Nucleus solar plexus rar

Portada Interna Para la muestra, el boton Para los investigadores, los comentarios en Ingles Ian Carr was working on this project even before the birth of Nucleus, as this was some kind of musical grant from England's Art council and under the patronage of Keith Winter who incidentally will toy away with a VCS3 on these recordings.

But as Carr was composing on a piano, it became clear to him that only Nucleus musicians could play what he was writing. However ambitious this was especially for the times , this is only partially successful IMHO but also produces some great moments. There are some lengths in the developments and some repetitions, but overall this is yet another great Nucleus recording.

LinCab 26 de junio de , Federico Pozzi 30 de junio de , El Ingeniero 19 de octubre de , Nataniel Wolff 18 de junio de , De ArtieC febrero 16, Orbitando 2. Le Caine 5. Un disparo de luz 6. Planeta agua Villegas De Moebius8 noviembre 11, Speak To Me 2. Breathe 3. On The Run 4. But if Snakehips Etcetera is Nucleus at their most predictable, their most pedestrian, they are still a step ahead of many of their peers of the day.

Still, at this point Nucleus was a busy performing group, with regular tours in Germany to hone the group's sound. They may not have been as adventurous as they were in their early days, but they were a tight group, with a distinctive sound that was more about funk and soul than more traditional jazz roots.

A band that had started as a hybrid looking towards fusing a variety of genres into a coherent sound had evolved into a more straightforward groove band. But, again, the writing is all about theme-solo-theme, a philosophy that Carr had so adamantly avoided in previous incarnations of the band.

Still, there's an energy about this incarnation of the band, and a broader accessibility that must have made them an exciting live act. Direct Hits With Alleycat Nucleus ended its long association with Vertigo Records, who had released everything by the band since its inception. Moving to Capital Records with perhaps hopes of greater marketability, in particular in North America, Nucleus would go on to release their next record, the live recording In Flagrante Delicto.

But in the meantime Vertigo issued Direct Hits , as fitting a retrospective as one could ask for. Interestingly, the most recent album represented would be Under the Sun , with more emphasis on the earlier incarnation of the band with Brian Smith. And what is most noticeable on the compilation is just how much ground they covered in their first year.

And while the group continued to push the envelope forward with Belladonna , Roots and, in particular, the ambitious Labyrinth , there is something special, something vital about the first incarnation of the band that was never quite recaptured, although the group certainly continued to develop its own sound and approach.

By this point Nucleus had pared down to a lean, mean five-piece featuring keyboardist Geoff Castle and drummer Roger Sellers both of whom, with a couple of years with the group under their belt, were more seasoned and prepared for a return to the more collective improvisational approach that Smith's return represented.

And while new bassist Bill Kristian had only played a few gigs on Nucleus' German tour in February '77, when In Flagrante Delicto was recorded live in concert, he had already melded nicely into a group that was now a little less soul-oriented, and was prepared to tackle darker material, including Carr's "Heyday" and the sixteen-minute title track, where Carr and Smith solo in tandem for much of the time, with Castle dropping intuitively appropriate supporting chords behind them.

In Flagrante Delicto may not represent a full return to Nucleus' early days, where the group came to the rock end of things from a more jazz disposition, but with a cleaner sound and greater sense of interplay, this is unquestionably the group's best album since '73's Roots. Out of the Long Dark By the time November '78 rolled around, and Carr reconvened the same group that had recorded In Flagrante Delicto nearly two years earlier, he was going through a personal musical crisis.

After recording an album, on average, every six months since the group's inception, Carr had become, surprisingly, dissatisfied with his own writing and playing. Surprisingly because, based on the strength of In Flagrante Delicto , Nucleus seemed reinvigorated and Carr's playing, melodic as always, seemed stronger than ever.

Out of the Long Dark is a clear return to form. But tunes including "Selina," which tips a very big nod to Miles Davis' "All Blues," and the dark funk of the title track, with Smith's flute and Carr's muted trumpet excelling at the kind of in tandem interplay that they always do so well, are some of Carr's strongest compositions in years. And "For Liam," a solo piece by Carr that finishes the record, shows him to be at the top of his game, both technically and emotionally.

For the next couple of decades Carr would retire from active performance, concentrating more on practicing, teaching and writing. The Pretty Redhead Still, with Carr's reputation reaching something near legendary status in England, resulting in BGO's reissue of nearly the entire Nucleus discography to critical acclaim, it's no surprise that other record labels with access to archival Nucleus material should look to releasing additional sessions.

Hux Records, notable for its series of reissues of BBC radio recordings, has gathered two sessions a dozen years apart to paint a picture of Nucleus as, first, a cooperative band and then more of a strict vehicle for Carr. The March '71 session that opens The Pretty Redhead is, to date, the only recording available of the initial line-up in a live context, albeit in BBC's studio. What becomes evident on hearing this incarnation rip its way through "Song for the Bearded Lady," "Elastic Rock," and "Snakehips Dream," is how, while latter-day Nucleus approached jazz from a rock sensibility, this version came at things from the other way around.

John Marshall, for example, is a drummer who whet his teeth in a more straightforward jazz environment, and it shows. The whole affair has an openness, a looser improvisational sensibility. Even when there is a primary soloist, as in the case of "Elastic Rock" where guitarist Chris Spedding and then Brian Smith take extended solos, the rhythm section is less intent on playing fixed form and, instead, is keenly attentive and responsive to the soloist's direction. Karl Jenkins, who would later be dismissed as the person responsible for eliminating the sense of freedom and interplay in Soft Machine, is a fine pianist here, layering chords that at times drive the soloists and, at other times, respond to them.

The second session, recorded in October '82, features a completely revamped line-up, even following the days of Out of the Long Dark. But Wood, who clearly has more jazz chops than many of the guitarists that came before him, acts as a fine textural accompanist on the spacious "For Miles and Miles," where he creates atmospheric swells with his volume pedal, and as an engaging soloist on the more straightforward title track.

While the band misses the involvement of Smith, it represents a cogent group sound with its own personality. As always, BBC recordings are clean and crisp; and so The Pretty Redhead is a fine example of how the group evolved over the course of twelve years while still retaining its identifiable sound Live in Bremen Recorded in May of '71, Live in Bremen captures Nucleus in performance during a transitional phase. Chris Spedding had left to pursue his career in rock, to be replaced by the somewhat enigmatic Ray Russell; and Roy Babbington had taken Jeff Clyne's place.

Babbington proves a logical and comfortable replacement, living in the same musical space as Clyne, with a background as a studio player in a variety of genres, but there's no question he's a jazzer at heart.

More noticeable is Russell who, unlike Spedding, had a more compelling interest in jazz, specifically of the fusion variety, and would go on to record a number of solo albums in the ensuing years. With a more aggressive stance than Spedding, his solo on the set opener, "Song for the Bearded Lady" is closer to what John McLaughlin was doing with his Mahavishnu Orchestra, although Russell doesn't display the same staggering technical ability.

This two-CD set captures an entire Nucleus performance, half of which is material from their first three studio releases and, perhaps more importantly from an archival perspective, half of which appears to be group improvisations based around simple sketches.

From the pastoral "By the Pool," with Smith's lyrical flute and Russell's folk-like strumming, to "Money Mad," which is at once the most swinging Nucleus on record and the most free, it's clear that this was a significant working unit that, while short-lived, had an identity that was more closely aligned with a free improvisational spirit than any other incarnation including the first. Kudos to Cuneiform Records, a small but important label who specializes in releasing archival live gems from bands like Soft Machine and Matching Mole, as well as newer progressive and jazz works from bands including The Muffins and Keith Tippet's collective, Mujician, for unearthing this recording, which asserts Nucleus as an exciting and innovative group that, for its time, was on par with any of the fusion groups receiving more attention in North America.

In Closing While there is no question that talent plays a part in the popularity and longevity of any recording artist, just as important are issues beyond the music, including accessibility to a wider audience.

Thanks to BGO Records, it is now possible for a broader international audience to look back at Ian Carr and Nucleus, and reassess their importance in the overall development of jazz in a more assertive, rock-informed environment. Clearly, on the strength of these recordings, Carr's music would have garnered him a greater degree of success had he had the same level of access to North American audiences that other fusion bands of the time had.

The good news, however, is that with the reissue of the Nucleus catalogue by BGO, and archival live recordings by Hux and Cuneiform, enough interest has emerged to compel Carr to put together a new version of the group, which will be playing some UK dates later this year. A biography of Carr is also rumoured to be in the works.

Hopefully this resurgence of interest will lead to a recording, and a chance for a broader audience to find out where Carr is now, twenty years down the road. Showcase Buy Now. Featured Albums. Aziza Mustafa Zadeh piano. Shop Amazon. An outstanding sounding track. Sax solo before 2 minutes.

I like this one a lot. It's relaxing with electric piano and other sounds that come and go tastefully. Guitar comes in. I could listen to this all day long.

This song has the same main melody throughout. I like this better than their debut but "We'll Talk About It Later" remains my favourite probably because it sounds a lot like Miles Davis at times. Interesting though that the first three albums really are quite different from one another. I'd like to dedicate this to the memory of Ian Carr who recently passed away.

A great loss. I mentioned somewhere else about being surprised to see Ian had guested on one of the NO-MAN albums a few years ago, and at the time I thought "How did they manage to get Ian Carr to play on here". A true legend. There's more jazz and less rock on this album. This is not only apparent in the jazzier nature of melodies and composition but also in the arrangements.

There's less space for Spedding's guitars and Marshall's drums are buried a bit deeper in the sound. His playing is also remarkably more subdued and jazzier then on the previous albums. Instead, a legion of guest appears to complement the already 3-man counting brass section. Now it's exactly the guitars and the drums that made all the difference for me and that made Nucleus' first two albums into such stunning jazz-rock experiences for me.

Solar Plexus starts excellently enough with Changing Times and Bedrock Deadlock , but the album loses steam after those and the longer compositions, Snakehips Dream especially, are a bit too repetitious and tame for me. Obviously, the above is a matter of taste. After all I'm a rock-boy with a less developed taste in more regular forms of jazz. I acknowledge the quality of the songwriting but I simply lack a bit of danger and adventure in this album.

I guess this is one of those albums that I would appreciate more in a live performance. Huffy Puffy! On the sensational "Bedrock Deadlock" the brooding majesty of Jenkins' oboe and Clyne's mournful contrabass would that be the French term for an upright acoustic bass?

I would dearly love to hear music like this in a jazz-club in , wow what a mind blast that would be! That's a wah-wah pedal, Yes, it's crazy, iznit! Things get expertly mental on the free spirited "Spirit Level", very wayward jazz with no apparent structure or melodic spine, a theme that would define certain aspects of the nascent British Jazz-rock scene.

The rock is jazzy sand on this tune, so be prepared for the dissonant and the angular!