Issue 2016-018

Ian Carr's Nucleus - Bracknell Sunshine

Author, teacher, band leader, composer and trumpet virtuoso Ian Carr died in 2009. His erudite written legacy can be experienced in his superb biography of Miles Davis, whilst his vibrant musical legacy can be heard throughout his extensive discography spanning across 30 years. Carr's reputation has recently been further enhanced by the release of two live CDs featuring him at his most expressive, ably supported by his band Nucleus.

Ian Carr formed Nucleus in October 1969 and for over 30 years they were at the forefront of the jazz-rock movement in the UK. The importance of Nucleus as one of the earliest and most innovative pioneers of fusion cannot be underestimated. Over the band's long history they consistently amalgamated the freedom of expression of jazz, with the structured security of rock, to create their own, unique voice.

Nucleus' trademark sound was characterised by Carr's fluid melodies, balanced by flowing embellishments provided by reeds and keys and sometimes guitars. These essential elements were underpinned and often driven into exotic territories by the rhythmic punch and teasing counter melodies of a succession of fine bassists.

Early incarnations of Nucleus included such gifted players as Jeff Clyne, John Marshall, and Karl Jenkins. Later contributors included many other notable musicians such as Kenny Wheeler, Dave McCrae, Norma Winstone and Roy Babbington. It was also Ian Carr who gave Alan Holdsworth the opportunity to make what was then only his second appearance as a recording artist on his Belladonna album (1972).

Gonzo multimedia should be congratulated for releasing these two wonderful live albums which give listeners a glimpse of why Ian Carr remains as highly regarded as a soloist, as a composer and as a band leader.

Both albums are dedicated to producer Mike King who died in March 2015. King was renowned for his ability to restore analogue archive recordings and was responsible for setting up Reel Recordings which unearthed and released amongst others Soft Heap's Al Dante. King was also known for his collaborative work with Cuneiform Records which resulted in the discovery and release of such gems as Soft Machine's Middle Earth Master's.

Both Nucleus albums sound remarkable. King and executive producer Rob Ayling have done a wonderful job in bringing the band's crisp and inventive performance to life. One can only speculate what the sound quality might have been without their expertise.

Three Of A Kind has a running time of over 70 minutes and features three performances taken from 1983, the mid-70s and 1980. Bracknell Sunshine runs for a mere 41 minutes and features the band's performance at the 1980 Bracknell Jazz Festival.

From a prog fan's perspectiveThree Of A Kind is probably the more appealing and attractive of the two discs. Firstly, two out of the three performances are embellished by a Nucleus line-up that included a guitar player. Secondly, Three Of A Kind contains a performance culled from an unknown date in 75 or 76 that features the band playing cuts from their Alleycat album.

This was an era when the music of Nucleus was arguably at its most accessible. The band's shining performance from this time is full of funk and thrust as they rip through searing and stretched-out versions of Splatt, Alleycat and Phideaux's Corner. Their exciting and energetic performance is full of invention, improvisation and guile. The faultless delivery of these pieces demonstrates and affirms why the group were considered to be one of the leading UK jazz-rock bands of that time.

Sadly, the limitation of the original source material seeps through from time to time. For example, in Splatt, as the wonderful call and response between guitarist Ken Shaw and keyboard player Geoff Castle develops, the keyboard occasionally bulges and bursts through the right channel in an unwelcome wave of distortion. In many ways, this adds to the album's charm and reminds the listener that although this is a very technically proficient band, their performance on that day had an edgy rawness.

Three Of A Kind opens with a performance section of three pieces captured on tape in 1983. This is the only performance across the two albums to feature a Nucleus line- up that includes drummer and founder member John Marshall. As expected, his contribution is full of power and subtlety, and he adds his own unique touch to the proceedings. The performance is also notable for including saxophonist Charlie Mariano as a guest. Mariano's mouth-watering and moody introduction, where he is featured on the Nadaswaram in the atmospheric opening piece Love in Barrenness, is simply superb.

However, in this performance section of this album, it is the swirling input of guitarist Mark Wood which would most likely appeal to prog fans. He garnishes the music with an expansive backdrop of atmospheric chords, which gives the whole thing a spacious and other-worldly feel. When his playing, as in the wonderful Symptoms, is coupled with Mariano's uplifting and lofty solos, the result is highly satisfying.

The third segment in Three Of A Kind is arguably not as readily-accessible as the two previous performances, but in many ways this section reveals itself to be the more interesting and fulfilling. The trio of tracks showcases the band's jazz roots and heritage, whilst still managing to please those who enjoy their jazz wrapped in a cloth of fusion. However I can imagine that some might be put off by the standard jazz convention of a theme, followed by a solo, and then once again by the theme, that is employed by Carr in the arrangements.

The band is propelled by the lush bottom-end work of Chuco Merchan and it is his contribution in this incarnation of the band that really catches the eye. His underpinning of Carr's delightful solo in the challenging and thoroughly rewarding Mutatis Mutandia is simply breath-taking. The swooning Moog solo that also brightly cascades this track in bubbling torrents, makes this piece a highlight of the album.

This excellent album closes with the lengthy ballad Things Past which contains some great phrasings by Carr and an emotive sax solo, superbly crafted and executed by Brian Smith.

Overall, there is much to discover and enjoy in Three Of A Kind and it is highly recommended to any readers who wish to acquaint themselves with the work of Nucleus, or to those who are looking for a companion disc to complement some of the previously released live albums featuring different incarnations of the band such as, the Cuneiform label's Live in Bremen release, or Hux's The Pretty Redhead.

Bracknell Sunshine contains four pieces taken from a radio broadcast of the band's appearance at the aforementioned festival. The sound quality of the set is excellent and the performance of the ensemble is suitably polished.

The band on the recording consists of Ian Carr, trumpet and flugel horn, Brian Smith on tenor saxophone, soprano saxophone and alto flute, Geoff Castle on keyboards, Chuco Merchan on bass and Roger Sellars on drums.

Over the course of the album Carr excels, supplying numerous solos which highlight what a fantastically agile and adaptable player he was. Although heavily influenced by Miles Davis, Carr has his own distinct voice and this is totally apparent in the lengthy and technically brilliant solo that dominates the middle section of Lady Bountiful.

Lady Bountiful originally appeared on the 1979 album Out of the Long Dark and the live version presented here fully exploits the firm foundation of the tune that is provided by the rhythm section.

Although Chuco Merchan's bass is again a highlight during the set, on this particular track I missed the tone and ebullient feel of Billy Kristian's original. Similarly, Lady Bountiful also features on the wonderful United Jazz and Rock Ensemble's United Live Opus Sechs release. In the UJRE version, the glittering cast (including master bassist Eberhard Weber) manages to take the piece to an altogether different level. Against this, the piece performed at Bracknell fares relatively poorly.

The other pieces which make up Bracknell Sunshine are nevertheless highly rewarding. None more so than the dawn-lit and atmospheric Out of The Long Dark. This piece is undoubtedly my favourite composition on this set. It features the radiantly-fragile tones of Brian Smith's alto flute which are beautifully counter-balanced by some outstanding and emotive bass parts.

The album concludes with an up-tempo blues piece dedicated to Jelly Roll Morton that is aptly titled Something For Mr Jelly Lord. This is crammed with a series of repeated phrases that make it difficult to resist the pull to shake the limbs and tap along to.

Of the two albums, I probably prefer Bracknell Sunshine as its style is more consistent and it is a faithful representation of one moment in the band's long and illustrious career. Three Of A Kind on the other hand has a more general appeal, as it showcases three subtle variations of the band's style and three different incarnations of the line-up. Three Of A Kind would also most likely satisfy those who enjoy an identifiable strand of rock, mixed into fusion. On the other hand Bracknell Sunshine is more likely to satisfy those who prefer a hefty amount of jazz infused into fusion.

There is no denying though, that whatever preference a listener might have, both albums showcase a group of musicians who are on top form. The various performers all deliver their parts with confidence and with such firm conviction that is difficult for any fans of progressive music not to be impressed.