His work was nuanced, rhythmically astute, full of instrumental colour and melodically varied.
Jazz In Britain JIB-59-5-CD (2 CDs)
Main participants are: Ian Carr, Guy Barker or Dick Pearce on trumpets & flugelhorns; Paul Nieman on trombone; Brian Smith, Phil Todd or Tim Whitehead on saxes; clarinet & flutes; Glenn Cartlidge or Ed Speight on guitar; Geoff on keyboards; Ron Mathewson or Chucho Merchán on bass & bass guitar; Roger Sellers or Nic France on drums; and Frank Ricotti on vibraphone & percussion.
Disc 1:
Manhattan Dawn / Village Vanguard / 7th Avenue South / Streets at Night / Riding High / Waltz for Bill / Demon Chance
Disc 2:
Manhattan Dawn / Village Vanguard / Waltz for Bill / 7th Avenue South / Streets at Night
As we’ve come to expect from Jazz in Britain, this double CD is beautifully produced. It features a 6-panel digifile and a 24-page booklet with artwork by Alban Low. The comprehensive album notes, compiled mainly by John Thurlow from materials supplied by Caroline Castle, provide a full picture of the suite’s various recordings.
Geoff Castle was a pivotal figure in the British jazz community. Early in his career, he worked with the National Youth Jazz Orchestra. His long-standing association with the band Paz began in 1973 and lasted for most of his life. In 1974, he joined Ian Carr’s Nucleus, a jazz-rock band with whom he recorded several albums over eight years. His deep interest in the jazz scene also led him to participate in Neil Ardley’s groundbreaking album, Kaleidoscope of Rainbows (Gull, 1975). In the 1980s and 90s, Geoff also recorded with his own band, Strange Fruit.
Castle’s style was defined by his masterful command of both acoustic and electric piano, as well as synthesizers like the Mini Moog. He was admired for seamlessly blending traditional jazz with modern fusion, Latin influences, and electronic sounds, making a significant contribution to the evolving landscape of British jazz in the 1970s and 80s.
Inspired by a visit to New York City, Impressions of New York is Geoff Castle’s first large-scale work. It uniquely integrates both acoustic and electric jazz elements for a group that included tuned percussion and synthesizers in its impressive lineup. The suite was performed either in full or in part on four occasions between 1980 and 1983 by Geoff’s ten-piece group, The Impressions Orchestra. This release includes three of those concerts.
“Manhattan Dawn”: The opening of this track features impressive writing, with heavy brass sounds layered over a piano and vibes motif that introduces flutes. The lattice-like rhythm at the piece’s core is particularly notable. Ian Carr’s trumpet solo sounds loud and clear toward the composition’s end.
“Village Vanguard”: This track pays tribute to the famous Mel Lewis Band, bearing a clear resemblance in its arrangement. It kicks off with Ricotti’s vibes before a fluid tenor solo takes over, followed by a trumpet solo. Roger Sellers and Ron Mathewson form a powerful rhythm section before Castle on keyboards brings the track to a close.
“7th Avenue South”: Ron Mathewson switches to bass guitar to drive this tribute to the Brecker Brothers’ club. Glenn Cartlidge solos over the bass guitar figures, and Paul Nieman delivers a pungent, almost Ellingtonian trombone solo as the band provides a rocking backdrop.
“Streets at Night”: The most complex arrangement on the album, this track is a busy, contrapuntal piece where different sections of the band appear to compete. Solos from the guitar and trumpet intertwine over a richly varied rhythmic foundation.
“Waltz for Bill”: Dedicated to Bill Evans, this waltz is introduced by Ian Carr. Geoff Castle plays the opening chorus, setting a meditative tone that is continued by Dick Pearce’s thoughtful horn solo and Ed Speight’s guitar, which maintains a mood of sadness for the great pianist. The final solo is taken by bassist Chucho Merchan before the full ensemble concludes the waltz.
“Demon Dance”: Ian Carr introduces this piece, explaining that he will take the trumpet solo and Tim Whitehead (mistakenly announced as Whitehouse) will play the soprano sax solo. Carr’s solo has a characteristic skipping, fluid quality over the solid rhythm section of Merchan on bass and Nic France on drums. Whitehead’s soprano solo is propelled by an energetic, insistent rhythm, with interpolations from the orchestra driving the piece forward. Geoff Castle’s ensuing piano solo is both percussive and melodic as he gradually slows the tempo down before the finale.
The version of the suite recorded at the Roundhouse stands out as the best acoustically. However, it’s fascinating to compare it with the recording made at the Ealing Jazz Festival three years later.
The suite and its accompanying numbers highlight the depth of Geoff Castle’s writing and the immense musical talent he could assemble to bring his scores to life. His work was nuanced, rhythmically astute, full of instrumental colour and melodically varied. He had a vision that allowed him to effortlessly cross genres. It is sad that he didn’t live long enough to create more work of this calibre.
