Paz was an English ethno-jazz/funk ensemble that released a live album on Magnus Records and two albums apiece on Spotlight and Coda between 1978 and 1986. The band was formed in 1972 by percussionist Dick Crouch and featured contributions by soloists of international renown, including saxophonist Ray Warleigh and guitarist Jim Mullen.

Members: Dick Crouch (vibraphone, percussion), Dave Sheen (drums), Simon Morton (congas, percussion), Ray Warleigh (saxophone, flute), Chris Fletcher (congas, percussion), Ron Mathewson (bass), Ed Speight (guitar), Frank Gibson (drums), Martin Drew (timbales), Phil Todd (saxophone, flute), Phil Lee (guitar), Henry Thomas (bass), Mike Bradley (drums), Roberto Pla (timbales, percussion), Jim Mullen (guitar), Dave Early (drums), Joao Bosco de Oliveira (percussion), Marianne Davidson (vocals), Frank Holder (vocals, percussion), Martin Shaw (flugelhorn, trumpet), Matt Wates (saxophone), Adam Salkeld (guitar), Rob Statham (bass), Chris Dagley (drums), Peter Callard (guitar), Geoff Castle (piano, synthesizer)

Paz

Paz were an English jazz-funk collective formed in London in 1972 by vibraphonist, composer, arranger, and BBC producer Dick Crouch. Rotating lineups recorded six albums between 1978 and 1989. The group maintained a Sunday residency at The Kensington in Holland Park for more than eight years and also played Ronnie Scott’s.

Saxophonist and flutist Ray Warleigh joined in 1973 during a session career that included records by Dusty Springfield, Scott Walker, and Nick Drake. Guitarist Ed Speight came from Kilburn and the High Roads, while Jim Mullen entered during his work with Morrissey Mullen. Keyboardist Geoff Castle and bassist Ron Mathewson remained among Crouch’s principal collaborators.

Members: Dick Crouch (vibraphone, percussion), Geoff Castle (piano, electric piano, synthesizer), Ray Warleigh (alto, soprano, and tenor saxophones; flute, piccolo, panpipes), Brian Smith (soprano saxophone, flute), Phil Todd (alto and soprano saxophones, flute), Matt Wates (saxophone), Martin Shaw (trumpet, flugelhorn), Phil Lee (guitar), Ed Speight (guitar), Jim Mullen (guitar), John Parricelli (guitar), Adam Salkeld (guitar), Peter Callard (guitar), Ron Mathewson (acoustic and electric bass), Henry Thomas (bass), Rob Statham (bass), Laurence Cottle (bass), Dave Sheen (drums), Frank Gibson (drums), Dave Early (drums, percussion), Martin Drew (drums, timbales), Mike Bradley (drums), Chris Dagley (drums), Ian Thomas (drums), Simon Morton (congas, percussion), Chris Fletcher (congas, timbales, percussion), João Bosco de Oliveira (percussion), Roberto Pla (timbales, percussion), Frank Holder (vocals, percussion), Marianne Davidson (vocals).

Paz were an English jazz-rock and Latin-jazz collective formed in London by vibraphonist, composer, and arranger Dick Crouch. A rotating cast recorded studio and live albums from 1978 through 2001, with keyboardist Geoff Castle present across most of the catalog. Paz maintained a Sunday residency at the Kensington pub in Holland Park for more than eight years and appeared regularly at Ronnie Scott’s.

Members: Dick Crouch (vibraphone, percussion), Geoff Castle (piano, electric piano, synthesizer), Ray Warleigh (saxophones, flute), Ron Mathewson (bass), Phil Lee (guitar), Ed Speight (guitar), Jim Mullen (guitar), Brian Smith (saxophones, flute), Phil Todd (saxophones, flute), Matt Wates (saxophones, flute), Dave Sheen (drums), Frank Gibson (drums), Mike Bradley (drums), Dave Early (drums), Ian Thomas (drums), Chris Dagley (drums), Simon Morton (congas, percussion), Chris Fletcher (congas, percussion), João Bosco de Oliveira (percussion, vocals), Roberto Pla (timbales, percussion), Henry Thomas (bass), Laurence Cottle (bass), Rob Statham (bass), Martin Shaw (flugelhorn, trumpet), Marianne Davidson (vocals), Frank Holder (vocals, percussion)

Background

BBC Transcription Department producer Dick Crouch formed Paz in London during 1972. Crouch played vibraphone and composed much of the group’s material. He chose a flexible collective structure that allowed working musicians to enter according to studio and concert availability.

The first known recording appeared on a 1972 acetate under the name the Dick Crouch Band. Saxophonist Lol Coxhill joined Crouch on “L’Harmonique,” which remained unreleased until the archival compilation Variation and Creation: The Story of PAZ.

Saxophonist–flutist Ray Warleigh joined during 1973 and remained for approximately nine years. Keyboardist Geoff Castle, guitarist Phil Lee, bassist Ron Mathewson, drummer Dave Sheen, and percussionists Simon Morton and Chris Fletcher supplied the other principal roles during the first album period. Paz established its Sunday engagement at the Kensington and worked through London clubs, including Ronnie Scott’s.

A May 1976 BBC transcription session produced “Crotales,” “Solar Wind,” “The Bell Tree,” and “Yours Is the Light.” Crouch assembled a second session during June 1977, and Spotlite Records combined both dates for the first Paz album.

Kandeen Love Song

Paz released their debut album, Kandeen Love Song, during 1978 on Spotlite Records.

Vibraphonist Crouch led keyboardist Castle, guitarist Lee, bassist Mathewson, drummer Sheen, and percussionist Morton on the BBC material. Saxophonist–flutist Smith appears on “Yours Is the Light.” Warleigh and percussionist Fletcher joined the later session represented on the second side.

“Kandeen Love Song” unfurls from a subterranean rumble through flute passages and extended solos toward a hallucinatory dissolve. “The Buddha” rolls across break-led percussion.

A1. “Crotales” (7:28) – Crouch
A2. “Solar Wind” (5:56) – Castle
A3. “The Bell Tree” (4:40) – Crouch
A4. “Yours Is the Light” (5:56) – Richard Kermode, Michael Shrieve
B1. “The Buddah” (7:25) – Paz
B2. “Time Stood Still” (3:49) – Paz
B3. “Kandeen Love Song” (13:02) – Paz

Paz recorded the first side on May 18, 1976, for the BBC transcription series in London. Lawrie Monk produced the date and Robin Sedgeley recorded the session. Crouch produced the second side on June 26, 1977, with Pete Freshney, who recorded and mixed the material. Spotlite proprietor Tony Williams supervised the album production and joined two independently produced sessions into the finished LP.

The sleeve reproduces a painting by French symbolist Odilon Redon, surrounded by oversized pale lettering.

Paz At Chichester

Paz released their first live album, Paz At Chichester, during 1978 on Magnus Records.

The festival lineup paired Crouch with Warleigh, Castle, Lee, Mathewson, Sheen, and Fletcher. The set revisits three Crouch compositions from the working repertoire and extends “Kandeen Love Song” through the live ensemble.

A1. “Bags” (6:02) – Crouch
A2. “Kandeen Love Song” (9:47) – Paz
B1. “A.C./D.C.” (4:00) – Crouch
B2. “I Can’t Remember” (7:00) – Crouch
B3. “Crotales” (7:30) – Crouch

Carl Anthony produced the Chichester Festival performance with a binaural dummy-head recording system. Nimbus mastered and pressed the album. BBC jazz broadcaster Peter Clayton supplied the sleeve notes, while Ian Coulson designed the typography.

Paz Are Back

Paz released their second studio album, Paz Are Back, during 1982 on Spotlite Records.

Crouch retained Castle, Warleigh, and Mathewson. Guitarist Ed Speight replaced Lee, while drummer Frank Gibson joined the core lineup. Martin Drew added timbales. Castle contributed “Moonchild,” and Paz completed the sequence with pieces associated with Sonny Rollins and the Dietz–Schwartz partnership.

“Laying Eggs” grinds through gritty alto saxophone solos. “Horrors” creeps behind eerie homemade panpipes. “Moonchild” darts across an energetic ensemble chart. “Dancing in the Dark” careens through dense improvisation.

A1. “Laying Eggs” (6:17) – Crouch
A2. “Horrors” (8:44) – Paz
A3. “A.C./D.C.” (3:54) – Crouch
A4. “Where Is Ron?” (4:31) – Paz
B1. “Moonchild” (5:28) – Castle
B2. “I Can’t Remember” (6:55) – Crouch
B3. “Iron Works” (4:29) – Paz
B4. “The Everywhere Calypso” (2:58) – Sonny Rollins
B5. “Dancing in the Dark” (3:27) – Howard Dietz, Arthur Schwartz

Paz recorded the album in London during summer 1980. Williams resumed the album-production role established on the debut, and Freshney returned from the 1977 session to record the group. The Arts Council of Great Britain defrayed part of the production cost. Malcolm Walker designed the sleeve.

BBE Music remastered and reissued Paz Are Back during 2017 with the original sequence and sleeve design.

Look Inside

Paz released their third studio album, Look Inside, in December 1983 on Paladin Records.

Warleigh and Castle continued with Crouch. Guitarist Jim Mullen, bassist Henry Thomas, and drummer Dave Early entered the lineup. Morton handled congas and Latin percussion, while João Bosco de Oliveira supplied vocals, timbales, and Brazilian percussion. The group interprets the Milton Nascimento–Ronaldo Bastos composition “Cravo e Canela” among seven Crouch pieces and the Castle title song.

A1. “A.C./D.C.” (4:47) – Crouch
A2. “Cravo e Canela” (3:44) – Milton Nascimento, Ronaldo Bastos
A3. “One Hundred” (2:33) – Crouch
A4. “Sunny Day” (4:37) – Crouch
A5. “Making Smiles” (3:47) – Crouch
B1. “Bags” (6:00) – Crouch
B2. “Look Inside” (4:43) – Castle
B3. “Three Blonde Mice” (5:00) – Crouch
B4. “Night Bird” (5:50) – Crouch

Paz recorded and mixed Look Inside during August 1983 at Eastcote Productions Studios in London with producer Paul Buckmaster and engineer Philip Bagnall. Buckmaster also arranged the 1983 albums North of a Miracle by Nick Heyward and The Wild Heart by Stevie Nicks.

Peter Neal painted the cover. Martyn Lambert devised the layout during a period that also included sleeve assignments for Pigbag (Lend an Ear) and Aztec Camera (High Land, Hard Rain). Cogent Typesetters prepared the typography.

Coda Records reissued Look Inside in Britain during 1985 after the original Paladin pressing.

Always There

Paz released their fourth studio album, Always There, in March 1986 on Coda Records.

Crouch and Castle worked with saxophonist–flutist Phil Todd, returning guitarist Lee, bassist Thomas, and drummer Mike Bradley. Morton contributed congas and percussion with timbalero Roberto Pla. Vocalist Marianne Davidson appears on the Castle–Davidson title song and other vocal material. “Always There” lopes under Marianne’s soft coo with a gentle sway.

A1. “The Right Moment” (5:40) – Lee
A2. “Always There” (5:29) – Castle, Davidson
A3. “The Big Shot” (5:24) – Crouch
A4. “Angel’s Delight” (5:56) – Crouch, Speight
B1. “For Art” (5:08) – Crouch
B2. “I Can See You” (4:25) – Crouch
B3. “You’ve Got Something” (5:20) – Castle
B4. “Be Natural” (5:21) – Crouch
B5. “Hold Back” (5:26) – Crouch

Paz recorded the album at Hollywood Studios and mixed the sessions at Rooster Studios in London with producer–engineer Nick Sykes. Sykes founded Rooster during 1981 and used the facility for his production and engineering work. Crouch shared the production designation on subsequent European editions.

Coda issued “Always There” during 1986 as a seven-inch single (b/w “Sunny Day”). A twelve-inch edition paired the title song with “A.C./D.C.” and retained Sykes as producer.

European Coda editions followed on LP and CD during 1988.

The Message

Paz released their fifth studio album, The Message, during 1989 on Swallow Music.

Crouch and Castle led a revised lineup with saxophonist Todd, bassist Laurence Cottle, drummer Ian Thomas, and percussionist Morton. Mullen divided guitar duties with John Parricelli. Davidson returned on vocals. Cottle contributed “Slide Time,” while Castle supplied four compositions and Crouch wrote the remaining titles.

1. “Xenon” (6:25)
2. “The Message” (5:17)
3. “The Party” (4:18)
4. “Ever in Love” (4:53)
5. “Citron Presse” (5:48)
6. “Slide Time” (3:25)
7. “Nylon Stockings” (4:25)
8. “Hebridean Chant” (4:07)
9. “I Hope Spring’s Eternal” (4:44)
10. “Footsteps” (4:29)
11. “Eyes for You” (5:33)

Crouch and Castle co-produced The Message. Castle assumed the expanded role after contributing keyboards to Ian Carr’s 1988 album Old Heartland, a later project connected with his work in Nucleus. Swallow Music issued the album on LP and CD under the CHELP6 and CHECD6 catalog numbers.

Swallow issued The Message on LP, cassette, and compact disc. The vinyl edition omits “Ever in Love” and “Hebridean Chant.” Crouch produced the album from vibraphone, while Castle handled production from piano and synthesizer.

Archive Releases

Jazz in Britain issued Live in London ’81: The Ron Mathewson Tapes Vol. 2 during 2020. The March 30, 1981, performance pairs Crouch, Castle, Warleigh, and Mathewson with guitarist Allan Holdsworth and singing-bowl player Alain Presencer. The release contains “Dream Sequence,” “And They Speak for Themselves,” “Kandeen Love Song,” and “Here and There.”

Jazz in Britain released the three-CD anthology Variation and Creation: The Story of PAZ on January 31, 2025. Producers Malcolm Wilson and John Thurlow selected four hours from more than thirty-five hours of tapes supplied by the archives of Crouch, Castle, and Mathewson. The set contains unreleased material, broadcast sessions, alternate performances, and the 1972 Dick Crouch Band acetate “L’Harmonique.” Its package includes an eight-panel sleeve and a twenty-eight-page booklet.

Discography

Kandeen Love Song (1978)
Paz at Chichester (live, 1978)
Paz Are Back (1982)
Look Inside (1983)
Always There (1986)
The Message (1989)

Discography

Kandeen Love Song (1978)
Paz at Chichester (live, 1978)
Paz Are Back (1982)
Look Inside (1983)
Always There (1986)
The Message (1989)
The Best of Paz (compilation, 1997)
Live in London ’81: The Ron Mathewson Tapes Vol. 2 (archival live, 2020)
Variation and Creation: The Story of PAZ (archival compilation, 2025)