Sept 21th 2009

Baptman ( joined Time4Soul a year ago, today the team is proud to announce his/our first online DJ mix!


- Bapt :

"Here's a quick mix I did months ago, just wanted to upload it and start our "sharing MUSIC with the world" program to motivate the team. Expect to hear from us soon..."

Baptman is not a laptop dj!



Baptman :

Time4Soul :



March 22, 2008



  • Sonny Rollins – “Way Out West” 
  • rollins_front.jpg
  • It’s a trio, a piano-less trio. SONNY ROLLINS is on tenor sax, RAY BROWN on bass and SHELLY MANNE is playing drums.
  • The vinyl is in VG condition only but the Music is  
  • Way Out West was recorded in 1957, it is one of the two superb albums cut for the small, California-based Contemporary label (the other is 1958’s Sonny Rollins and the Contemporary LeadersI WANT TO HEAR IT!!!!)



The Peddlers with the London Philharmonic Orchestra, PHILIPS (6308 102), 1972.

Composed by Roy Phillips
Recorded with the Peddlers and the London Philharmonic Orchestra

Conductor: Martyn Ford
Leader: Rodney Friend
Orchestrations: Peter Robinson
Additional movements composed by Peter Robinson
All rhythm tracks arranged by the Peddlers
Vocal: Roy Phillips
Keyboard: Roy Phillips
Percussion: Trevor Morais
Electric Basses: Tab Martin
Electric guitar: Toney Walmsley
Percussion: John Punter

Recorded at AIR Studios London
Engineers: Bill PRice, Chris Michie
IBC Studio, London
Engineer: Mike Clayton

Sleeve design: Bloomsbury Group

The album was released on the Philips label in the United Kingdom in 1972, and on the EMI-distrubuted Odeon label in Europe. The album was pressed in South Africa too, most likely on the Parlophone label. Presumably there are pressings from many other countries. Oddly, the sleeves differ across the territories. The UK album has a black sleeve with gold and white lettering, while the European release has a white sleeve with black lettering. The European sleeve was initially pressed with a small but amusing error. The Odeon label logo was printed mirror-image. A corrected version also exists.

United Kingdom: Philips 6308 102
The rear of the sleeve is black with only standard record company lettering.

Germany: Odeon 1C 062-93367 (sleeve)
Netherlands: Odeon 5C 062-93367 (record)
The rear of the sleeve is uniformly white with no lettering at all

The European pressing on Odeon has other errors. The Philips record shows seven titles on side one, while the Odeon record has only six titles. On side two the label features track number five twice. Somebody wasn’t paying attention in the label printing department. The Odeon record is not banded and all tracks run into each other. This makes it almost impossible to see what tracks begin where. The Philips record is banded but here too an error was made. Track two on side two is in fact a suite of three movements and there are bands between each. Tracks four and five on side two however, have no band in between.





Tracklist :

01 Black Wax Circles
02 Sunscape
03 Ebony
04 Portrait
05 Betcha 50
06 Ballad For Big Red
07 Ariba
08 Voices


Message from Al Michalek (comment) :
June 14th, 2007 at 12:05 am

“Glad you like my stuff. I am happy to say that I am alive and well and living on the west coast of Canada (Vancouver Island to be exact).”



1. Song For The Bearded Lady (Jenkins)
2. Sun Child (Clyne/Marshall)
3. Lullaby For A Lonely Child (Jenkins)
4. We’ll Talk About It Later (Jenkins)
5. Oasis (Jenkins)

Recorded 21/22 September 1970 – Trident Studios, London
Engineer Roger Wake – Producer Pete King

Vertigo 6360027, 1970.


Ian Carr : trumpet
Karl Jenkins : piano, baritone, oboe
Brian Smith : saxes, flute
Chris Spedding : guitar
Jeff Clyne : bass
John Marshal : drums

The Complete Ian Carr’s Nucleus Discography

The early days of Ian Carr and the EmCee Five

Photograph of Nucleus taken to accompany Phonogram Records Press Releases (early 1970s)

Photograph of Nucleus taken to accompany Phonogram Records Press Releases (early 1970s)

By Roger Farbey

Ian Carr has been at the forefront of British modern jazz for over 40 years. He started playing trumpet in his brother Mike’s band, the EmCee 5 in the very early 1960s. This bebop-influenced band even boasted a young John McLaughlin in its lineup at one point. He moved down to London from his home turf of the North East of England and then met up with various jazz musicians, including sax player Don Rendell. He teamed up with Don and together they formed one of the most influential British modern jazz quintets ever heard. The Rendell-Carr Quintet was something of a jazz supergroup, and although they only recorded five albums, for the EMI Columbia Lansdowne series label, these still command high secondhand prices on eBay. Apart from Rendell and Carr, the Quintet also featured Colin Purbrook on piano on their first album Shades of Blue only. Pianist Michael Garrick was recruited from their second album Dusk Fire onwards, and penned many of the compositions recorded. The Quintet was completed by Trevor Tomkins on drums and Dave Green on bass. Unusually and significantly, the Rendell-Carr Quintet was really the first British small jazz group to record only their own compositions, many of which were lengthy and distinctive.

During the 1960s, Carr recorded not only with the Rendell-Carr Quintet, but also with Michael Garrick’s various groups on some remarkable albums including Promises, Black Marigolds and The Heart is a Lotus. He also recorded with Joe Harriott and Amancio D’Silva, notably on Integration and Hum Dono.

BBC Radio 1 DJ Gilles Peterson recently selected no less than two tracks by the Rendell- Carr Quintet (”Black Marigolds” and “Dusk Fire”) for his first British jazz compilation album Impressed, which also featured Tubby Hayes, Ronnie Ross, Mike Garrick, Joe Harriott, Graham Collier and Harry Beckett. The Impressed series is a very important showcase for some of the great British modern jazz of the 1960s and 1970s, most of which had not seen the light of day since their original vinyl releases. Peterson clearly appreciated the importance of the Rendell-Carr Quintet.

Just prior to the Rendell-Carr Quintet split-up at the end of the 1960s, Ian Carr had attempted to move the Quintet into more adventurous, experimental areas employing the likes of percussionist Guy Warren. As witness to this mood for experimentation, Carr cut a record a few years earlier which was much freer than anything he had done before. Springboard, released on the Polydor label, is a now long-lost LP that offered some intriguing compositions, some by Carr, including a version of “Crazy Jane.” Although the album’s artwork did not mention this, the LP’s vinyl labels actually had printed on them “The Ian Carr/Jeff Clyne Quartet.” However, the album cover was more egalitarian and displayed the names of the other two musicians, Trevor Watts and John Stevens, in letters of equal prominence to those of Carr’s and Clyne’s. This album could have been seen to be and, in many ways was, an early Spontaneous Music Ensemble recording.
By late 1969 the opportunity arose for Carr to execute these groundbreaking ideals for himself. He met up with keyboard, baritone sax and oboe player Karl Jenkins, who had been playing and composing in Graham Collier’s early bands. Together they recruited Brian Smith on saxes, Jeff Clyne on bass and John Marshall (who occasionally stood in for Tomkins in the Rendell-Carr Quintet). They were joined by guitarist Chris Spedding and in 1969 Nucleus was born.
Their first album, Elastic Rock on the new “progressive” Vertigo label, produced with the assistance of Peter King and Ronnie Scott Productions, was greeted with great critical acclaim and sold well for a jazz album. This may have been due to the fact that nothing like it had ever been heard before. It was truly iconoclastic. Featuring many of Jenkins’ compositions, Elastic Rock did not share the same territory as any other band either in jazz or rock. The album was both subtle and yet had a pronounced and deliberate blues/rock feel and in 1970 Nucleus won the award for top group when they represented the UK at the Montreux Jazz Festival. Their first album was followed by We’ll talk about it later and the magnificent Solar Plexus, which was composed primarily by Ian Carr following his receipt of an Arts Council bursary (only the second such grant in jazz, the first being awarded to Graham Collier). Then came Belladonna and Labyrinth (another Carr epic which boasted a regular band augmented with the likes of Norma Winstone, Gordon Beck and Tony Coe).
Original Nucleus members such as Jenkins and Marshall departed, “defecting” to Soft Machine, others such as Jeff Clyne joined Gary Boyle’s Isotope and Brian Smith returned to his home country of New Zealand. Others replaced them throughout the years such as keyboard player Geoff Castle who remained with most of the mid to later period Nucleus lineups and indeed appeared in the last Neil Ardley + Nucleus gig at the Queen Elizabeth Hall in London. Another seven Nucleus albums followed including Under the Sun, Snakehips Etcetera, Alleycat, Inflagrante Delicto and Out of the Long Dark. Two Nucleus albums were also made for the German artist-owned record company Mood Records in the 1980s: Awakening and Live at the Theaterhaus
After Nucleus folded at the end of the 1970s, it did materialise again in varying permutations, which included the occasional appearance by Brian Smith and John Marshall, but it did not continue as a constant band, more as an intermittently re-awoken phenomenon. Ian Carr, however, was not idle and soon joined a spectacular European- based big band. The United Jazz and Rock Ensemble was probably the greatest Euro big band since the Clarke-Boland Big Band and was underpinned by some great British jazz musicians. Carr was joined in the UJRE by saxophonist Barbara Thompson and husband drummer Jon Hiseman, who Carr had worked with in Neil Ardley’s New Jazz Orchestra (which recorded the legendary masterpiece Déjeuner Sur L’Herbe on the Verve label) in the late ’60s. Also in the UJRE was Kenny Wheeler, who featured on Solar Plexus alongside Harry Beckett, both of whom contributed spectacular solos (a typically selfless gesture by fellow trumpeter Carr). The list of members of the UJRE reads like an international jazz Who’s Who with stellar names such as Albert Mangelsdorff, Eberhard Weber, Wolfgang Dauner, Charlie Mariano and Volker Kriegel. After releasing over a dozen albums (one of their first, Live in Schützenhaus, recorded in 1977, became the biggest-selling jazz album in Germany ever), sadly the UJRE was forced to play its final farewell concerts last year due to the logistics of the band being too difficult to allow it to continue. Carr contributed several compositions to the UJRE’s repertoire including “Hey Day,” “Gone with the Weed” and “Lady Bountiful.” The sumptuous arrangements of these numbers vie very strongly indeed with the original Nucleus recordings.
In 1982, Ian received the Calabria (Southern Italy) award for outstanding contribution in the field of jazz and in 1987 he was given Wire magazine’s special award for services to British jazz.
Carr has collaborated with Neil Ardley (notably on his albums Greek Variations, Kaleidoscope of Rainbows and Harmony of the Spheres as well as the later album Zyklus), and also with Keith Tippett’s Centipede, Mike Gibbs’ big band. In 1992 Carr recorded the “acoustic” album Sounds and Sweet Airs accompanied by John Taylor on organ.
Nowadays, Ian Carr, however, is as busy as ever and has recently been engaged as musical consultant for the Mike Dibb television documentary on Keith Jarrett. This was a follow-up to his earlier Channel 4 programme on the life of Miles Davis that received a phenomenal 1.2 million viewers in the UK alone – a record for jazz. Carr’s biography of Miles Davis – Miles Davis: A Critical Biography (1982), is considered to be the standard text on modern jazz most outstanding genius. He also wrote Keith Jarrett, The Man and his Music (1992) and was co-author of Jazz, the Essential Companion (1987) The Rough Guide to Jazz (2nd Edition, 2000). Meanwhile Ian Carr’s long out-of- print book on British jazz Music Outside – Contemporary Jazz In Britain (1973) is now almost as highly sought after as the Rendell-Carr albums.
The good news is that with the exception of the two Mood albums, all the Rendell-Carr Quintet and Nucleus albums are now available again for the first time on CD on BGO Records, and Universal reissued on CD the ultra-rare Greek Variations which features several Ian Carr-penned tracks performed by a prototype Nucleus. The band also plays on Neil Ardley’s Kaleidoscope of Rainbows, just reissued on the Dusk Fire label.
There are also two live Nucleus albums recently issued on the Cuneiform and Hux labels, and a couple of live albums by the Rendell-Carr Quintet on the Spotlite label.
There is a web site dedicated to Ian Carr and Nucleus and which contains full discographies of Ian Carr, Nucleus and the Rendell-Carr Quintet. The web site is also intended to highlight the work of sometime fellow Nucleus musicians by linking to their web sites wherever they have one or just alerting audiences to the latest news about these musicians, many of whom featured in Carr’s seminal and now sadly long out-of-print book Music Outside. The Unofficial Ian Carr and Nucleus Web Site (which although ”unofficial” has met with Ian Carr’s enthusiastic approval).
Related Article 
Ian Carr and Nucleus: ’70s British Jazz Rock Progenitors
Visit Ian Carr on the web. 
Ian Carr at All About Jazz.


Here is a rare Greek Prog/Jazz LP from 1980 released on EMI/ Columbia 14C 062 71149.


Kyriakos Sfetsas : arranger, conductor
Yannis Terezakis : piano, fender rhodes
Giorgos Theodoridis : bass
Nikos Tatsis : luth, electric guitar
Lefteris Tzimas : drums, percussion
Tassos Poulimenos : tenoro sax
Giorgos Halkiadakis : baritone sax
Stelios Vichos : alto sax
Yannis Theodoridis : trumpet
Manthos Halkias : clarinet


I’ve been busy (and lazy too) that’s why it took me more than 4 months to write a new post, I’m back…
… I think.

I’ve downloaded this album last year but never listen to it.
I re-downloaded it (at 320kbps) recently (Thank you SG), listened to it and loved it!!
(Of course this means that I need a clean copy on vinyl… holler)

So I decided to share this with you, I’m sure that most of the Improvisitors will love this album.


Unfortunately I don’t have a lot of infos about this band.
They’re called Spirit Free, from Las Vegas, Nevada.
They play some dope cosmic Jazz! This LP was released on Vega Sound (Las Vegas private pressing) in 1971. N#40118.

Side 1 contains 2 long tracks from a concert at the University of Nevada, Las Vegas Jazz Festival :

— 01 Isis Unveiled
— 02 Vibrations

and side 2 contains 3 songs from a studio recording.

— 03 Starship
— 04 Guardian Angel
— 05 Sprit Free

Just check it and come back w/ a feedback.

Rick Davis – Tenor Sax
Ron Feuer – Electric Piano
Santo Savino – Drums
Orlando Hernandez – Bass



Check out Arcadium’s review at

The CD is coming out winter 2007

Quasar – Man Coda

February 16, 2007




This is completely off-the-hook abstract Australian psych-rock. Evidently self-produced by the band and never formally distributed, copies of this super-limited pressing are creeping their way across the globe. Only 500 were ever pressed. Recorded direct to digital tape by just a drummer, bassist, and guitarist, the sounds run the gamut from surging, moody, textural, and nearly beatless masterpieces like “Man Coda” and “Reality’s Way” to the tense, jazzy, and angular “The Little Prince” to the stupid ill cut “Zeitgeist,” an all-out sonic rock assault that would make Les Claypool shit in his pants. This song also has an insane drum intro. Demented genius.

— Len Henderson (Guitar, FX)
— Barry Tiplady (Bass, FX)
— Trevor Tiplady (Drums)