Nucleus - 1971 - Solar Plexus

Nucleus

1971

Solar Plexus

01. Elements I & II (2:12)

02. Changing Times (4:44)

03. Bedrock Deadlock (6:52)

04. Spirit Level (9:20)

05. Torso (6:12)

06. Snakehips Dream (15:16)

- Ian Carr / trumpet, flugelhorn (solo 6)

- Karl Jenkins / oboe (solo 3), baritone sax, electric piano

- Brian Smith / tenor (solo 6) & soprano (solo 5) saxophones, flute

- Chris Spedding / guitar

- Jeff Clyne / bass, double bass (solo 3)

- John Marshall / drums (solo 5), percussion

With:

- Keith Winter / VCS3 synthesizer

- Kenny Wheeler / trumpet & flugelhorn (1,2 solo,5,6)

- Harry Beckett / trumpet & flugelhorn (solo 3,4)

- Tony Roberts / tenor saxophone (solo 2), bass clarinet (solo 4)

- Ron Matthewson / bass (solo 4)

- Chris Karan / percussion

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. If Ian Carr had only written 5 of 18 tracks over the two first Nucleus albums, he writes all of the material here

The project was to have two totally different themes, toy/expand them and then fused them altogether in the final track. However ambitious this was (especially for the times), this is only partially successful (IMHO) but also produces some great moments. The two themes are presented in the first tracks as Elements I & II, than the first one becomes very funky jazz rock in the second track and in the fifth track and the other element is developed in track 3 (with a great bowed double bass to start of and very subtle eastern music influences to follow) and 4 (Spirit Level is close to Free Jazz but fear not, nothing as Harsh as in KC's Moonchild or Providence, as it stays relatively wise).

But both elements are to be fused into Snakehips' Dream to last for the 15 min+ with an eerie ending on the afore-mentioned VCS3. There are some lengths in the developments and some repetitions, but overall this is yet another great Nucleus recording.

This album is definitely a highlight in the Nucleus discography, and the first one where Ian Carr has complete control over the compositions. As Hugues already stated, this album was written under an arts council grant and according to Carr himself, is based on two themes stated at the beginning of the album. Marshall, Clynne, Spedding, and Jenkins still have a prominent role throughout the album.

As stated before, the first track on side one, introduces two themes that would reoccur later on the album. Keith Winter makes an apparence on the VCS3 synth. "Changing Times" is perhaps my favorite piece on the album; it's very funky, upbeat, and catchy. "Bedrock Deadlock" features the great Jenkins on oboe (I have a soft spot for his oboe playing) and Clynne on the double bass. "Spirit Level," which includes an interesting bass clarinet solo, closes out the first side.

Side two starts with a very upbeat, somewhat Latin sounding piece, probably due to Marshall's and Karan's percussion (by the way, that reccuring Marshall drum solo appears on this track). "Snaekhip's Dream," the final track, is named afert a particular dancer who Ian Carr is apparently fascinated with, seeing as he titled a later album after the same dancer. This final piece attempts to combine the two themes stated at the beginning of the album, and is for the most part successful. It even ends with Mr. Winter back on the VCS3 synth.

This album is an obvious must-have for every Nucleus fan, as all the early efforts are. This is of interest to any British jazz-rock/fusion fan or really any one interested in getting into Nucleus, although I advise the first album is the best place to start. 4 stars, excellent early Nucleus effort, but still not quite as good as the first two albums.