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Colin Towns
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Key Information
Colin William Towns (born 13 May 1948) is an English composer and keyboardist. He was noted for playing in bands formed by ex-Deep Purple singer Ian Gillan, and later worked extensively in composing soundtracks for film, television and commercials. Learning piano as a child, by the age of 13 he was earning money playing at weddings and birthdays in his neighbourhood of the East End of London. He went on to play in numerous dance bands, jazz ensembles and also became a session musician. His main musical passion is jazz and he has made several well-received albums together with his big band, the Mask Orchestra. He has also founded an independent record label, Provocateur.[1]
Career
[edit]In 1976 he was recruited as keyboardist to replace Mickey Lee Soule in the Ian Gillan Band. Over the time he developed an increasing interest in composing, and Gillan credits the Towns-penned 'Fighting Man' as pointing the direction in which Gillan should go. Gillan dissolved the band, with its jazz-rock leanings, and retained only Towns, putting together the rockier Gillan. Encouraged by Gillan, Towns co-wrote many of the songs for the new band. Whilst with the band he used his free time to seek opportunities to compose music beyond the heavy metal direction of Gillan. His 1980 solo album remains unreleased, although one track was reworked for the 'For Gillan Fans Only' LP, and Making Faces was released in 1982. He composed the soundtrack for the 1977 Mia Farrow-starring film Full Circle, which received reviews praising the music. With bassist John McCoy, Towns guested on Samson's 1979 album Survivors.
In 1982, Towns played with the Spanish rock band Barón Rojo, when they recorded Volumen Brutal.
In 1982, Ian Gillan dissolved the band, and Towns decided to pursue soundtrack composing full-time. In that year he won the commission to write the score for the film Slayground. From then on he was in constant demand, particularly in British television, where his body of work is extensive, and includes Chiller, An Unsuitable Job for a Woman, The Buccaneers, The Crow Road, Dalziel and Pascoe, Ghostboat, Rockface, Into the Blue, The Blackheath Poisonings, Bodyguards, Cadfael, Clarissa, Capital City, Noah's Ark, Pie in the Sky, The Beggar Bride, Our Friends in the North, Between the Lines, Mobile, Cold Blood, Anglo-Saxon Attitudes, Doc Martin, Half Broken Things, Foyle's War, Ivanhoe, Hot Money, Deceit and Imogen's Face.
In 1993, he composed the music for the idents and bumpers of the TSI's masked troubadour.[2]
He also composed the music for the popular children's animation series Angelina Ballerina as well as several other animation series and films for children including The World of Peter Rabbit and Friends, The Story Store, Truckers, The Wind in the Willows, The Willows in Winter The Tale of Jack Frost, Oi! Get Off our Train, Toot and Puddle, Fungus the Bogeyman, The Sandman and Faeries.
His other film credits include Rawhead Rex (1986), Bellman and True (1987), Vampire's Kiss (1988, starring Nicolas Cage), Getting It Right (1989), The Wolves of Willoughby Chase (1989), Hands of a Murderer (1990, starring Edward Woodward), The Puppet Masters (1994, featuring Donald Sutherland), Captives (1994, featuring Tim Roth), Space Truckers (1996, featuring Dennis Hopper), Guest House Paradiso (1999), Essex Boys (2000), Man Dancin' (2003), Crimson Rivers II: Angels of the Apocalypse (2004), and Red Mercury (2005). Several times he has worked for the German director Claudia Garde for the TV-series Tatort.
His work for television is extensive and includes the score for the highly successful UK series Doc Martin, starring Martin Clunes as the grumpy doctor of the fictional Cornish town Port Wen.
Towns' principal musical passion is jazz and has released several albums with the big band he founded, the Mask Orchestra. A long-term collaboration with the Italian-born jazz singer Maria Pia De Vito began in 1996.[3]
In 2010 Towns formed Blue Touch Paper with German and UK musicians. Alongside Towns were Mark Lockheart (Polar Bear, Loose Tubes), Chris Montague (Troyka, Kit Downes), Benny Greb (Stoppok, Ron Spielman), Stephan Maass (Randy Brecker, Kruder & Dorfmeister), and Edward Maclean (Peter Fox, Nils Wülker). Blue Touch Paper released their debut album 'Stand Well Back' in May 2011. Their second album 'Drawing Breath' was released in October 2013.[4]
References
[edit]- ^ Walters, John L. (1 October 2004). "Good pointe". The Guardian. Retrieved 15 May 2017.
- ^ "Lambie-Nairn + Company reveal their role in helping the Swiss take on a new character". Creative Review. Vol. 14, no. 1. January 1994. p. 45.
- ^ Carr, Ian (2004). Ian Carr; Digby Fairweather; Brian Priestley (eds.). The Rough Guide to Jazz. Rough Guides. p. 204. ISBN 978-1-84353-256-9.
- ^ "Blue Touch Paper".
External links
[edit]- Colin Town's official website
- Colin Towns at Provocateur Records
- Behind the Mask Unofficial Colin Towns Website
- Colin Towns at IMDb
- Colin Towns at AllMusic
- Colin Towns at Discogs
- Blue Touch Paper
Colin Towns
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Early life
Birth and family background
Colin Towns was born on 13 May 1948 in West Ham, an industrial district in the East End of London, England, during the post-World War II era of reconstruction and austerity.[1] He grew up in a working-class household typical of the East End, a densely populated area shaped by docks, factories, and markets that exposed residents to a cacophony of urban sounds from machinery, shipping, and daily commerce.[9][4] Limited details are available about his parents or siblings, though an uncle who played honky-tonk piano provided an early familial connection to music.[3] Towns' childhood unfolded in 1950s London, a time when food rationing finally ended in July 1954, easing wartime hardships and allowing greater access to consumer goods amid economic recovery.[10] This period also saw the rise of rock 'n' roll influencing East End youth, fostering subcultures like the Teddy Boys who embraced American music and rebellious styles as a break from post-war conformity.[11] These surroundings helped spark Towns' initial curiosity about music, which would deepen in his formative years.Musical influences and training
Colin Towns developed an early fascination with music during the 1960s, shaped by the vibrant rock and jazz scenes in London. He drew inspiration from jazz luminaries such as Miles Davis, Charles Mingus, Thelonious Monk, and Duke Ellington, whose innovative compositions encouraged his appreciation for complex improvisation and orchestration.[12] Local London jazz musicians further fueled his interest, providing hands-on exposure through informal sessions and performances in the city's underground venues.[3] Largely self-taught, Towns began honing his keyboard skills in adolescence without formal conservatory training. His initial spark came from his uncle's renditions of honky-tonk piano. By age 13, he was experimenting with piano in community settings, earning money by performing at local weddings, birthdays, and dance bands in London's East End. This practical immersion, rather than structured lessons, allowed him to develop an intuitive style, blending jazz harmonies with rock energy.[3] In the late 1960s, Towns gained informal training through participation in amateur bands, bridging his youthful experiments to professional aspirations. After leaving school at 16 to work as a shipping clerk, he played in pub quartets, hippy jazz outfits, and even a country and western group that toured American air bases in the UK, accumulating experience in East End music venues. These gigs honed his abilities on piano and emerging electronic keyboards, emphasizing collaborative learning over academic study.[3] His family's modest circumstances limited access to professional instruments, reinforcing a resourceful, self-reliant approach to music-making.Rock music career
Joining the Ian Gillan Band
In 1976, the Ian Gillan Band was formed by Ian Gillan, the former lead vocalist of Deep Purple, as a jazz-rock fusion ensemble featuring British and American musicians to explore a sound blending progressive rock with jazz improvisation.[13] The band initially included keyboardist Mickey Lee Soule, but with a U.S. support tour alongside Nazareth approaching, Soule was replaced by Colin Towns in May 1976, marking Towns' entry into professional rock music.[14] Towns, who had prior amateur experience in local jazz and rock groups, was recruited for his versatile keyboard skills, bringing a fresh dynamic to the lineup that also comprised guitarist Ray Fenwick, bassist John Gustafson, and drummer Mark Nauseef.[2] Towns contributed prominently as the keyboardist, emphasizing the band's fusion style through intricate solos and atmospheric textures that complemented Gillan's soaring vocals and the group's improvisational leanings.[15] His playing featured on the band's second studio album, Clear Air Turbulence (1977), originally recorded in 1976 at Rockfield Studios in Wales but remixed at Kingsway Recorders in London after dissatisfaction with the initial mixes, where he helped shape tracks like the title song with layered synthesizer and piano elements that underscored the album's turbulent, high-energy jazz-rock aesthetic.[13] This release, delayed from its initial 1976 completion due to remixing, represented a pivotal moment for Towns, solidifying his role in a group that prioritized complex arrangements over straightforward hard rock.[13] The Ian Gillan Band had begun extensive live tours across Europe in April 1976; Towns joined in May and participated from then onward, including headlining shows in the UK and a high-profile support slot for Nazareth in the U.S., followed by a successful Japanese tour in 1977 that culminated in the live album Ian Gillan Band Live at the Budokan.[13] Adapting to the rigors of high-profile rock touring proved challenging for Towns, who had to quickly manage the technical demands of live performance, such as tuning his Yamaha CP70 electric piano under tight schedules before gigs.[3] Additionally, the band's creative environment under Gillan involved intense sessions driven by the vocalist's perfectionist approach, requiring rapid adjustments to evolving arrangements amid the pressures of international travel and audience expectations.[3]Contributions to Gillan
Following the initial recruitment through the Ian Gillan Band, Colin Towns transitioned to the renamed Gillan in 1978, where he served as the primary keyboardist and a key co-writer, contributing to the band's shift toward a harder-edged rock sound.[3] His instrumental work, utilizing synthesizers like the ARP 2600 and electric pianos such as the Yamaha CP70, added layered textures to the group's performances and recordings.[3] Towns co-wrote much of the material for Gillan's early albums, including Mr. Universe (1979), which he largely penned with Ian Gillan and peaked at number 11 on the UK charts, Glory Road (1980) reaching number 3, and Future Shock (1981) hitting number 2.[5] On Mr. Universe, tracks like "Mr. Universe" and "Secret of the Dance" were credited to Gillan and Towns, blending hard rock riffs with progressive keyboard flourishes that defined the band's commercial peak.[16] Similarly, on Future Shock, Towns shared credits on songs such as "Mutually Assured Destruction" (with Gillan, John McCoy, Bernie Tormé, and Mick Underwood) and "Night Ride Out of Phoenix" (with Gillan), incorporating orchestral-like synth elements into the hard rock framework.[17] These contributions helped evolve Gillan's sound, drawing from influences like Led Zeppelin while emphasizing Towns' compositional input, as praised by Gillan himself for providing "the kind of strength I'd once found with Roger Glover."[18] Over the band's run, Towns participated in a total of 10 albums, encompassing studio releases like Double Trouble (1981) and Magic (1982), as well as live recordings such as The Japanese Album (1978).[3] The group achieved six UK Top 20 albums during this period, but internal tensions, exacerbated by rumors of Deep Purple's reformation, led to Gillan's dissolution in 1982.[3]Film and television composing
Entry into film scoring
Following his involvement with the Ian Gillan Band starting in 1976, Colin Towns began transitioning from live rock performance to film composition, leveraging his keyboard skills to secure his debut score for the horror film Full Circle (1977, also known as The Haunting of Julia). Composed shortly after joining the band, the score was created from a self-produced demo based on the screenplay, incorporating electronic keyboards and synthesizers such as the ARP 2600 and Solina String Ensemble to craft atmospheric horror effects that blended piano, strings, and ambient synth layers for a sense of dread and otherworldliness.[3][19][20] In the early 1980s, Towns expanded into scoring low-budget horror and thriller films, marking a stylistic evolution toward hybrid orchestral and synthesizer approaches that combined traditional ensembles with electronic elements for tension and narrative drive. A key example was his score for Slayground (1983), his first project after the Gillan band's dissolution, which utilized synths alongside orchestral textures to underscore the film's gritty action-thriller tone.[3][21][4] This pivot was not without challenges; after Gillan's 1982 breakup, Towns pursued composing full-time amid a competitive London film industry, self-producing demos in home studios or borrowed facilities like Ian Gillan's Kingsway Recorders using limited equipment such as the PPG Wave synthesizer. Networking through a CBS publishing deal and connections to directors like Alan Parker's associates helped him secure commissions for commercials and low-budget features, gradually building his reputation despite tight budgets and the need for rapid, versatile scoring techniques.[3][22]Notable film scores
In the realm of horror cinema, Towns demonstrated mastery of atmospheric tension through minimalist synthesizer-driven compositions in films like Rawhead Rex (1986) and Vampire's Kiss (1989). For Rawhead Rex, directed by George Pavlou and based on a Clive Barker short story, Towns crafted a score that combined subtle electronic pulses with orchestral swells to evoke rural dread and supernatural menace, using sparse synth motifs to build unease during the demon's awakenings.[23] The result was praised for its nuanced horror texture, where pastoral woodwinds give way to dissonant electronic layers, enhancing the film's folkloric terror without overwhelming the visuals.[24] Similarly, in Vampire's Kiss, Towns employed chilling synth effects and isolated piano lines to mirror the protagonist's descent into psychological paranoia, creating a sense of claustrophobic isolation that amplified the film's satirical dread. This approach received acclaim for its economical restraint, allowing the music to subtly intensify the narrative's mind-bending horror.[25] Towns' later sci-fi score for The Puppet Masters (1994), adapted from Robert A. Heinlein's novel, showcased further refinement in thematic development through recurring leitmotifs that represented alien invasion and human resistance. The composer used evolving string motifs to symbolize the parasites' insidious control, layering them with pulsating rhythms to convey escalating urgency, in close collaboration with director Stuart Orme to align the music with the film's themes of autonomy and conspiracy. While not directly involving Clive Barker, this work echoed the psychological intensity of Towns' earlier Barker-scripted project Rawhead Rex, evolving toward more integrated orchestral-synth hybrids that critics lauded for their narrative propulsion and emotional depth. The score's leitmotifs provided a structural backbone, transforming abstract horror into a cohesive sonic allegory for bodily invasion.[26]Television series compositions
Colin Towns has composed scores for a wide array of television series, spanning dramas, period pieces, crime thrillers, and children's programming, often tailoring recurring themes to suit episodic narratives and character development. His television work demonstrates versatility in blending orchestral, acoustic, and electronic elements to enhance storytelling across long-running formats.[6][7] A prominent example is his extensive contribution to the British comedy-drama Doc Martin (2004–2022), where he created the main theme and incidental music for all ten series, comprising over 70 episodes produced by Buffalo Pictures. The score features folksy motifs with acoustic guitar and piano to reflect the series' rural Cornish setting and quirky characters.[6][27] In period dramas, Towns scored multiple episodes of Foyle's War (2002–2015), including the eighth series directed by Stuart Orme for Eleventh Hour Films, emphasizing tense, atmospheric underscoring for the World War II-era detective storyline. Similarly, for Cadfael (also known as The Cadfael Chronicles, 1994–1998), he composed the original music using a chamber orchestra to capture the medieval historical authenticity of the Ellis Peters adaptations starring Derek Jacobi.[6] Towns' recent television projects include the German-Danish crime series The Nordic Murders (2014–2025), for which he provided music across 22 episodes, and several installments of the long-running anthology Tatort (2012–2025), contributing to its diverse procedural episodes. He also scored the animated children's series Angelina Ballerina (2001–2006), delivering whimsical themes for the ballet-themed adventures. In 2024, Towns composed the music for the short-form series Just Grand.Jazz and ensemble work
Formation of the Mask Orchestra
In late 1990, Colin Towns founded the Mask Orchestra as a 19-piece big band, assembling a roster of prominent UK jazz musicians to explore innovative contemporary jazz.[28][29] The ensemble's purpose was to advance jazz traditions by integrating big band swing structures with modern improvisation and forward-looking arrangements, providing Towns a creative outlet beyond his television composing work.[28][3] The orchestra's debut album, Bolt from the Blue, was released in 1997 on Provocateur Records, showcasing Towns' original compositions that blended energetic brass sections, rhythmic complexity, and spontaneous solos from players like John Surman on soprano saxophone and Guy Barker on trumpet.[30][31] As arranger, pianist, and leader, Towns emphasized dynamic contrasts and thematic depth, drawing acclaim for revitalizing big band jazz without nostalgic revivalism.[3] Over the following decades, the Mask Orchestra released a total of seven albums, highlighting Towns' multifaceted role in composition, orchestration, and performance.[29] Notable among these is Another Think Coming (2001), which featured reinterpretations of pieces like John Lennon's "I Am the Walrus" alongside originals such as "Prayer," underscoring the group's improvisational flair and Towns' piano contributions in live festival settings.[28][32] The ensemble's output, including later works like the theatrical Drama (2015), continued to prioritize conceptual innovation over conventional jazz forms.[29]Leadership of big bands
In the early 2000s, Colin Towns began a significant collaboration with the NDR Big Band, one of Europe's leading jazz ensembles based in Hamburg, Germany, serving as composer, arranger, and conductor for multiple projects.[33] His work with the band fused intricate arrangements of jazz standards and contemporary compositions, often drawing from theatrical and film influences to create hybrid pieces that blended rock energy with big band precision. In 2000, Towns directed the NDR Big Band on The Theatre of Kurt Weill, an album featuring his arrangements of Weill's works, highlighting the ensemble's versatility in interpreting dramatic, cabaret-style jazz.[34][35] Towns' tenure with the NDR Big Band expanded through high-profile commissions and recordings that showcased his ability to adapt diverse repertoires for large ensembles. A landmark project was the 2005 live album Frank Zappa's Hot Licks (And Funny Smells), recorded at the 2004 Moers Jazz Festival, where Towns arranged and conducted Zappa's complex compositions, infusing them with big band dynamics and improvisational flair.[36][37] Further commissions included Macbeth (2011), a theatrical suite for the NDR Big Band and actors, and Hamburg Harbour Sound & Vision 1925-2011 (2011), which incorporated original film-inspired scores evoking the city's history.[38] In 2010, Towns was appointed composer in residence by the NDR Big Band, a role that solidified his leadership and led to the double album John Lennon: In My Own Write, featuring arrangements of Lennon's solo catalog performed with guest vocalists like Norma Winstone.[5][34][33] Towns extended his big band leadership to other prominent European ensembles, notably the HR Big Band in Frankfurt, where he arranged and directed projects reinterpreting fusion icons. In 2006, he collaborated with drummer Billy Cobham on Meeting of the Spirits: A Celebration of the Mahavishnu Orchestra, a live recording that transformed John McLaughlin's electric jazz-rock into expansive big band charts, emphasizing rhythmic complexity and solo opportunities.[39][34] This was followed by Visions of Miles: The Electric Period of Miles Davis (2009), in which Towns conducted the HR Big Band through adaptations of Davis's fusion-era works like "Bitches Brew," blending electric grooves with orchestral textures to capture the era's innovative spirit.[40][41] These efforts built on his earlier experience leading the Mask Orchestra, a precursor ensemble he founded in 1990, by applying similar hybrid rock-jazz approaches to established broadcast big bands across Europe.[3]Blue Touch Paper and later projects
In 2010, Colin Towns formed Blue Touch Paper, a six-piece jazz ensemble comprising musicians from Germany and the United Kingdom, including saxophonist Mark Lockheart, guitarist Chris Montague, drummer Benny Greb, bassist Edward MacLean, and percussionist Stephan Maass, with Towns on piano and serving as the group's sole composer and leader.[42] The ensemble emphasized acoustic improvisation and interwoven musical narratives, drawing influences from Miles Davis's mid-career work while incorporating contemporary elements like dynamic shifts and subtle storytelling.[43] Their debut album, Stand Well Back, released in May 2011 on Towns's Provocateur Records label, featured original compositions that showcased the band's tight interplay and exploratory sound, earning praise for its rich textures and avoidance of conventional jazz structures.[42][44] The group's second and final album to date, Drawing Breath, followed in October 2013, further delving into acoustic improvisation with a focus on fast-changing moods and compelling group dynamics, as highlighted in reviews that noted the album's seamless blend of composed sections and spontaneous elements.[45][46] This release solidified Blue Touch Paper's reputation for intimate, narrative-driven jazz, contrasting larger ensembles by prioritizing smaller-scale interactions informed by Towns's prior big band experience.[47] Towns's long-standing collaboration with Italian jazz vocalist Maria Pia De Vito, which began in 1996 with the Mask Orchestra's album Nowhere & Heaven, has extended into various projects blending jazz standards with world music influences, particularly De Vito's Neapolitan roots and multilingual phrasing.[48] Key works include the 1998 album Still Life by the Mask Quintet, where De Vito's haunting vocals added emotional depth to Towns's arrangements of songs by composers like Kurt Weill and Jerome Kern, and the 1999 release Dreaming Man with Blue Suede Shoes, which incorporated her improvisational style into eclectic jazz interpretations.[49] These collaborations culminated in live performances at major European festivals, fusing jazz improvisation with global vocal traditions to create hybrid soundscapes.[48] Through the 2010s, Towns continued his jazz endeavors through ownership of Provocateur Records, the independent label he established to support contemporary British and international jazz artists, including releases from his own projects up to 2015.[50] The label promoted innovative ensembles, reflecting Towns's commitment to diverse jazz expressions beyond his earlier large-scale works.[51]Discography
Rock band albums
Colin Towns played a pivotal role in the rock output of the Ian Gillan Band from 1977 to 1978 and the subsequent Gillan band from 1978 to 1982, contributing keyboards across all releases in this period and co-writing tracks on several later albums.[14][52] His involvement helped shape the hard rock sound of these groups, with a total of ten key albums documenting their studio and live efforts.[53] The following table summarizes these rock band albums, highlighting Towns' credits:| Year | Album | Band | Credits | Notes |
|---|---|---|---|---|
| 1977 | Clear Air Turbulence | Ian Gillan Band | Keyboards, co-writing | Debut studio album with Towns' full involvement post-joining in 1976.[54] |
| 1977 | Scarabus | Ian Gillan Band | Keyboards, co-writing | Follow-up studio release emphasizing progressive hard rock elements. |
| 1978 | Live at the Budokan | Ian Gillan Band | Keyboards | Live album recorded in Tokyo; originally released in Japan, with a 2004 reissue capturing the band's touring energy.[55] |
| 1978 | Gillan (self-titled) | Gillan | Keyboards | Transitional debut studio album after the Ian Gillan Band disbanded.[56] |
| 1979 | Mr. Universe | Gillan | Keyboards, co-writing (e.g., "Fighting Man") | Breakthrough studio album that solidified the band's harder rock direction.[16][57] |
| 1980 | Glory Road | Gillan | Keyboards, flute, co-writing (e.g., "On the Rocks," "Your Mother Was Right") | Top-charting studio release in the UK, blending rock with Towns' compositional input.[58] |
| 1981 | Future Shock | Gillan | Keyboards, co-writing | Studio album marking peak commercial success for the lineup. |
| 1981 | Double Trouble | Gillan | Keyboards, co-writing | Double studio album showcasing extended rock compositions. |
| 1982 | Magic | Gillan | Keyboards, co-writing | Final studio album of the era before the band's initial breakup.[59] |
| 1980 (released 1990) | Live at Reading '80 | Gillan | Keyboards | Live album from the Reading Festival, documenting high-energy performances.[60] |
Jazz albums
Colin Towns' contributions to jazz recording span big band arrangements, improvisational ensembles, and intimate sextet explorations, showcasing his versatility in blending structured compositions with free-form solos. His work with the Mask Orchestra, formed in 1990, produced seven albums that highlight original suites and theatrical influences, emphasizing dynamic brass and reed sections alongside guest vocalists. Nowhere & Heaven (1996, Provocateur Records) marked the debut and a commercial and critical success, with the "Short Stories Suite" weaving vocal improvisations by Maria Pia De Vito alongside Henry Lowther's trumpet and Alan Skidmore's tenor saxophone.[29][12] The follow-up, Bolt from the Blue (1997, Provocateur Records), introduced the ensemble's instrumental prowess through tracks like "Smack & Thistle" and "Music to Type To," featuring soloists such as John Surman on soprano saxophone and Guy Barker on trumpet.[29][31] Subsequent releases expanded on narrative-driven jazz, incorporating suites inspired by literature and mythology. Another Think Coming (2001, Provocateur Records) balanced originals like "Heated Think Tank" with covers such as The Beatles' "I Am the Walrus," showcasing the orchestra's rhythmic flexibility and ensemble interplay.[29][32] The Orpheus Suite (2004, Provocateur Records), commissioned by the Birmingham Royal Ballet, centered on a multi-movement original suite evoking Greek mythology, highlighted by tracks like "The Argonauts Hit Town" and "Orpheus and Eurydice."[29] Later efforts included Dreaming Man with Blue Suede Shoes (2005), featuring vocalists Norma Winstone and Maria Pia De Vito with a 70-piece ensemble for expansive arrangements like "Nighthawks"; Still Life (2008, as Mask Quintet), focusing on intimate songwriting with tracks such as "Winds of Change"; and the double album Drama (2015, Provocateur Records), the seventh release, drawing from theatrical sources with suites from plays like One Flew Over the Cuckoo's Nest and Macbeth, including "The Cherry Orchard" and "The Crucible."[29][61] Towns' collaborations with the NDR Big Band from Hamburg further demonstrated his big band leadership in interpretive jazz projects. The Theatre of Kurt Weill (2000, ACT Music), recorded live, reimagined Weill's songs from musicals like The Threepenny Opera with the band's brass-heavy arrangements and guest vocalists, emphasizing dramatic swings and ballads.[62][63] Frank Zappa's Hot Licks (And Funny Smells) (2005, Rent A Dog Records) adapted Zappa's complex compositions for big band, featuring quirky rhythms in tracks like "Peaches en Regalia" with guest artists including Ian Ballamy on saxes.[37] Lend Me Your Ears (2006, Provocateur Records) presented Towns' originals such as the extended "Voyage Around Vladislav," blending post-bop and contemporary structures with the NDR's precise execution.[34][64] Additional projects like John Lennon – In My Own Write (2010, Provocateur Records) incorporated Lennon's writings into jazz narratives, with guest Norma Winstone on vocals for poetic tracks.[34][65] In contrast, Towns' Blue Touch Paper sextet shifted toward acoustic jazz fusion, prioritizing smaller-group intimacy over orchestral scale. The debut Stand Well Back (2011, Provocateur Records), formed in 2010 with Anglo-German musicians including Sebastian Gahler on tenor saxophone, fused rock and jazz elements in tracks like "Crazy Man on Platform 13" and the title suite, earning acclaim as Jazz CD of the Week in Germany's Financial Times.[66][44] Drawing Breath (2013, Provocateur Records) accentuated acoustic textures with moments of stillness and energy, featuring compositions such as "Isadora" and "Attention Seeker," and was voted one of The Guardian's top five jazz albums of 2013 for its sophisticated production and improvisational depth.[66][67] No new Blue Touch Paper releases appeared between 2014 and 2025.[68]Soundtrack releases
Colin Towns has released several commercial soundtrack albums derived from his film and television compositions, primarily through specialized labels focusing on media scores. These releases highlight his orchestral and electronic scoring style, often blending suspenseful motifs with thematic development tailored to narrative needs. While not all of his scoring projects have resulted in dedicated albums, the available ones cover key works from the 1980s onward, with recent expansions including long-unreleased material.[69]Film Soundtracks
Towns' film scoring contributions have seen selective commercial availability, with albums emphasizing atmospheric and horror elements in his early works.- Rawhead Rex (1986, released 2020, Silva Screen Records): This album presents the complete score for the Clive Barker adaptation, featuring a mix of synth-driven tension and choral elements. It marks the first official release of the music after over three decades. Track listing:
| Track No. | Title | Duration |
|---|---|---|
| 1 | Rawhead Rex Main Theme | 2:27 |
| 2 | Welcome To Ireland | 2:46 |
| 3 | Rawhead Appears | 2:06 |
| 4 | Nicholson's Farm | 2:54 |
| 5 | "Just You Wait" | 7:00 |
| 6 | Boy Runs For His Life Through The Wood | 8:00 |
| 7 | Minty - "Gotta Pee" | 4:05 |
| 8 | The Vicarage | 1:25 |
| 9 | The Family Is Leaving | 2:32 |
| 10 | Gussing Opens Book | 4:54 |
| 11 | Howard Discovers A Strange Glass Window In The Church | 6:24 |
| 12 | Declan Goes Wild In The Church | 2:49 |
| 13 | Howard Discovers The Power Of The Stone | 5:36 |
| 14 | Rawhead Rex End Credits | 2:26 |
| 15 | There Is A Green Hill Far Away | 1:05 |
- The Puppet Masters (1994, Citadel Records): The score for this sci-fi adaptation by Robert A. Heinlein utilizes pulsating rhythms and eerie drones to underscore alien invasion themes. The original 1994 release includes 15 tracks totaling approximately 49 minutes. Track listing:
| Track No. | Title | Duration |
|---|---|---|
| 1 | Arrival | 2:56 |
| 2 | The Visitor Revealed | 3:17 |
| 3 | Check The Ship, Dim The Lights | 1:53 |
| 4 | He's On The Car | 1:47 |
| 5 | Jarvis | 2:52 |
| 6 | Motorcade | 3:11 |
| 7 | The Puppet Masters | 3:28 |
| 8 | Sam And Mary | 2:45 |
| 9 | The Barn | 2:15 |
| 10 | Take Off The Clothes | 1:58 |
| 11 | Drawing Blood | 4:12 |
| 12 | The Old One | 3:36 |
| 13 | Andrew's Conversion | 2:47 |
| 14 | The Invasion Begins | 5:22 |
| 15 | End Credits | 7:04 |
- Space Truckers (1996, released 2021, Quartet Records): The score for this sci-fi action film starring Dennis Hopper features electronic and orchestral elements evoking space adventure and horror. Released 25 years after the film's premiere, it includes 21 tracks totaling about 53 minutes. Track listing:
| Track No. | Title | Duration |
|---|---|---|
| 1 | Main Title | 2:12 |
| 2 | Space Truckers | 1:45 |
| 3 | Charlie's New Rig | 1:32 |
| 4 | Nulll Gravity | 2:01 |
| 5 | McQuade's Theme | 1:28 |
| 6 | Peri | 1:15 |
| 7 | Chopper Chase | 3:45 |
| 8 | Broadbent's Theme | 1:22 |
| 9 | Space Walk | 2:33 |
| 10 | The Creature | 2:18 |
| 11 | Cindy and Mac | 1:47 |
| 12 | Attack | 4:12 |
| 13 | The Lab | 2:05 |
| 14 | Peri In Danger | 3:01 |
| 15 | The Nest | 2:34 |
| 16 | Birth | 1:56 |
| 17 | The Cargo Bay | 2:48 |
| 18 | The Hangar | 3:22 |
| 19 | The Final Battle | 5:11 |
| 20 | End Credits | 4:33 |
| 21 | Suite | 7:45 |
TV Compilations
Towns' television work, spanning medical dramas and mysteries, has yielded compilations that capture recurring themes across episodes.- Doc Martin (2007, POV Records): Covering the ITV series from its 2004 debut through later seasons up to 2022, this album compiles 19 cues emphasizing folksy, quirky orchestration reflective of the Cornish setting. It serves as the primary commercial release for the long-running show's music. Track listing:
| Track No. | Title | Duration |
|---|---|---|
| 1 | Doc Martin Theme | 2:44 |
| 2 | Flying Down To Portwenn | 1:42 |
| 3 | Going Bodmin | 1:56 |
| 4 | Plain English | 1:58 |
| 5 | Come And Meet Anthony | 2:10 |
| 6 | On The Beach | 2:15 |
| 7 | The Aunt Joan Theme | 1:45 |
| 8 | Bert And Al | 2:02 |
| 9 | The Church | 2:30 |
| 10 | Doc's First Patient | 1:50 |
| 11 | The Baby | 2:25 |
| 12 | The Dog Show | 2:08 |
| 13 | The Storm | 2:35 |
| 14 | The School | 2:12 |
| 15 | The Surgery | 1:55 |
| 16 | The Pub | 2:20 |
| 17 | The Wedding | 3:10 |
| 18 | End Of Series Theme | 2:40 |
| 19 | Doc Martin (Reprise) | 2:38 |
Children's Animations
Towns contributed orchestral arrangements and original themes to animated series, with releases blending classical influences and lighthearted motifs.- Angelina Ballerina (2001, Universal Classics): This compilation features Towns' orchestral arrangements of classic ballet pieces alongside the series' theme, supporting the animated adaptation of the Katharine Holabird books. It highlights his role in conducting and producing for young audiences, with the album running about 60 minutes across 16 tracks of ballet favorites like selections from Swan Lake and The Nutcracker, introduced by Angelina narration. The Angelina Ballerina Theme, composed by Towns, opens the collection.[69]