VERY RARE RECORD VINYL LP PROGRESSIVE JAZZ SWIRL VERTIGO

Ian Carr

" Belladonna "

NUCLEUS

ORIGINAL 1972 UK Vertigo Spiral Jazz Prog LP RARE Canadian pressing

 Musicians:

Tracks:

 SIDE ONE:  1. Belladonna (Carr)
2. Summer Rain (Carr)
SIDE TWO: 1. Remadione (Smith)
 2. May Day (Carr)
 3. Suspension (Carr)
 4. Hector's House (Smith)
 

Condition: Nice cover ART jacket with thick cardboard GATEFOLD sleeve is in EX-  [ Solid Gatefold with only couple tiny very light wear around edges and corner,with starting ring wear more on front,inside cover gatefold sleeve is excellent clean,there is NO writing No seam splits No ...]

Record vinyl: EX+ to NM- [ clean with some very light surface hairlines tiny scuffs marks].

 RARE FREE JAZZ / PROGRESSIVE / ROCK / FUNK / 

1st issue gatefold sleeve and lp in superb condition!

Ian Carr (born 21 April 1933) is a Scottish jazz musician, composer, writer, and educator. Carr was born in Dumfries, Scotland, the elder brother of Mike Carr. From 1952 to 1956 he went to King's College, now Newcastle University, where he read English Literature, followed by a diploma in education. Musical career At the age of seventeen Carr started to teach himself trumpet. After university he joined his brother in the Newcastle band, the EmCee Five from 1960 to 1962, before moving to London, where he became co-leader with Don Rendell of the Rendell–Carr quintet (1963–1969). In its six years, the group (including pianist Michael Garrick, bassist Dave Green, and drummer Trevor Tomkins) made five albums for EMI – all of which have been re-issued – and performed internationally. After leaving the quintet, Carr went on to form the ground-breaking jazz-rock band Nucleus. This led to the release of twelve albums (some under the band's name, some under Carr's), and a successful international career. In their first year they won first prize at the Montreux Jazz Festival, released their first album (Elastic Rock), and performed at both the Newport Jazz Festival and the Village Gate jazz club. He has also played with the United Jazz and Rock Ensemble since 1975. Carr has worked as a session musician in non-jazz contexts, with Nico, No-Man, Faultline, and others. [edit] Writing and academic career Apart from writing a regular column for the BBC Music Magazine, Carr has written biographies of the jazz musicians Keith Jarrett and Miles Davis. He is also the co-author of the reference work The Rough Guide to Jazz which has passed through four editions from 1994 (originally Jazz, The Esssential Companion, 1988). In 1987 he was appointed associate professor at the Guildhall School of Music and Drama in London, where he taught composition and performance, especially improvisation and was founder of the jazz workshop at the Interchange arts scheme, where pianist Julian Joseph, amongst others, was one of his students.

Nucleus Discog.:* 1970: Elastic Rock * 1971: We'll Talk about It Later * 1971: Solar Plexus * 1972: Belladonna * 1973: Labyrinth * 1973: Roots * 1974: Under the Sun * 1975: Snakehips Etcetera * 1975: Alleycat *......AND A LOT MORE ........!

For some, such a disastrous chain of events would be discouraging and, to be certain, Carr was at a low point, with health problems only compounding the financial difficulties of trying to keep a band afloat. Still, with Brian Smith remaining, Carr went into the studio with Colosseum drummer Jon Hiseman producing, and created an album that stands as a highlight of his career for a number of reasons. Belladonna , recorded eighteen months after Solar Plexus , was released under Carr's name but is, truthfully, a renewed version of Nucleus, this time with Carr the undisputed leader. Whereas Carr had always considered the original band to be a collective, when faced with others' lack of commitment, it became clear that this was, indeed, Carr's group.

The new group centred around Carr, Smith, Dave MacRae on Fender Rhodes, Roy Babbington on bass guitar (who would follow Jenkins and Marshall to Soft Machine a couple of years later), drummer Clive Thacker and, most notably, a young Alan Holdsworth on guitar. If Belladonna were a failure in all other aspects, and it is not by any stretch of the imagination, then it is worthy of attention for no other reason than to hear an early Holdsworth in action. Holdsworth solos with effortless abandon in tandem with Carr and Smith on the extended vamp of the title track, but it is on "Remadione" and, in particular, Smith's closer, "Hector's House," where notice is given that a new guitarist with a singular voice has arrived. Sure, Holdsworth's sound and conception is raw and not fully-formed, but the legato phrasing and lightening fast lines, inspired by John Coltrane, are already in full evidence.

But while Holdsworth's appearance is so vivid, so compelling, that it would be easy to dispense with the rest of the record, the reality is that Belladonna is the best representation of Carr's vision to date, and shows just how broad Carr's musical concept had become. While there is no doubt that this is a fusion record, it seems less forced, less considered; the rock rhythms more natural. And with extended pieces like the title track, Smith and Carr are, for the first time, given full reign to show their own inestimable talents. With MacRae providing a lush backdrop, and Gordon Beck adding a second electric piano on three tracks, the compositions on Belladonna , while retaining a sense of structure, are looser, more open-ended than anything recorded to date. And if there is any doubt about Smith's skills as an improviser, one need only listen to his work on "Hector's House," where his soprano work is beautifully constructed and is an exciting lead-up to Holdsworth's stunning solo.

KEYWORDS: psych rock kraut cosmic space prog psychedelic jam garage nuggets fuzz acid flowers hippy hippie jazz pokora

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