{"title":"Fusion","description":null,"products":[{"product_id":"herbie-hancock-live-at-yumiuri-land-open-east-theatre-2lp-vinyl","title":"Live at Yumiuri Land Open East Theatre (2LP) [Vinyl]","description":"\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat Detail: 2LP\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Herbie Hancock","offers":[{"title":"Default Title","offer_id":42654988370118,"sku":"0RCX8T-M4D5-00","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/products\/live-at-yumiuri-land-open-east-theatre-2lp_kZkom.jpg?v=1779557734"},{"product_id":"jahari-massamba-unit-yhwh-is-love-vinyl","title":"YHWH is LOVE [Vinyl]","description":"\u003cp\u003eMadlib and Karriem Riggins are Jahari Massamba Unit, a collaboration between two beacons of modern music joined by an unwavering passion for pushing the boundaries of traditional music. 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With their electrifying performances and innovative blend of jazz fusion, the group produced a series of albums that set the bar for excellence in contemporary jazz.\u003c\/p\u003e\u003cp\u003eFeaturing a core lineup of virtuosic musicians - John Patitucci on bass, Dave Weckl on drums, Eric Marienthal on saxophone and Frank Gambale on guitar - the group created a dynamic and electrifying sound that came to define the jazz fusion style. 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Recorded live over the course of a week, there was no splicing of takes, as that would have defeated the concept. On occasion the group performed a live edit where they would take sections from different takes, but the original intention of creating a record where everything was recorded live was maintained. The result is a potent and nuanced record that beguiles as much as it charms. Across six tracks the album moves from the languorous lysergic shuffle of the opening The Last Opium Den (On Earth) to the beatific - almost Balearic - lazy grooves of The Bible Black. Elsewhere, the opening cinematic vistas of Shades of Gemini soon gives way to something far more menacing and whisky-sodden. Finally, the closing Utopia \u0026amp; Visions takes the electronic post-punk visions of Talk Talk into unapologetic cosmic dub territory. So while jazz‚Äôs spirit of wanderlust underpins the record, Machin is defiant that The Quiet Temple is not a jazz album. ‚ÄúI don‚Äôt think it‚Äôs a jazz record,‚Äù he states. ‚ÄúIt‚Äôs got a lot of Krautrocky stuff going on in it as well. For me, as well as the Alice Coltrane influence, it‚Äôs equal parts Velvet Underground and Harmonia. There‚Äôs lots of psyche rock and other elements in there too.‚Äù\u003c\/p\u003e\u003cp\u003e1. The Last Opium Den (On Earth)\r 2. The Bible Black\r 3. Shades Of Gemini\r 4. X Rated\r 5. Noah's Theme\r 6. 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The connection between these three albums is tight as the 1987 release Shrimp Boats compiled unreleased recordings from both the 1979 session for Plum and Cherry and the 1980 session for Deeper in Black. These two rare records have been carefully remastered from their original tapes and are back in print for the very first time in over 40 years.Shrimp Boats and Plum and Cherry capture the extraordinary musical chemistry that existed between pianist Lionel Pillay and tenor saxophonist Basil Coetzee in the late 1970s. The respective album showpieces Shrimp Boats and Cherry each occupy an entire side of vinyl with both exquisite musical journeys clocking in at an epic 25 minutes a piece. 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First released on Vertigo in 1975, original copies of Snakehips Etcetera are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.\u003c\/p\u003e\n\u003cp\u003eGenius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.\u003c\/p\u003e\n\u003cp\u003eUnder bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”\u003c\/p\u003e\n\u003cp\u003eWith all restraint out the window, 1975’s pimped-up Snakehips Etcetera is the outrageous – in both cover art and sound – follow-up to the brooding Under The Sun. It’s perhaps not one for the jazz purists! It finds Nucleus pared down to a core group of six, with Carr, Bob Bertles (sax), Ken Shaw (guitar), Geoff Castle (keys), Roger Sutton (bass) and Roger Sellers (drums) comprising the collective. Snakehips Etcetera reflects a period where the compositions start to become a little more direct and less-cerebral in comparison to some of Nucleus’ previous releases. And why would we begrudge them some fun? This one rocks, swings and funks with no little soul. And more than a little jazzy sleaze. Clearly, they were having a good time.\u003c\/p\u003e\n\u003cp\u003eThe album has a real live, jamming feel to it, no surprise given the extent to which they were touring at the time. The band is tight and grooving throughout, none more so than on Bob Bertles’s effervescent opener, \"\"Rat’s Bag\"\". So darn funky it stings, it’s an infectious gem full of punchy clean lines over a killer bassline from Sutton. The thick, driving jazz-rock of \"\"Alive And Kicking\"\" is exactly that. It has a very improvisational feel, but an inspired one at that and features a wailing guitar solo from Ken Shaw that simply slays. The funky \"\"Rachel’s Tune\"\" is amazing, bringing you back to Canterbury days with its fuzzed-out organ solos to close out Side A.\u003c\/p\u003e\n\u003cp\u003eOpening up Side B, the cool psychedelic title track unfolds slowly and sensually over its ten-plus minutes. A stoned soul stew of sorts, each member of the crew gets their chance to shine over Sellers’s steady drums. The melodic funk fusion of \"\"Pussyfoot\"\" pairs Carr with Bertles on ace solo flute for a bright, springy melody. This one really gleams over shuffling drums. Changing the pace to close out this memorable set, the particularly cool \"\"Heyday\"\" is a reflective, sober tune which reinforces the sumptuous Nucleus palette, the acoustic guitar and bass high in the mix to make the neck snap, the horns elegantly blasting to help you swoon.\u003c\/p\u003e\n\u003cp\u003eThis Be With edition of Snakehips Etcetera has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston’s cut at \u003cspan class=\"caps\"\u003eAIR\u003c\/span\u003e Studios to weave their usual magic with these wonderful recordings. The striking, lascivious sleeve has been restored in all its seductive\/ridiculous beauty.\u003c\/p\u003e \u003cul\u003e\n\t\u003cli\u003ePressed on 140g black vinyl\u003c\/li\u003e\n\t\u003cli\u003eRemastered from the original Vertigo Master Tapes for this edition by Simon Francis\u003c\/li\u003e\n\t\u003cli\u003eOriginal sleeve replicated in fine detail\u003c\/li\u003e\n\u003c\/ul\u003e BEWITH128LP -Artist-Nucleus\u003cul\u003e\n\u003cli\u003eReleased: 3\/10\/23\u003c\/li\u003e\n\u003cli\u003eHandling Note: **Please allow an additional 5 business days for this item's shipment.**\u003c\/li\u003e\n\u003cli\u003eFormat Detail: LP\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Nucleus","offers":[{"title":"Default Title","offer_id":44178044747974,"sku":"57Y9R2-XT1H-IB","price":42.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/nucleus-snakehips-etcetera_vkKe1.jpg?v=1762307100"},{"product_id":"ian-carr-with-nucleus-labyrinth-vinyl","title":"Labyrinth [Vinyl]","description":"\u003cp\u003eLabyrinth is dark, brooding, beat-heavy, melancholic mood music courtesy of Ian Carr and the Nucleus crew. A favourite of Madlib, it goes without saying that this is one magnificent record. Originally released on Vertigo in 1973, Labyrinth was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.\u003c\/p\u003e\n\u003cp\u003eGenius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.\u003c\/p\u003e\n\u003cp\u003eUnder bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.\u003c\/p\u003e\n\u003cp\u003eAt this point Carr had parted ways with guitarist Alan Holdsworth and as a result the Nucleus sound found itself returning to the core elements of groove and melody. Carr had become bolder and more self-confident in his compositions and it shows in the sheer ambition of Labyrinth. Composed by Carr, and with lyrics written by his wife Sandy, Labyrinth was the result of a commission from the Park Lane Group and funded by the Arts Council of Great Britain. Originally a live performance by an augmented Nucleus, some of the expanded cast were brought back for the recording sessions, including vocalist Norma Winstone. So as the front cover of the finished album says, this is literally “Nucleus Plus”.\u003c\/p\u003e\n\u003cp\u003eLabyrinth is presented as a suite, based on the ancient Greek legend of the Minotaur with musical instruments representing the various elements of the mythology. According to the LP’s original sleeve notes, the bass clarinet represents the tragic element, the trumpet represents the heroic element and the voice represents the human element. The rest of the musicians represent the two societies of Athens and Crete and their comments on the story as it unfolds.\u003c\/p\u003e\n\u003cp\u003eThe album opens with the experimental, sumptuously dissonant “Origins”. Teasing strands of atmospheric bass clarinet introduce the first theme before swiftly fading out with a startling blast of staccato fanfares and big drums. Heavy. The album soon finds its rhythm as it alights on the spell-binding and groove-friendly “Bull-Dance”, showing off the best Nucleus has to offer: subtle trumpet melodies, compelling rhythms, a psych-rock vibe and tight soloing. And of course there’s Norma Winstone’s stunning wordless vocals, that also take the lead in the next track “Ariadne”, a spacey-jazz song with beautiful piano, flute and clarinet, and the only recognisable lyrics on the album. You might recognise a snatch of it being looped by Madlib on Quasimoto’s “Astro Travellin”. The first part of the improvised “Arena” closes out the first side of the album, a short experimental piece with piano and horns.\u003c\/p\u003e\n\u003cp\u003eOver on the flip-side, the powerful second part of “Arena” introduces a new theme. It swiftly builds, with vocal melodies, piano and horns all pronounced over the thick drums snapping your neck. It comes on like an alternate take on “Bull-Dance”, noisier, with a looser rhythm. The triumphant, shuffling Latin-jam “Exultation” leans on more scintillating vocals from Winstone, and a chunky counter melody from the rhythm section. It’ll get you moving.\u003c\/p\u003e\n\u003cp\u003eThe final track, the haunting, twelve minute “Naxos”, is an incredible way to close out this remarkable record. A circling bass guitar loop inspiring the group to a meditative psychedelic jazz rock improvisation in a silent, Miles kind of way, with a great flugelhorn solo from Carr and an ace synth climax.\u003c\/p\u003e\n\u003cp\u003eThis Be With edition of Labyrinth has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. Another great Keith Davis sleeve has been restored in all its airbrushed Golden Age of comics, gatefold splendour. Complete with Minotaur of course.\u003c\/p\u003e \u003cul\u003e\n\t\u003cli\u003eGatefold sleeve\u003c\/li\u003e\n\t\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\t\u003cli\u003e2022 re-issue, 140g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e BEWITH103LP -Artist-Ian Carr’s Nucleus\u003cul\u003e\n\u003cli\u003eHandling Note: **Please allow an additional 5 business days for this item's shipment.**\u003c\/li\u003e\n\u003cli\u003eReleased: 3\/18\/22\u003c\/li\u003e\n\u003cli\u003eFormat Detail: LP\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"IAN CARR WITH NUCLEUS","offers":[{"title":"Default Title","offer_id":44178050973894,"sku":"LJKDOS-9LYD-80","price":48.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/ian-carr-with-nucleus-labyrinth_qNIap.jpg?v=1762307121"},{"product_id":"nucleus-under-the-sun-vinyl","title":"Under The Sun [Vinyl]","description":"\u003cp\u003eUnder The Sun is the follow-up to the astonishing Roots and contains yet more absolutely essential Nucleus material. Originally released on Vertigo in 1974, Under The Sun was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.\u003c\/p\u003e\n\u003cp\u003eGenius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.\u003c\/p\u003e\n\u003cp\u003eUnder bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.\u003c\/p\u003e\n\u003cp\u003eUnder The Sun opens with the crisp, medium tempo “In Procession”. It’s a typically inventive Carr track with layers of dramatic, riff-led themes and repeating brass blasts. Bryan Spring’s “The Addison Trip” is a moody funk piece, with Kieran White guesting on wordless vocals. Roger Sutton contributes some fine bass guitar on this track, particularly the great solo at around the two minute mark. The excellently-named cool, jazzy ballad “Pastoral Graffiti” paints bucolic pictures with its mellow sonics, plaintive horns and Bob Bertles’ flute.\u003c\/p\u003e\n\u003cp\u003eSutton’s superb, bass-driven “New Life” brings a different dynamic. Horns, guitar and electric piano swirl over the head-nod bass motif and a killer Ken Shaw guitar solo. A false fade out halfway through brings in a new bass riff that’s picked up by the whole ensemble as Carr wah-wah noodles over the top. It’s full-on. The gorgeous, laidback “A Taste of Sarsaparilla” is exactly that – closing out the first side with a cute blast of what is to come over on the killer flip.\u003c\/p\u003e\n\u003cp\u003eThe whole of Under The Sun’s second side is a suite of three “Themes” written by Ian Carr. The uptempo first theme “Sarsaparilla” is comfortably one of Nucleus’ best. What would’ve been a cluttered mess in the hands of most is instead an effortless lesson in clarity and zing. Between Geoff Castle’s electric piano solo, the relentless funky drumming and more wild wah-wah trumpet from Carr, Nucleus show you how it’s done.\u003c\/p\u003e\n\u003cp\u003eThe languid groove of second theme “Feast Alfresco” is much more typical of “classic” Nucleus and sounds like something that might’ve been on Roots. A Bertles baritone solo and a guitar solo from Shaw weave around the core, serpentine brass theme.\u003c\/p\u003e\n\u003cp\u003eThe darker “Rites of Man”, the third and final theme, is a slow build to a solid bass and electric piano riff, shored up by some tricky brass. Carr takes the theme even further and there’s still plenty of room for soloing from all corners of the Nucleus. As usual, the dynamic Sutton\/Spring, bass\/drums duo is holding down the rhythm for the rest to jam around.\u003c\/p\u003e\n\u003cp\u003eThis Be With edition of Under The Sun has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The bleak, rain-dappled cover matches the melancholic vibe of the record and has been restored as the finishing touch to this long overdue re-issue.\u003c\/p\u003e \u003cul\u003e\n\t\u003cli\u003eRemastered from the original tapes\u003c\/li\u003e\n\t\u003cli\u003e2022 re-issue, 140g vinyl\u003c\/li\u003e\n\u003c\/ul\u003e BEWITH104LP -Artist-Nucleus\u003cul\u003e\n\u003cli\u003eHandling Note: **Please allow an additional 5 business days for this item's shipment.**\u003c\/li\u003e\n\u003cli\u003eReleased: 3\/18\/22\u003c\/li\u003e\n\u003cli\u003eFormat Detail: LP\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Nucleus","offers":[{"title":"Default Title","offer_id":44178065359046,"sku":"YAR2KY-9NVK-RG","price":43.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/nucleus-under-the-sun_f3kG9.jpg?v=1762307159"},{"product_id":"azymuth-light-as-a-feather-blue-vinyl-vinyl","title":"Light As A Feather (Blue Vinyl) [Vinyl]","description":"\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat Detail: LP\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Azymuth","offers":[{"title":"Default Title","offer_id":44178084659398,"sku":"CIG3YF-0A38-52","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/azymuth-light-as-a-feather-blue-vinyl_8ii7u.jpg?v=1762307183"},{"product_id":"neil-ardley-ian-carr-don-rendell-greek-variations-vinyl","title":"Greek Variations [Vinyl]","description":"\u003cp\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003eFormat Detail: LP\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"NEIL ARDLEY, IAN CARR, DON RENDELL","offers":[{"title":"Default Title","offer_id":44178094031046,"sku":"HLH9XQ-4K6M-3R","price":30.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/neil-ardley-ian-carr-don-rendell-greek-variations_DMX72.jpg?v=1762307230"},{"product_id":"ian-carr-with-nucleus-solar-plexus-vinyl","title":"Solar Plexus [Vinyl]","description":"\u003cp\u003eWhat a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.\u003c\/p\u003e\n\u003cp\u003eGenius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.\u003c\/p\u003e\n\u003cp\u003eUnder bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.\u003c\/p\u003e\n\u003cp\u003eWe’ll let Ian describe this one: \"\"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 \u0026amp; I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. \u003cspan class=\"caps\"\u003eCHANGING\u003c\/span\u003e \u003cspan class=\"caps\"\u003eTIME\u003c\/span\u003e and \u003cspan class=\"caps\"\u003eSPIRIT\u003c\/span\u003e \u003cspan class=\"caps\"\u003eLEVEL\u003c\/span\u003e explore the first theme and \u003cspan class=\"caps\"\u003eBEDROCK\u003c\/span\u003e \u003cspan class=\"caps\"\u003eDEADLOCK\u003c\/span\u003e and \u003cspan class=\"caps\"\u003eTORSO\u003c\/span\u003e explore the second one. \u003cspan class=\"caps\"\u003eSNAKEHIPS\u003c\/span\u003e \u003cspan class=\"caps\"\u003eDREAM\u003c\/span\u003e tries to fuse both themes. (The title is a reference to the famous dancer ‘Snakehips’ Johnson).\"\"\u003c\/p\u003e\n\u003cp\u003eSolar Plexus features the same lineup as Elastic Rock and We’ll Talk About It Later, but they’re augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It’s more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.\u003c\/p\u003e\n\u003cp\u003eThe haunting synth-and-bass soundscape \"\"Elements I and II\"\" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of \"\"Changing Times\"\". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic \"\"Bedrock Deadlock\"\" features the brooding majesty of Jenkins’ oboe and Clyne’s mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular \"\"Spirit Level\"\" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.\u003c\/p\u003e\n\u003cp\u003eThe breezy soul of \"\"Torso\"\" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track \"\"Snakehips’ Dream\"\" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it’s a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We  could easily listen to this all day long.\u003c\/p\u003e\n\u003cp\u003eThis Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston’s cut at \u003cspan class=\"caps\"\u003eAIR\u003c\/span\u003e Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package.\u003c\/p\u003e \u003cul\u003e\n\t\u003cli\u003ePressed on 140g black vinyl\u003c\/li\u003e\n\t\u003cli\u003eRemastered from the original Vertigo Master Tapes for this edition by Simon Francis\u003c\/li\u003e\n\t\u003cli\u003eOriginal gatefold sleeve replicated in fine detail\u003c\/li\u003e\n\u003c\/ul\u003e BEWITH127LP -Artist-Nucleus\u003cul\u003e\n\u003cli\u003eReleased: 3\/10\/23\u003c\/li\u003e\n\u003cli\u003eHandling Note: **Please allow an additional 5 business days for this item's shipment.**\u003c\/li\u003e\n\u003cli\u003eFormat Detail: LP\u003c\/li\u003e\n\u003cli\u003eFormat: Vinyl\u003c\/li\u003e\n\u003cli\u003eGenre: Jazz\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"IAN CARR WITH NUCLEUS","offers":[{"title":"Default Title","offer_id":44182248784070,"sku":"MJMXIV-MCKO-EC","price":46.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0563\/8085\/0374\/files\/ian-carr-with-nucleus-solar-plexus_Wy3vQ.jpg?v=1762307680"},{"product_id":"nucleus-alleycat-vinyl","title":"Alleycat [Vinyl]","description":"\u003cp\u003eCome for the leopard, stay for the stone cold jams. Yet another thrilling, funky-prog jazzy-rock fusion beauty from Ian Carr’s Nucleus. Originally released on Vertigo in 1975, Alleycat was never re-pressed so those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.\u003c\/p\u003e\n\u003cp\u003eGenius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.\u003c\/p\u003e\n\u003cp\u003eUnder bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.\u003c\/p\u003e\n\u003cp\u003eAlleycat was the last Nucleus album recorded for the Vertigo label. Released in 1975, it was again meticulously produced by Jon Hiseman and is every bit as sinuous as anything else the group had recorded. As far as riff-laden accidental cop-funk goes, there’s so much energy coursing through the music that at times it sounds like a live recording. It’s pretty unbeatable.\u003c\/p\u003e\n\u003cp\u003eUptempo opener “Phaideaux Corner” is a funk-flavoured opus with a groove that simply swaggers. This trademark Roger Sutton piece benefits from Trevor Tomkins’s percussive expertise and some excellent sax and keyboard soloing. Check out Geoff Castle on squelchy, stabbing Moog duties. Ian Carr’s elegantly laidback title track is a lengthy suite of magisterial themes. Typically complex, it still gets you hooked and is just riddled with the funk. Carr builds up his initially “straight” trumpet solo with later use of echo to mesmeric effect. And there’s some excellent wah-wah guitar shredding by Ken Shaw too. Nice.\u003c\/p\u003e\n\u003cp\u003eThe second side opens with the killer “Splat” and finds Nucleus really ripping it up. A fat, funky bass guitar riff introduces us to the track and stays with us until the end. The often mangled bass groove is pushed along by rattling drums and percussion, dropping out for some restful moments of spacey calm, and along the way picking up some lengthy keyboard noodling by Castle. So so good.\u003c\/p\u003e\n\u003cp\u003eThe cool “You Can’t Be Sure” is a gentle jam with Shaw on 12-string acoustic guitar, together with Carr’s muted trumpet and some marvellous fretless work from Sutton for extra colour. The album closes with Bob Bertles’ galloping “Nosegay”, written perhaps as a response to some of the faster Mahavishnu Orchestra pieces. It’s an example of well crafted jazz-rock that doesn’t compromise any of its jazziness, yet it still very definitely rocks.\u003c\/p\u003e\n\u003cp\u003eThis Be With re-issue of Alleycat has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. 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