GILLES PETERSON – Impressed With Gilles Peterson (– 064 749-1 / 2LP-2002)

Label: Universal – 064 749-1

Series: Impressed Re-pressed –

Format: 2 × Vinyl, LP, Compilation / Country: UK / Released: 2002

Style: Modern Jazz, Modal, Big Band, Free Improvisation

Compilation / rare, classic & unique modern jazz from Britain 1963-1974.

Compiled By – Gilles Peterson

Executive Producer – Tony Higgins

Mastered By – Peter Dennett

Sleeve Notes – Tony Higgins

Track C2 is a bonus track on this vinyl release.

Matrix / Runout (Runout (Etched) Side 1): 064 749-1 A1

Matrix / Runout (Runout (Etched) Side 2): 064 749-1 B

Matrix / Runout (Runout (Etched) Side 1): 064 750-1 C2

Matrix / Runout (Runout (Etched) Side 2): 064 750-1 D

A1 - Michael Garrick Trio – First Born ....................................................................... 4:12

          Bass – Dave Green

          Drums – Trevor Tomkins

          Piano – Michael Garrick

A2 - Joe Harriott & Amancio D'Silva Quartet – Jaipur ............................................... 8:07

          Bass – Dave Green

          Drums – Bryan Spring

          Guitar – Amancio D'Silva

          Tenor Saxophone – Joe Harriott

          Trumpet – Ian Carr

          Vocals – Norma Winstone

A3 - Ronnie Ross – Cleopatra's Needle ................................................................... 5:45

          Baritone Saxophone – Ronnie Ross

          Bass – Spike Heatly

          Drums – Ronnie Stephenson

          Piano – Bill Le Sage

          Tenor Saxophone – Art Elefson

          Trumpet – Les Condon

B1 - The Tubby Hayes Quintet – Down In The Village .......................................... 10:06

          Bass – Freddy Logan

          Drums – Allan Ganley

          Piano – Gordon Beck

          Tenor Saxophone, Soprano Saxophone – Tubby Hayes

          Trumpet – Jimmy Deuchar

B2 - Harry Beckett – Rolli's Tune .............................................................................. 6:19

          Bass – Chris Laurence

          Drums – John Webb

          Piano – John Taylor

          Soprano Saxophone – John Surman

          Tenor Saxophone – Alan Skidmore

          Trumpet – Harry Beckett
          Vibraphone – Frank Ricotti

C1 - The Don Rendell / Ian Carr Quintet – Black Marigolds ................................... 13:32

          Bass – Dave Green

          Drums – Trevor Tomkins

          Piano – Michael Garrick

          Tenor Saxophone, Soprano Saxophone,

          Flute – Don Rendell

          Trumpet, Flugelhorn – Ian Carr

C2 - The Mike Westbrook Concert Band – Original Peter ........................................ 8:00

           Alto Saxophone – Mike Osborne

           Bass – Harry Miller

           Drums – Alan Jackson

           Guitar – Chris Spedding

           Piano – Mike Westbrook

           Tenor Saxophone – George Khan

           Trumpet – Paul Rutherford

           Vocals – Norma Winstone

D1 - Graham Collier Sextet – Lullaby For A Lonely Child ....................................... 5:40

           Alto Saxophone – Stan Sulzamn

           Bass – Graham Collier

           Drums – John Marshall

           Piano, Oboe – Karl Jenkins

           Trombone – Nick Evans

D2 - The Don Rendell / Ian Carr Quintet – Dusk Fire ............................................. 12:22

          Bass – Dave Green

          Drums – Trevor Tomkins

          Piano – Michael Garrick

          Tenor Saxophone, Soprano Saxophone, Flute – Don Rendell

          Trumpet, Flugelhorn – Ian Carr

“Information” as to which tracks are on which of the four sides of vinyl is conspicuously absent. Apparently, information is old fashioned, nowadays you are lucky to know who’s album it is. You have to ask, then why tell us which record number and side number it is? There’s the tell. Information does matter, that white space is a modern conceit. Well, that’s how I read it.

Or can’t.

On first site, this is a strange album; the cover design has a large thumbprint on a white background, with a piece of brown tape stuck on it giving the title and the name Gilles Peterson. I have to confess it meant nothing to me and I wondered whether my editor had sent it to the wrong reviewer! What a pleasant surprise I had, the LP contains the music I grew up with. As an avid visitor to The Marquee, The Flamingo Club and Ronnie’s Old Place in London, what a delight to hear again the bands which were also presented in the Midlands, where I live, by the Late Harry Flick.

I find today’s jazz scene nothing like as stimulating as those times, there were weekly sessions in Coventry and most other cities, where the musicians and bands heard on this record performed to packed enthusiastic audiences.

On the LP we realise just what a golden era the sixties and early seventies was for jazz in the UK. The talents of the musicians on display are astonishing for that time, or should I say, someone who did not know of them, should prepare to be astonished. Michael Garrick has always had a good band and he is a very fine pianist, the likes of Joe Harriott would surely have been an international jazz figure if he had chosen the USA instead of the UK to move to from his native Jamaica.

Ronnie Ross must surely be the finest baritone player the UK has produced and Tubby Hayes, I am amazed at the number of local musicians who are digging around in record shops trying to find anything Tubby recorded. The example on this record, with the superb Jimmy Deuchar on trumpet is one of the best and is worth the price of the record on it’s own!

Don Rendell I count as a friend, even though I have not seen him for a while, his contribution to the UK jazz scene has been immense. He was a founder member of the Johnny Dankworth Seven and has worked tirelessly in the cause of British jazz. In more recent times, as well as performing up and down the country, he has also been teaching in a London University, helping along a new generation of jazz musicians. As Gilles Peterson says, Black marigold as another superb track featuring Don, with trumpet player Ian Carr.

If you are from the era, you will love this record, if you came in later, listen to it and be prepared to be surprised at what you hear, A volume two is mentioned, lets hope it comes out soon.

(Review by Don Mather)

If you find it, buy this album!

GILLES PETERSON – Impressed 2 With Gilles Peterson (– 982 107 0 / 2LP-2004)

Label: Universal – 982 107 0

Series: Impressed Re-pressed –

Format: 2 × Vinyl, LP, Compilation / Country: UK / Released: 2004

Style: Modern Jazz, Modal, Big Band, Free Improvisation

Compilation / rare, classic & unique modern jazz from Britain 1963-1974.

Compiled By – Gilles Peterson

Executive Producer – Tony Higgins

Mastered By – Peter Dennett

Sleeve Notes – Tony Higgins

Matrix / Runout (Runout (Etched) Side 1): 982 107 1 – A-1

Matrix / Runout (Runout (Etched) Side 2): 982 107 1 – B

Matrix / Runout (Runout (Etched) Side 1): 982 107 2 – C-2

Matrix / Runout (Runout (Etched) Side 2): 982 107 2 – D

A1 - Amancio D'Silva – A Street In Bombay ................................................................. 10:56

      Bass – Tony Campo

          Drums – Dick Wright

          Guitar – Amancio D'Silva

          Piano – Stan Tracey

          Saxophone [Sax], Flute – Don Rendell

          Tabla – Mick Ripshar

          Vibraphone, Clarinet – Alan Branscombe

A2 - Paul Gonsalves Quartet – Boom Jackie Boom Chick ............................................. 3:54

        Bass – Kenny Napper

           Drums – Ronnie Stephenson

           Piano – Pat Smythe

           Tenor Saxophone – Paul Gonsalves

B1 - Harold McNair – The Hipster .................................................................................. 4:36

        Bass – Spike Heatley

           Drums – Tony Carr

           Flute – Harold McNair

           Piano – Bill Le Sage

B2 - Michael Garrick Septet – Ursula ............................................................................. 5:44

        Alto Saxophone – Joe Harriott

           Bass – Dave Green

           Drums – Trevor Tomkins

           Flugelhorn – Ian Carr

           Piano – Michael Garrick

           Soprano Saxophone – Don Rendell

           Tenor Saxophone – Tony Coe

B3 - Mike Taylor Remembered – Timewind  .................................................................. 1:56

        Bass – Ron Mathewson

           Clarinet, Arranged By – Dave Gelly

           Drums – Jon Hiseman

           Piano – Peter Lemer

           Vocals – Norma Winstone

C1 - Tubby Hayes & The Paul Gonsalves All Stars – Don't Fall Off The Bridg ............. 9:20       

        Alto Saxophone – Tony Coe

           Baritone Saxophone – Jackie Sharp

           Bass – John Lamb

           Drums – Ronnie Stephenson

           Piano – Terry Shannon

           Tenor Saxophone – Paul Gonsalves, Ronnie Scott, Tubby Hayes

           Trumpet – Ray Nance

C2 - The New Jazz Orchestra – Le Dejeuner Sur L'Herbe ............................................. 7:42

        Bass – Jack Bruce

           Conductor – Neil Ardley

           Drums – Jon Hiseman

           Flute, Soprano Saxophone, Alto Saxophone – Barbara Thompson

           Tenor Saxophone, Bass Clarinet – Dave Gelly

           Tenor Saxophone, Flute, Clarinet – Jim Philip

           Tenor Saxophone, Soprano Saxophone – Dick Heckstall-Smith

           Trombone – Derek Wadsworth, John Mumford, Michael Gibbs

           Trumpet, Flugelhorn – Derek Watkins, Harry Beckett, Henry Lowther, Ian Carr

           Tuba – George Smith

           Vibraphone – Frank Ricotti

D1 - Mike Westbrook Orchestra – Metropolis (Part IX) ................................................. 8:01

        Alto Saxophone, Clarinet – Mike Osborne

           Alto Saxophone, Flute – Ray Warleigh

           Alto Saxophone, Tenor Saxophone – Alan Skidmore

           Baritone Saxophone – John Warren

           Bass Trombone – Geoff Perkins

           Bass, Cello – Harry Miller

           Double Bass [Acoustic Bass], Double Bass [Electric Bass] – Chris Laurence

           Drums – Alan Jackson, John Marshall

           Electric Piano – John Taylor

           Guitar – Gary Boyle

           Piano, Producer – Mike Westbrook

           Tenor Saxophone – George Khan

           Trombone – Derek Wadsworth, Malcolm Griffiths, Paul Nieman, Paul Rutherford

           Trumpet – Nigel Carter

           Flugelhorn – Dave Holdsworth, Harry Beckett, Henry Lowther, Kenny Wheeler

           Vocals – Norma Winstone

D2 - The Stan Tracey Quartet – Starless & Bible Black ................................................. 3:47

        Bass – Jeff Clyne

           Drums – Jack Dougan

           Piano – Stan Tracey

           Tenor Saxophone – Bobby Wellins

D3 - Neil Ardley – Will You Walk A Little Faster ............................................................ 3:45

        Bass – Chris Laurence

           Bass Clarinet, Tenor Saxophone – Dave Gelly

           Bass Trombone – Ray Premru

           Bassoon – Bunny Gould

           Conductor – Neil Ardley

           Drums – Jon Hiseman

           Flugelhorn, Trumpet – Derek Watkins, Harry Beckett, Henry Lowther, Nige Carter

           Flute [Alto], Soprano Saxophone, Tenor Saxophone – Don Rendell

           Flute, Piccolo Flute, Soprano Saxophone – Barbara Thompson

           Tenor Saxophone, Soprano Saxophone – Dick Heckstall-Smith

           Trombone – Derek Wadsworth

           Tuba – Dick Hart

           Vibraphone, Percussion – Frank Ricotti

           Vocals – Norma Winstone

Notes:

Sub-titled "Rare, classic & unique modern jazz from Britain 1963-1974".

Two LPs, all four labels are identical aside from the number of  record, 1 or 2,  and which side – 1 or 2. The absence of track listing  led to another breaking of vinyl rules – writing on the label.

Impressed with Gilles Peterson Vol 2 is a second volume of unique, rare and beautiful British jazz . This album sees him uncover more exceptional UK jazz from the 60s and 70s. Featuring landmark recordings, elusive rarities and previously unreleased exclusives, Impressed Vol 2 builds on the success of the first volume, with many of the tracks reissued for the first time since their original release.

Peaceful mellow numbers with lush orchestration is taken care of by the likes of Michael Garrick and the Stan Tracey Quartet, dancefloor bombs belong Tubby Hayes and Paul Gonsalves and Amancio D'Silva  is in charge of the exotic moments. Essential music from a forgotten corner of the jazz spectrum.

Tony Higgins (Executive Producer), London, on September 6, 2018, said:
(LondonJazzCollector)

Hi, I wrote the sleeve notes for both volumes of Impressed, and sourced the tapes we used for the mastering – the Lansdowne tapes were held in the old Polygram archive in Germany (incl Hum Dono which was always assumed lost). The Fontana/Argo/Decca material was from tapes held in the Decca archive in Hampstead. The image of Giles at the DJ controls was taken in the club in Old St called Cargo... I also worked on the BBC TV series Jazz Britannia, researching and writing the script. After Impressed 1 & 2, I suggested to Universal that they do a comprehensive reissue series of selected albums – Garrick, Westbrook, Tubby, Ardley, Rendell Carr, Harriott etc.

They initially agreed and so we set up the Impressed Re-pressed sub-label. The first batch was Amancio D’Silva ‘Integration’, Garrick ‘Troppo’ etc, five in total. Sadly, Universal didn’t want to do LPs just CDs – and even then they skimped on the packaging and artwork. I had flagged about 30 titles to reissue. Come the second batch, they decided just to do five Tubby Hayes CDs and basically use the Japanese reissue CDs and sources, not go to the tapes – which existed. Again, cutting costs. There were no more in the series after that – there were personnel changes in Universal and the meagre support for the project that existed was gone – Universal had no interested in it any more and was keener to sign army wives choirs and singing monks (seriously).

I did manage to compile a volume 3 but it was never released but did slip out on a blog. Roll on to about 2009, I contacted Universal (why??) with some other ideas: a comp of Japanese jazz and European jazz drawn from their own catalogue. They agreed, so I duly comped and wrote sleeve notes: 20,000 for ‘Jazz Japan’ & nearly 40,000 for ‘Jazz Europa’. I delivered the comps and notes. I then suggested why not have a trilogy? So, I convinced them to agree to a third, another British comp, ‘Jazz Britannia’. I selected the tracks and wrote 40,000 words of notes. I even got Don Rendell to write an intro piece. Where are they? Still sitting on someone’s desk at Universal, in limbo. I’ll never work with Universal again. Awful people...

Finally, the fingerprints on the Impressed sleeves are mine.

Tony Higgins



If you find it, buy this album!

IAN CARR with NUCLEUS – Solar Plexus (LP-1971)

Label: Vertigo ‎– 6360 039

Format: Vinyl, LP, Album / Country: UK / Released: 1971

Style: Fusion, Free Jazz, Jazz-Rock

Produced for Ronnie Scott Directions Ltd.

Recorded on the 14th and 15th of December 1970, London.

Design [Cover Design] – B.E. Ltd.

Engineer – Roger Wake

Producer – Pete King

Original VERTIGO, UK first pressing.

Matrix / Runout (stamped): Side 1:  6360 039  1 Y // 1 420   1 1 1 04

Matrix / Runout (stamped): Side 2:  6360 039  2 Y // 1 420   1 1 4 04

A1 - Elements I & II ................................................................ 2:12

A2 - Changing Times .............................................................. 4:44

A3 - Bedrock Deadlock ........................................................... 6:52

A4 - Spirit Level ...................................................................... 9:20

B1 - Torso ............................................................................... 6:12

B2 - Snakehip's Dream ......................................................... 15:16

Line-up / Musicians

- Ian Carr / trumpet, flugelhorn

- Karl Jenkins / oboe, baritone saxophone, E-piano, piano

- Brian Smith / tenor saxophone, soprano saxophone, flute

- Chris Spedding / guitar

- Jeff Clyne / bass, contrabass

- John Marshall / drums, percussion

Guest musicians:

- Kenny Wheeler / trumpet, flugelhorn

- Harry Beckett / trumpet, flugelhorn

- Tony Roberts / tenor saxophone, bass clarinet

- Ron Matthewson / bass

- Chris Karan / percussion

- Keith Winter / synthesizer

Solar Plexus is the third Nucleus album (now titled Ian Carr with Nucleus) and it is clear that a shift has occurred with Carr taking over songwriting duties from Karl Jenkins. The sound therefore is quite different, heavier predisposition to the brassier elements of jazz as well as a hint of experimental tones as the synth heavy "Elements I and II" display and reprised through the course of this recording.

Karl Jenkins was the main composer on NUCLEUS' first two albums, but "Solar Plexus" is 100% Ian Carr. I'll let Ian describe this album for you."I wrote "Solar Plexus" last year with the help of an "Arts Council" grant. It is based on two short themes which are stated at the beginning ("Elements I & II"). The first theme is angular and has a slow crab-like movement : the second theme is direct, simple and diatonic "Changing Times" and "Spirit Level" explore the first theme, and "Bedrock Deadlock" and "Torso" explore the second one. "Snakeships' Dream" tries to fuse both themes".

The big difference for me on this one compared to their first two albums is the bigger horn section. It's the same lineup here but there are 6 guests, 3 of which play brass.

"Elements I & II" is the just over 2 minute opening track. I'm thinking UNIVERS ZERO the first time I heard this dark and haunting soundscape. Synths and bowed bass help in that department. "Changing Times" opens like the sun bursting out from behind the dark clouds. Lots of horns in this very enjoyable track. This is simply a "feel good" song for me. Guitar with bass takes over late to finish the song. "Bedrock Deadlock" is very solemn with aboe and double bass for the first 2 minutes. Guitar, drums and percussion then take over. Sax after 3 1/2 minutes followed by trumpet. So much going on here. This is great ! "Spirit Level" sounds so amazing to start with those dark angular sounds. It then kicks in with bass, horns etc. The flugelhorn throughout is fantastic. Marshall really shines here as well. Ian had this to say about John's drumming."It's like an essay on how to play drums for this kind of music. He's got incredible strength, he's very powerful, yet he has equally incredible sensitivity". Some excellent sax in this song as well.

"Torso" is uptempo with guitar, horns, drums and bass. An outstanding sounding track. Sax solo before 2 minutes. A collage of sounds 4 1/2 minutes in then Marshall starts to solo. "Snakehips' Dream" is the over 15 minute closer. 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. Sax after 4 1/2 minutes. 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 died six years ago. 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.

Note:

Ian Henry Randall Carr

Scottish jazz trumpeter, band leader, writer, and composer.

Born: 21 April 1933 in Dumfries, Scotland.

Died: 25 February 2009 in London, England, UK (aged 75).

He was perhaps best known for his group Nucleus which was successful throughout the 1970s, but also his work as one of the two leading members of the eponymous The Don Rendell / Ian Carr Quintet during the 1960s, has in more recent times been much sought after by jazz music collectors for it's unique characteristics.

If you find it, buy this album!

DON RENDELL / IAN CARR QUINTET – Live (LP-1969)

Label: Columbia – SCX 6316

Series: Lansdowne Series –

Format: Vinyl, LP, Album / Country: UK / Released: 1969

Style: Post Bop, Improvisation

Recorded: Landsdowne Studios, Holland Park, London, March 18, 1968.

Supervision by – Denis Preston

Sleevenote by – Ian Carr

Album Design by – Gerald Laing

Engineer by – David Heelis

A1 - On Track .............................. 8:21

A2 - Vignette ................................ 4:59

A3 - Pavanne ................................ 9:15

B1 - Nimjam ................................. 3:59

B2 - Voices ................................. 13:36

B3 - You've Said It ....................... 8:40

Don Rendell – tenor saxophone, soprano saxophone, flute, clarinet

Ian Carr – trumpet, flugelhorn

Michael Garrick – piano

Dave Green – bass

Trevor Tomkins – drums, percussion

The Don Rendell-Ian Carr Quintet still holds a special place in the affections of British Jazz fans.

Back in 1962, Don Rendell had a quintet with Graham Bond on alto.  “Graham phoned up out of the blue and told me he was going to play the organ and sing,” Don told me.  “I wasn’t thinking about having an organ and singing in the quintet, so we just parted.  I had no notice about it.”  That band had not long released an album, Roarin’, on the Jazzland label.  Tony Archer, the group’s bassist, suggested Don check out Ian Carr, newly arrived from Newcastle.  “He was playing at the Flamingo Club with some band,”  Don explains.  “I thought he’s good, so I said to Tony, ‘Yeah, we’ll try and get Ian to come in.’  It just changed over night from Graham Bond to Ian Carr.”

Ian was playing with Harold McNair, the Jamaican reedsman.  He takes up the story,  “I’d come from the MC5 (Mike Carr Five) – a world class band – and Harold didn’t really have any kind of policy and wasn’t very well organised.”  Ian jumped at the chance to join what was then the new Don Rendell Quintet.  Meanwhile, John Mealing had replaced original pianist John Burch, Trevor Tomkins was now the drummer and shortly after Dave Green took Tony Archer’s place.

This band features on the Spotlite Records’ album The Don Rendell 4 & 5 plus the Don Rendell-Ian Carr Quintet.  The band recorded the sides for American Hank Russell, Howard Keel’s musical director, in ‘64.  Russell and Don were Jehovah’s Witnesses and Don describes it as ‘a friendship thing.”  Russell hoped to secure a release in the States but nothing came of it.  Backed with three tracks from the group’s appearance at the Antibes Jazz Festival in 1968, it reveals an already fine mature group but the contrast with the Antibes tracks is enormous.  When Shades of Blue came out in ’64, Colin Purbrook was on piano and the band had moved on artistically.  Where the Russell record draws heavily on the Great American Songbook, Shades of Blue focuses on original compositions.

Dave Green feels the early quintet was ‘very based on the Miles’ thing’.  “We were trying to emulate these great players,” he laughs.  “I was trying to do a Paul Chambers and Trevor was trying to do a Jimmy Cobb.  John was influenced by Wynton Kelly but as time went on the band really matured a lot.”  For Dave, Michael Garrick’s arrival later in ’64 signalled the change.  “We started utilising a lot of Indian type compositions Michael used to write and the whole band became really strong after Michael joined.”  Ian feels there was something uniquely poetic about the group’s music.  “I think that was one of the reasons people liked it so much.  It wasn’t hard-driving like a lot of American Jazz of the time.  We had different kind of focuses than the Americans.  We were into texture and different rhythms.  And Michael Garrick was steeped in Indian Music as well.  We found we could do so many things that we never thought of before.”

Michael Garrick echoed this when we spoke last year.  It was about one’s own roots.  As he said then, “Whether we like it or not we’re English and I wasn’t born in Chicago or New Orleans but in Enfield,” he said.  The recent release of The Rendell/Carr Quintet Live in London (Harkit HRKCD8045) shows how fast they were developing.   Their compositions leapt from the group’s shared identity.  There was no policy decision to feature original material, as Don explained, “It was quite brave in a way because we had so many originals with Michael, Ian and me writing.  Suddenly we’d gone a whole concert without using a standard.  It just happened.”

However, as Trevor Tomkins explains, it soon became a question of principle. “We did a BBC Jazz Club broadcast and wanted to do all original stuff.  There was quite a heated discussion because they said, ‘Can’t you throw in a few American Standards?’  We insisted and I think we were the first band they had do a set of totally original music.  At gigs we’d get requests for original material.”  With Warren Mitchell and Sam Wannamaker amongst their fans, ‘the Five’ attracted ‘a nice class of audience’.  There’s a wonderful group atmosphere that comes across on “Live” and the Harkit recording – it’s Warren Mitchell’s ‘ribald comments’ you can hear on “Live”.  This is a band doing it, as Don says, because they love it.

Dave Green recalls, “We always used to travel and room together.  Somehow we got the gear in Trevor’s Vauxhall and we all piled in.  It was so exciting.  I was absolutely thrilled to be with that band.”  And as Trevor Tomkins points out, it was clearly a group, not two great horn players plus rhythm.  He told me recently, “That was really my schooling.  All of us contributed in lots of different ways.  It was a group effort.  If Ian came in with a new composition it wasn’t, ‘this is how it’s got to be done.’  It would be ideas and experimenting with things and almost letting it grow naturally.”

Perhaps Dusk Fire is their most popular record and backed with Shades of Blue it makes of a hell of a package.  But Phase III/“Live” reveals a developing band.  As Don points out Phase III saw changes in Ian’s writing.  “Ones like Crazy Jane and Les Neiges D’Antan were approaching Free Music, no time with no harmonic structure, (while) I’d always written time and harmonic structure.”  With Garrick stretching the group with his Indian-influenced pieces and Don’s ‘Coltrane out of Lester Young’ approach, the Quintet could go in any of a number of directions and frequently did.

And they worked regularly.  “We played a lot of Poetry & Jazz, mainly through Michael Garrick,” Don remembers.  “The poets were normally the same ones – Vernon Scannell, John Smith, Danny Abse and Jeremy Robson.  There were tours.  The northern tour took in Liverpool, Stoke, Leicester, Coventry and Ian coming from Newcastle fixed us to play there a few times.”  But apart from Antibes and Montreux, they never played in Europe and despite Ian’s best efforts a US trip never materialised.  However, a Poetry & Jazz concert for the BBC with Vernon Scannell (Epithets of War) got them on TV and they also did a BBC2 documentary.  Mike Dibbs, who did Ian’s Miles’ programme for Channel Four, was the producer.  Dave Green tells me, “He filmed us at the Phoenix on Cavendish Square and as I was getting married on March 1st ’68, he tied the wedding into the filming.  Mike had previously written this piece called Wedding Hymn so it ended up with the band playing it in the church filmed by the BBC.  It was extraordinary.”

In 1967, Ian’s wife Margaret had died shortly after giving birth to their daughter by Caesarean.  That’s her on the cover of Shades.  That night he rang Trevor who came over immediately, so Ian wouldn’t be alone.  “Some people think that’s why I put so much of myself into music and, in a way, music was my salvation,” Ian explains.  Perhaps that shows itself most in his contributions to Phase III and “Live” but by ’69, somehow the steam was going out.

Ghanaian percussionist Guy Warren had begun playing gigs with the group at Ian’s behest but, as Dave points out, this ‘didn’t meet with everybody’s approval’.  For Dave, ‘Things started to unravel for no particular reason I can remember.  Ian started getting quite frustrated.  I think he wanted it to go in a slightly different direction and Michael had his own ideas.”  Ian left at a gig in Camberley in ’69.  “Maybe I was just jaded,” he says now.  “I just went home and didn’t communicate with anybody for a few days.  I just felt the band was over.”

Nucleus would follow and Jazz-Rock certainly wouldn’t have sat easily with either Don or Michael.  For Michael, the whole Pop/Rock thing had little to do with the Jazz he loved.  For Don, it was a question of different priorities.  “Ian wanted his own band which was a different kind of music from what we’d been doing.  I didn’t have the Jazz Music commercial ambition that Ian had.  As a believing Christian I just didn’t want to do a month’s tour of the States or that kind of thing.  I’m a family man, I guess.”  With hindsight, Change Is tries to contain too many potentialities at one time.  The very thing that had made the group great – its breadth, its bravery, its quiet bravado – were its inner contradictions that eventually destroyed it.

Looking at the scene then and now, both Don and Trevor express concern at the  ‘chops for chops’ sake’ attitude they see in some young players, though both feel that most young players have now moved on from that.  As Dave Green suggests, “You can’t really compare one particular period with another.  Things that weren’t happening then are happening now and vice versa.”

The Don Rendell-Ian Carr Quintet

by jazzman

Editor’s Note: This article first appeared in Jazz UK in the July/August 2004 issue.

With minor changes, the text is adapted to the needs of this post.

See original:

http://www.jazzinternationale.com/540/

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