Another shot of Geoffrey by his friend Martyn Goddard.  Geoffrey would savour a drive  in his Bristol after a days work on his composition.  It was one of his favourite ways to clear his mind and to come up with new ideas.

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Geoffrey shooting Bristols with Martyn Goddard

Geoffrey and Martyn Goddard would go on escapades with the Bristol of the moment.  They both had a fantastic time together on these photo journalistic  journeys.  Martyn photographed Geoffrey for most of his career and most of the photographs we upload on this site are by Martyn.

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Geoffrey Burgon’s Birthday

Celebrating Geoffrey’s 74th Birthday, July 15th.

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Dogs of War – Film Score Release

We are delighted to announce the release by La La Land Records of the  Film Music,  Dogs of War.  This is one brilliant film directed by John Irvin, who became good friends with Geoffrey.  Their collaborations had a magic that captured audiences around the world.  Their work together, remains timeless and has a powerful, riveting sophistication,  that is rarely achieved in cinema.  John always chooses the best actors and composers. On Dogs of War you will be able to see a very young Christopher Walken with a youthful buoyant score by Geoffrey.

We wanted to let you know how honoured we are to have released Geoffrey’s magnificent score! It is a wonderful piece of work and we are so excited to have produced this CD.

Warm Regards

MV Gerhard

Matt Verboys

La-La Land Records


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Bobby Kok

The Burgon family sends their deepest condolences to Bobby Kok’s family. Bobby played on Brideshead Revisited as well as many of Geoffrey’s television compositions. You can also find him on some of the Beatles’, Stones’ and many famous film recordings.
Bobby was one of the founding members of the legendary Philharmonia Orchestra and the Principal Cellist for the BBC Symphony Orchestra.
He was a great friend to Geoffrey and the Burgons and will be greatly missed.
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Geoffrey Composing, 1985.

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Geoffrey with his Bristol

Geoffrey had a passion for cars, especially Bristols.  He saw his first Bristol when he was a boy and he made his mind up there and then, this was his car.  Geoffrey would drive for hours to think alone about his music.  His love of the English Countryside, the Bristol engine hum and those solitary moments, inspired him and more often than not, brought light to his compositions.

Photo by Martyn Goddard.

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The Archiving of Geoffrey Burgon’s Recordings

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Geoffrey Burgon at 15 years of age

This is a photo of Geoffrey at Pewley Grammar School, he is third from the left. At this time, Geoffrey was being introduced to Jazz by Nigel Jones, listening to records and learning the tunes. Nigel needed a trumpet player for his jazz band and this is when Geoffrey became the trumpet player. We don’t know who the other students are in this photo, maybe you could let us know! Is that Nigel on the right?

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Geoffrey Burgon Dance – Bob Cohan’s 90th Celebration

I attended Bob Cohan’s 90th Celebration at The Place last Friday, March 27th. The man who has been described as ‘the forefather of British contemporary dance’ was a member of Martha Graham’s company for more than ten years, and taught at the Martha Graham School in New York. When, in 1967, he became the Artistic Director of London Contemporary Dance Theatre (based, from 1969 until its demise in 1994, at The Place). Bob was drawn to Geoffrey’s music early in his career and included Canciones del Alma, the work that he choreographed, in the celebration.

I will be posting film footage of Bob Cohan in the next weeks as he is a fascinating man and I understand how both he and Geoffrey worked so well together.

Bob Cohan, Another Place

If Yolande Yorke-Edgell had appeared slightly uncertain as one of the dancers in the Lingua Francaquartet, her solo performance in Cohan’s Canciones del Alma (1978) helped make it the strongest work of the evening. Dressed in a long, full skirt like those Martha Graham used to wear, the dancer turned negative space positive by encircling it with her arms, or by taking quick, short, sideways steps through it. In the third section of the piece, the movement becomes more sweeping. The dancer extends both legs to slide herself to the floor. In her backward run on the diagonal from the front of the stage, with arms stretching out to the place just left, she resembles Isadora Duncan as described by Frederick Ashton and Edwin Denby. Yolande Yorke-Edgell  made this dance her own and I was very taken by her perforance on this evening.

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