takes them, and as such in these improvisation Eales will touch on influences from both jazz and the classical world of Debussy, Ravel, Stravinsky and Messiaen. Importantly though, whilst the influences may be discernible there is never any sense of slavishly copying, but more taking from each source what can be used in the heat of moment.

Another thing that both marks out the differences, and defines his individuality is the restraint the pianist imposes not on the music but himself. None of the performances here exceed the eight minute mark, but all evolve meticulously building on the melodic ideas generated as the each piece progresses with a natural tension and release as the music flows. In doing so, Eales eschews lingering too long on rhythmic motifs and ostinati, thus keeping the improvisations in a constant state of flux without being hurried along.

Although the pieces are freely improvised, or spontaneously conceived, their origins are always discernible in a set that is well paced with a mixture of fast moving and more reflective improvisations, as can be readily heard in 'Back to the Root'. In the liner notes, the pianist gives brief descriptive notes on each piece, but as he points out this is not to give any specific insight into the music but serves as a point of interest for the listener.

With Invocation, Geoff Eales has shown another side to his musical personality in a solo piano recital that captivates from start to finish, and in doing so reveals a sharp mind, clear thinking, and a natural flair for melody, harmony and an intuitive sense of rhythm; and therefore comes highly recommended."

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In 2004 Eales recorded Synergy released on Basho Records which contained a mixture of self penned originals and well known standards, and this was followed up in 2007 with Epicentre that concentrated primarily on original compositions. On this latest outing the pianist kicks away the crutches and relies on nothing but his prodigious technique and intuition in a set of twelve improvisations that are varied in scope and emotional than can be found in many preconceived or prepared albums.

In taking the plunge with Invocation, Eales is possibly leaving himself wide open for accusations of emulating a format the has pretty much been nailed down by Keith Jarrett, and although the pianist makes no secret of his admiration for Jarrett he comes across as very much his own man.

If the two pianists do share traits, then it is the broad scope that their music encompasses, not constrained or concerned by musical genres they permit themselves to follow wherever the music takes them, and as such in these improvisation Eales will touch on influences from both jazz and the classical world of Debussy, Ravel, Stravinsky and Messiaen. Importantly though, whilst the influences may be discernible there is never any sense of slavishly copying, but more taking from each source what can be used in the heat of moment.

Another thing that both marks out the differences, and defines his individuality is the restraint the pianist imposes not on the music but himself. None of the performances here exceed the eight minute mark, but all evolve meticulously building on the melodic ideas generated as the each piece progresses with a natural tension and release as the music flows. In doing so, Eales eschews lingering too long on rhythmic motifs and ostinati, thus keeping the improvisations in a constant state of flux without being hurried along.

Although the pieces are freely improvised, or spontaneously conceived, their origins are always discernible in a set that is well paced with a mixture of fast moving and more reflective improvisations, as can be readily heard in 'Back to the Root'. In the liner notes, the pianist gives brief descriptive notes on each piece, but as he points out this is not to give any specific insight into the music but serves as a point of interest for the listener.

With Invocation, Geoff Eales has shown another side to his musical personality in a solo piano recital that captivates from start to finish, and in doing so reveals a sharp mind, clear thinking, and a natural flair for melody, harmony and an intuitive sense of rhythm; and therefore comes highly recommended

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In 2009 I awarded a rare five star review to Eales' superb trio album, the aptly titled "Master Of The Game" recorded with the stellar rhythm partnership of bassist Chris Laurence and drummer Martin France. These two have also accompanied the great John Taylor on disc and "Master Of The Game" is easily on a par with the best of Taylor's recorded output.

In 2012 Eales demonstrated his versatility with an unexpected change of direction which saw him leading a five piece electric band called "Isorhythm". The album "Shifting Sands" was intelligent and multi faceted and like its acoustic predecessor offered further evidence of Eales' considerable composing talent. I saw this line up featuring Ben Waghorn (saxes), Carl Orr (guitar), Fred T Baker (electric bass) and Asaf Sirkis (drums) give a hugely enjoyable performance of this "fusion" material at Stratford upon Avon Jazz Club at around this time.

A glance at Eales' website http://www.geoffeales.com reveals that he has recorded regularly since 1998 in both the piano/bass/drums and solo piano formats. However hot on the heels of "Shifting Sands" come two very different releases. "Free Flow" is the first release on 33 Records' Xtreme imprint and features an improvising trio of Eales on piano, Isorhythm colleague Ben Waghorn on saxophones and bass clarinet and Ashley John Long on double bass. It's the freest recording Eales has ever done and on the whole it works very well. By way of contrast "The Dancing Flute" teams Eales with classical and ethnic flautist Andy Findon on a programme of twelve Eales original compositions, most of them relatively brief. In a way the contrast between the albums couldn't be greater but both recordings are enjoyable in their own ways and together they make for a superb demonstration of Eales' remarkable versatility."

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It was recorded across two nights, separated by eight months. at Dempsey's in Cardiff, and all sound was captured on a single microphone. As you might expect, no one's self-editing here : the shortest piece, "Sprite", clocks in at 10 minutes, while the opener, "Conflict and Resolution!, stretches to over 17 minutes. "On the Seventh Day" begins with what sounds like a deconstruction of "Take Five" by Eales and bassist Ashley John Long, before Ben Waghorn carries the motif upwards and outwards, skillfully transmuting the initial boppish ebergy into something more impressionistically spacious. And this is only the beginning of a musical journey that continues, with breathless invention, for another 13 or so minutes. It's exciting music making on the hoof."

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Says Geoff: "This album is a paean to the life-enhancing qualities of the dance" - I couldn't agree more. Findon's virtuosity brings each piece to life with just the right character and interpretation. Eternal Dance, Elf Dance, Pan Dance and Force 11 are driving works with multiple meters, Lochria's Rumba and Farewell Patagonia have a Latin flavor, and Remembrance, In the Eyes of a Child and The Last Kiss are danceable waltzes (I was tempted to dance)! I was especially struck by the beauty and emotional intensity of Song for My Mother which is a tribute to Eales own mother and beautifully and intensely performed by Findon. Andy also expertly plays alto flute, penny whistle, bass flute and piccolo on several tracks. I was especially impressed by his fleet piccolo playing on Ice Maiden.

I recommend this album to Flute View readers as an uplifting, and joyful listen! Andy is a Pearl Flutes International Artist and is the proud owner of Geoffrey Gilbert's 1950 Platinum Flute."

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The flautist is the exceptional Andy Findon who wields, as well, the penny whistle and piccolo. Eternal Dance is a catchy opener with Eales providing super-abundant and articulate jazz licks. Song for my Mother plays on the Horace Silver title and generates a different ambience altogether - warm lyricism. Eales has already recorded this on a solo album but it works well for flute nd piano. Virtuosity is to the fore in In the Pocket, with its tripartite ABA structure and characteristically elegant soloing from Eales. Wistful nostalgia is present in Remembrance - his titles are always apropos, and the strength of his lyrical inspiration is never in doubt.

Elf Dance, another song he has previously recorded, is a flighty swinger with a degree of Roots vibrancy to keep it grounded and there's an especially nice, lonesome B section where the flute soliloquises sensitively. There's a mid-tempo lope to Lochria's Rhumbaand for In the Eyes of a Child Findon wields a penny whistle to impart Gaelic lyric hues. Faster and more international variety is provided by the Tango implicit in Farewell Patagonia whilst Eales' inspiration in The Sad Little Geisha Girl is from a book, and is openly rhapsodic. It's also the most extensive of these pieces and perhaps hints at Eales the tone poet. Lest one suspect all is clement in this recital, there's an allegro onrush in Force 11, a gale of a piece, not least when Findon is on the piccolo, taking things windy and high. Ice Maiden is played on the bass flute - a mysterious opus. Even the central section of Pan Dance can't efface Eales' essentially lyrical gift. The disc is excellently recorded, succinctly annotated and expands still further Eales' discography. Roll on the Symphony. "

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"Shifting Sands" is very different, unashamedly a "fusion" album that harks back to an earlier era and Geoff's marvellously named 80's outfit Electric Eales. But it's not all bluff and bluster, Eales brings some of the writing qualities that distinguished "Master Of The Game" to this new project. It may be fusion but it's intelligent and multi layered with a mature musical sophistication balancing the fireworks generated by an all star quintet featuring saxophonist Ben Waghorn, Australian born guitarist Carl Orr, Fred T Baker on electric bass and Asaf Sirkis at the drums. Master violinist Chris Garrick guests on two of the pieces adding a welcome new voice to the proceedings."

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The band of top-rank stylists has been expertly assembled so that the strongly individual players combine to produce a distinctive group ethos ( as Geoff says in his liner notes "to speak with one voice - with the same internal rhythm" ). He is the principal soloist but they all contribute effectively, often in sequences of short solos which emerge organically from both free and arranged ensemble passages. This is a carefully crafted album and not just another blowing date."

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There's rapidly rising star Asaf Sirkis on drums and Fred Thelonius Baker on fretless bass guitar (often heard on Phil Miller's In Cahoots and a lot more besides). Newer to the scene but no less able are Ben Waghorn on saxes and bass clarinet and Carl Orr on electric guitar. There's even a special guest appearance by Chris Garrick on electric violin on two tracks (including the first, title track).

There is quite a variety of styles and pace here and Eales ably demonstrates that he is equally at home on the Fender Rhodes as he is on acoustic piano - his usual instrument of choice. Listeners will have fun identifying some of Eales' influences ranging from the Mahavishnu Orchestra and Chick Corea's Return to Forever to funkmeister extraordinaire George Duke; no prizes there as the last track is pointedly entitled 'Getting Down With Dukey'.

Most fans of this genre will find something to like about this album and should Geoff Eales decide to continue in this musical vein, his follow-up with Isorhythm should be very interesting indeed."

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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."

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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. "

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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."

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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."

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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."

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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."

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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 readmore of refreshing, challenging, utterly sincere and beautifully performed solo piano playing"

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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."

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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."

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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."

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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"

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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. "

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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. "

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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."

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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'. "

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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. "

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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. "

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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. "

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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."

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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 readmore, 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."

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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!"

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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."

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