informal logo

home flood tide hour angle previous resources contact


Taming of the Shrew

'It's a production that seethes with frantic activity and that is filled with delightful oom-pah-pah music from John Eacott and the band.' - Michael Billington, Guardian 27/1/2012

Escape to Life

'a wonderfully complicated dysfunctional-family story' New York Metro 1/12/2001

another strangeAttraction july 2000 - morley gallery, waterloo

'Eacott's piece is hardly ambient or mechanical - its a two-minute modal workout for saxophone, trombone, trumpet, bass and drums. Yet every time it gets going you hear a different piece. Eacott has taken advantage of the formal shape of jazz, recording the performers separately, chopping their parts into four-bar segments and initiating a game whose elements are recombined every time visitors wnap their fingers: the groovy, post-bop equivaleent of Mozart's musical dice game.' Guardian 21st July 2000

RSC production of Timon of Athens 1999-2000 (Arranger and musical advisor)

  • 'bang on the money' Independent 27/8/99
  • 'a rare and raucous revival' The Times 26/8/99
  • 'lively' Daily Telegraph 26/8/99
  • 'the production makes excellent use of the jazz score for the play' Sunday Telegraph 29/8/99
  • 'The production is tremendously enhanced by Duke Ellingtons jazz score.. It starts the show with a terrific swing.' The Mail on Sunday 5/9/99
  • 'Duke Ellingtons music.. underwrites the mood of Timon's spending spree and is perfect for the entertainment at this lavish first banquet.' The Spectator 4/9/99
  • 'This music also brassily underscores the showy Jacobean spectacle' The Stage 2/9/99
  • 'Duke Ellington's delightfully smoochy music' Time Out 1/9/99
  • 'The power of Duke Ellington's music' Birmingham Evening Mail 26/8/99
  • Gormenghast 1992 to 1997

    (Composer and Musical Director)

  • '...a gloriously impossible realisation of Mervyn Peake's soaring flight of fancy...' Guardian 24/1/92
  • 'magnificent to watch' Independent 20/3/92
  • 'John Eacotts music perfectly fits this primitive and violent conception' - Time Literary Supplement 27/ 3/ 92
  • 'John Eacotts pervasive soundtrack, while powerful, grows portentous...' - Evening Standard 19/3/92
  • 'The production's greatest asset is John Eacott's synthesised soundtrack' Time Out 25/ 3/92
  • 'John Eacotts marvellous music' - Oxford Mail 29/1/92
  • 'John Eacotts arresting score' - City Limits 26/3/92
  • 'John Eacotts music is a constant and welcome support' Financial Times 31/1/92
  • 'a distorted vision of our own world' Times 21/3/92
  • 'the inventiveness of the production was a pleasure' Sunday Times 29/3/92
  • 'brilliantly evoked with a combination of sound .. and music by John Eacott' Time Out 14/7/93
  • 'please may we have a tape of John Eacott's heavenly music?' Birmingham Post 6/5/93
  • 'an experience you'll never forget.' Evening Standard 12/8/93
  • 'a hectic cross fertilisation of musical styles and sound effects' City Limits July 1993
  • Loose Tubes (1984 - 1990)

    Composer and performer

  • 'The most impressive young orchestra to have emerged in London' John Fordham, Guardian
  • 'immense power and an uneasy sense of loosely - harnessed conflict... Enough brilliance on display to merit burglar proof grilles.' Melody Maker
  • 'the most original, stimulating and dynamic event in British Jazz.' Stuart Nicholson, The Wire.
  • 'Britain's most accomplished and contemporary minded players.' Mark Gilbert, Jazz Journal.
  • 'Vibrant and unpredictable' New Musical Express.
  • 'A cornucopia of approaches united by infectious enthusiasm' The Times.
  • 'Loose Tubes manage to be humorous, anarchic, eclectic, musically extra-terrestrial, yet also remain musically extremely accessible.' The Observer
  • 'The best instrumentalists of their generation.' John Gill - Time Out.
  • 'Everything was done with blinding musicianship and icy control, but the most notable thing about it was the presentation...The idea was to turn a concert into a good time party - and it worked.' Dave Gelly - The Observer.