Concert Review

Ian Carr - Celebration of a Life in Music - Queen Elizabeth Hall, London, 23 February 2010

Geoff Castle and Rob Statham from Nucleus Revisited
(Photo courtesy George Cole)

Posthumous tributes can sometimes seem a little maudlin and sometimes even a little bland but tonight's tribute to the legend that was Ian Carr was none of these things. Compère and virtuoso pianist Julian Joseph kicked off the evening with some slightly self-effacing quips before he introduced the talented pianist Nikki Yeoh, a prodigy of Ian Carr (one of many) from his days teaching at the Weekend Arts College. Yeoh played two self-composed pieces, one 'Dance of Two Little Bears' and a piece she dedicated to Ian entitled 'The Healer'. Yeoh exudes a mixture of enthusiasm and vitality for jazz and this combined with the imagination and sensitivity that she displays in her art indicates that she is a pupil of whom Ian Carr was surely proud.

Julian Joseph then introduced the Michael Garrick sextet which featured Norma Winstone, Henry Lowther, Art Themen, Dave Green and Trevor Tomkins. The MG sextet was playing here because of its connections with Ian Carr who had played and recorded with both Garrick's groups and with the Rendell Carr Quintet of which three of this sextet had been members. First off was a version of Garrick's 'Promises' which Ian Carr had originally recorded with Garrick on his album of that name. This included lyrics sung by Norma Winstone. Then, an unbilled surprise, as Michael Garrick introduced poet Jeremy Robson with who he was associated decades before in the series of Poetry and Jazz concerts that Garrick had organised in the 1960s. This was a fantastic treat for anyone who had been too young to experience these Poetry and Jazz concerts at the time, and Robson recited the words to his poem 'Voices' for which Garrick had written a haunting melody. This track also appeared on Garrick's album 'The Heart is a Lotus'. Next the group played, again from 'The Heart is a Lotus', the lively 'Torrent'. Michael Garrick then introduced his old compatriot, the maestro Don Rendell to play Garrick's famous composition 'Dusk Fire', the title track of the second Rendell Carr Quintet album. So by this time, four of the original members of the Rendell Carr Quintet were now playing on stage again. Henry Lowther produced an elegant trumpet solo followed by an explorative Michael Garrick piano solo.

The Michael Garrick Septet (as it now was) closed with 'Webster's Mood' for which lyrics had been written and which were again sung by Norma Winstone. Art Themen initiated the solos with a Webster-esque tenor solo, followed by Don Rendell producing an exquisite flute solo proving once again that for an 84 year old, age is no barrier in jazz and that Rendell has retained all his magical abilities to enthral an audience. Finally Henry Lowther's graceful flugelhorn solo was closely followed by a tender and resourceful solo by Michael Garrick. This last composition is to be found on a newly released CD of live tracks by Reel Recordings entitled 'Live at the Union 1966' which also includes the sublime 'Ursula' a track never recorded by the RCQ although Ian Carr recorded it with Garrick on his album 'Black Marigolds'.

With his customary loquacity, Michael Garrick used this performance to mention two notable people in the audience, first Coleridge Goode, the 94 year old bass player who, along with Joe Harriott and Tony Coe had played and recorded with Garricks's early bands. Then he mentioned George Foster, the mastermind behind the event, and reminded the audience that without people like George, who had been a promoter of gigs for many years (including the one heard on the 'Live at the Union' CD) most musicians would be 'resting' at home twiddling their thumbs. In the context of musicians promoting themselves, something which he admitted most are not good at, Garrick wove into his anecdotes a simply wonderful impersonation of Ian Carr speaking to journalists at a Rendell Carr gig at the Phoenix (pub in Cavendish Square, London)where Carr would entreat these reporters to take special account of one musician or another's talents to the extent that Carr was in effect enthusiastically marketing the band ('just listen to the way that Don Rendell plays the solo in that piece, it's absolutely masterly'). Garrick's impersonation of Carr was so spot-on that it could have been Ian Carr speaking.

Following a twenty minute break, The second compère of the evening, actor Kevin Whately introduced himself and explained that his reason for being here was as an ambassador for the Alzheimer's Society for which proceeds of the concert were being donated. Carr himself was a victim of Alzheimer's as was Whately's own mother, so there was a personal interest there. Whately explained that although he didn't know Ian Carr personally he knew of the history of the next piece, 'Northumbrian Sketches' which Carr had written in memory of his friend the author Sid Chaplin. This was the first time that 'Sketches' had been performed in London, and it was executed in stunning style by a string orchestra led by violinist Sonia Slany along with students of the Royal College of Music and conducted by Ian Carr's long time friend, the composer, arranger and trombonist Mike Gibbs. Along with the orchestra three soloists were feature, Guy Barker on trumpet, Tim Whitehead on soprano sax and bass clarinet and Rob Statham on fretless bass guitar. The whole performance was stunning and completely foxed those who had been expecting an evening of pure jazz. 'Northumbrian Sketches' is a piece of music that almost defies classification and yet is totally captivating. Surely, this alone was worth the price of admission and something Carr would have been most proud had he been there to witness this performance.

The final set of the night featured Nucleus Revisited and stalwart Geoff Castle introduced the first piece an up tempo 'Mr Jelly Lord' which was taken from a suite of compositions under the title 'Conversations with the Blues'. Chris Batchelor soloed on trumpet here. This was followed by a piece Carr wrote for daughter (who was in the audience) 'Selina'. A charming piece with Tim Whitehead taking the solo. This was closely followed by the slinky 'Roots' taken from the album of that name. In this much-sampled tune, Mark Wood performed a coruscating guitar solo of Hendrix-like proportions, proving yet again that he is surely Britain's best kept secret guitarist, and one of its best exponents of that instrument. Chris Batchelor also soloed on here too in fine form, reminiscent of Carr himself. The fourth title played here, all of which were written by Ian Carr was 'Mutatis Mutandis' a devilishly tricky piece with solos from Chris Batchelor and Phil Todd on soprano sax.

Geoff Castle then introduced the first guest of the set, virtuoso guitarist Ray Russell, who had briefly played with Nucleus following Chris Spedding's departure. Russell gave a brilliant and typically inventive solo here to be followed by Tim Whitehead's soulful, wailing tenor solo. The second guest of the set then emerged in the form of Nucleus founder member, John Marshall - also a long standing close friend of Carr's. Nic France moved on to percussion duties whilst Marshall delighted the audience with his inimitable brand of drumming. The penultimate piece played was 'Lady Bountiful' a number in 5/4 time. Phil Todd (on soprano) and Mark Wood soloed, followed by Geoff Castle's elegant acoustic piano solo culminating in Chris Batchelor soloing over an ostinato bass figure leading to the conclusion of this quintessential Carr composition.

The final number of the evening was the beautiful and haunting 'Things Past' with Phil Todd on flute and Tim Whitehead giving a rich and gutsy tenor solo. Rob Statham's bass guitar solo proved was a talented musician he truly is and Chris Batchelor's closing trumpet flourishes were very poignant. The concert ended almost an hour over schedule at around 11.30pm so the audience, although uniformly enthusiastic were perhaps a little too abashed by the house lights being turned up to request an encore. But had it finished earlier, the Nucleus Revisited performance would surely have elicited several more numbers.

Special mention must also go to the pianist Dorian Ford (another alumnus of Carr's Weekend Arts College) who played a set dedicated to Carr, in the 'front room' area of the Queen Elizabeth Hall foyer prior to the evening's concert. Also the role of George Foster, Ian Carr's friend of nearly 50 years and part-time impresario, should not be underestimated. Foster was instrumental in coordinating the whole proceedings, assembling the vast array of musicians and also liaising on behalf of the charity side of the concert, since proceeds of the concert were being donated to the Alzheimer's Society, an appropriate cause, given that Carr's final few years were eaten away by that cruel and - as Kevin Whately warned in his introduction - increasingly common disease. Finally, praise is due to John Cumming, of the ever-essential Serious organisation, for making the event happen.

Had not 'Northumbrian Sketches' clearly demonstrated Ian Carr's compositional ability and invention, which it most certainly did, then Nucleus Revisited would have shown (which it did) how Carr was also a master of the killer riff, which Carr proffered to his audiences in abundance. This was truly a night to remember, but also a night to remember a man who had contributed so much to his art. A true genius.

[The BBC recorded this concert for future broadcasting - probably on Radio 3]

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