
PAZ // VARIATIONS AND CREATION: THE STORY OF PAZ (Jazz in Britain)
Jazz Album Review by Tony Poole linktr.ee/tonypoole1956
Paz was a London-based British fusion collective formed in 1972 by vibraphonist Dick Crouch. Their sound was rooted in Latin jazz but also incorporated elements of funk and soul-jazz, setting them apart from many of their contemporaries. At the time, Crouch was working as a producer for the BBC Transcription Department in West London. Frustrated with what he saw as the increasingly abstract nature of the local jazz scene, he founded Paz with a firm belief that strong melody should be at the heart of the music.
Despite their longevity on the London club circuit and the south-east of England, Paz never reached the popularity of British fusion acts like Morrissey-Mullen, Brian Auger’s Oblivion Express, or early Incognito. Their audience leaned more toward rock fans than traditional jazz listeners, drawn perhaps to their rhythmic drive and accessible, groove-oriented approach. While Paz may not have achieved mainstream recognition, their commitment to tuneful, groove-heavy jazz made them a distinctive presence in the UK fusion landscape.
Over the years, Paz’s lineup featured a rotating cast of top-tier British and international musicians. Among them were saxophonists Lol Coxhill, Brian Smith, and Ray Warleigh; guitarists Phil Lee, Ed Speight, and Jim Mullen; and Ron Matthewson, longtime bassist for Ronnie Scott. The group’s anchor was keyboardist Geoff Castle, who remained a constant presence throughout their run.
As a part-time band, Paz’s personnel inevitably shifted based on availability, with stand-ins (or “deps”) frequently stepping in—some of whom became semi-permanent members. More than thirty musicians passed through the group over the years, reinforcing Paz’s reputation as both a creative hub and a proving ground for some of the finest players on the British jazz scene.
Record producer Tony Williams of Spotlite Records played a key role in raising Paz’s profile, beginning in 1978 with the release of a BBC Transcription Services recording as part of their debut album, Kandeen Love Song. This was followed by Paz Are Back in 1982.
These albums stood out on Spotlite, a label primarily known for its reissues of the Charlie Parker Dial recordings and archival releases of rare studio and live sessions by major American jazz musicians. In that context, Paz’s melodic, groove-driven fusion was something of an outlier, yet their presence on the label helped solidify their reputation within the UK jazz scene.
Paul Murphy, co-owner of Jazz Room Records and former co-owner of Paladin Records, licensed and released Paz’s third album, Look Inside, in 1983. Reflecting on the challenges of promoting the band, he recalled: “Hard to sell, a very small audience in those days. Plus, the ancient jazzers tended to look down on that kind of thing.”
Murphy’s comment highlights the difficulty fusion groups like Paz faced in gaining traction. While their melodic, groove-driven approach resonated with some listeners—particularly those outside the traditional jazz scene—it struggled to find a foothold among purist audiences at a time when jazz-rock hybrids were still met with scepticism.
This may, in part, explain the mystery of Paz—often described as “the greatest British jazz fusion group you’ve never heard of.” Despite their longevity and the calibre of musicians involved, their music remained under the radar, caught between a niche audience and a jazz establishment that was often dismissive of fusion. While their melodic and groove-driven style found favour with rock audiences, it never translated into widespread recognition, leaving Paz as one of British jazz’s best-kept secrets.
Released by the non-profit organization Jazz in Britain, dedicated to preserving and promoting the legacy of British jazz and its musicians, this 3CD box set offers an invaluable collection of Paz’s recordings. Compiled from the group members’ and their relatives’ archives, it contains thirty-five hours of Paz music, much of which had been tucked away on dusty old reel tapes and cassettes. After careful curation, these hours were distilled into four hours of music that showcases the band’s evolution.
Included in the set is an acetate of the group’s first recording, “L’Harmonique” from 1972, originally credited to The Dick Crouch Band featuring Lol Coxhill. The box also offers alternate takes and extended versions of certain classic Paz tracks that had previously appeared on their albums, providing fresh perspectives on the band’s sound. These versions differ significantly from their original album counterparts, giving listeners a deeper look into Paz’s creative process.
The box set offers plenty of the group’s trademark jazz-dance-friendly Latin funk fusion, showcasing the infectious grooves that made Paz such a unique force on the British jazz scene. Tracks like “Moonchild,” “Yours Is the Light,” “Laying Eggs,” and “The Buddha” highlight the band’s ability to blend rhythmically complex structures with a smooth, danceable energy. Also included is their iconic ‘tour de force’ “AC/DC”, a high-energy track that captures the essence of their fusion sound—pushing the boundaries of jazz while remaining grounded in accessible, funky rhythms. These selections, with their extended takes and alternate versions, offer fans an even deeper appreciation for Paz’s innovative and captivating style.
Also included in the box set is a 1981 spiritual/free jazz session featuring guitarist Alan Holdsworth, previously released on Jazz in Britain as Live in London ‘81: The Ron Mathewson Tapes Vol. 2 with the Singing Bowls of Tibet. This session offers a striking contrast to Paz’s more groove-oriented fusion material, delving into the realms of free jazz and spiritual experimentation. The inclusion of Holdsworth’s intricate guitar work, combined with the ethereal sound of the Tibetan singing bowls, adds a unique dimension to the set, showcasing a more adventurous side of Paz’s musical explorations. It’s a fascinating piece of the puzzle for those interested in the group’s broader artistic range.
The box set also features vocal Brazil-esque tracks like “Tem Dó de Mim” and “Ever in Love,” adding another layer to the band’s already diverse repertoire. These tracks, with their lush vocals and Brazilian influences, mark a period in Paz’s history when vocals were introduced into their music, a shift that happened later in their career.
In addition to these vocal tracks, the set includes eight previously unheard Paz recordings, bringing the total track count to thirty-six. The inclusion of these rare gems offers a fascinating glimpse into the band’s creative process and evolution. The clean-up job on these recordings is nothing short of a technical marvel, ensuring that even the most worn-out tapes and cassettes have been restored with remarkable clarity and precision, allowing fans to experience Paz’s music in the best possible light.
The producers of the box set made a conscious decision to focus on unreleased tracks or recordings that had only been featured on BBC Transcription Services and broadcast sessions, steering clear of Paz material that had already seen a previous release. As a result, much of the session history remains shrouded in mystery, with scant details about the where’s and when’s of many of these recordings, leaving much of the information uncertain.
The musician credits for many of these tracks are also a bit of a guessing game, as no definitive records exist regarding who played on which specific cuts. What is certain, however, is that the Paz charts were primarily written by Dick Crouch, Geoff Castle, or collectively by the band. This ensures that, despite the lack of detailed session information, the musical heart of Paz—its distinctive charts and compositions—remains firmly intact in the set, offering listeners a deep dive into the group’s creative world.
While the release is somewhat mistitled as The Story of Paz and is not a traditional best-of compilation, it offers something equally valuable. What it truly represents is a collection of newly discovered recordings that will be eagerly welcomed by Paz’s dedicated followers and anyone with an interest in the history of British jazz fusion. Far from a polished retrospective, it’s a treasure trove of previously unreleased material and rare recordings, shedding light on the band’s creative journey and offering a deeper, more nuanced look at their musical legacy. For fans of the genre, this set provides an essential glimpse into the work of one of British jazz’s most unique and underappreciated acts.
In a revealing 1978 interview, Dick Crouch explained the meaning behind the band’s name: “Paz means peace in Spanish and there are jazz connotations as well. Some people think it means progressive jazz, but I don’t like jazz anyway.” When the interviewer pressed him, “You don’t like jazz?” Crouch clarified, “I don’t like the kind of jazz one hears in London pubs at all. I don’t want to be associated with it. I find it very boring. Obviously, I’d go to Ronnie’s and hear Dexter Gordon till the cows come home. But I find British jazz utterly boring—even when it’s all happening, which is rare.”
This candid statement provides valuable insight into Crouch’s mindset as he set out to create Paz. Rather than fitting into the traditional British jazz scene, he sought something different—something that defied the conventions he found uninspiring. His words underscore Paz’s mission to carve out a new path in the fusion genre, rejecting the status quo in favour of more innovative and engaging musical expression.
For those looking to explore the best of Paz, the compilation The Best of Paz (Spotlight Jazz, 1997) is a must-have, offering a solid overview of the band’s highlights. Pair it with the vinyl-only LP Look Inside (Paladin Records, 1983) for a more complete picture of their musical evolution. Together with Variations and Creation: The Story of Paz, this collection will provide all the Paz you’ll ever need—capturing the essence of their innovative fusion sound and showcasing the breadth of their musical journey.