Don Rendell & Ian Carr Blue Mosque

Don Rendell: Tenor & soprano sax
Ian Carr: trumpet & flugehorn
Colin Purbrook: piano
Dave Green: bass
Trevor Tompkins: drums
WHEN THE Don Rendell-Ian Carr Quintet was first formed in late 1962, it is unlikely that any of its members envisioned that the group would last almost seven years with very few personnel changes, finally breaking up in the autumn of 1969. The genesis of the band was the longestablished small group that Don Rendell had fronted in London since making his debut as a leader in 1955 with the album "Meet Don Rendell" for Tempo Jazz. Consequently, the idea of intelligent, well shaped original compositions forming the major part of Don's repertoire was one that was to continue after Bond's departure, which occurred more or less simultaneously with that of pianist John Burch, and forced Don to group." Nevertheless it took time tor the band recruit a largely new line-up. In place of a two reed frontline Don now brought in Ian Carr on years trumpet and flugelhorn, whose personality, background and style were a great contrast to Don's own, but who was to develop into extremely sympathetic musical partner and co-leader of the group. lts first attempt, made in January 1964, lay unissued for many years until Tony Willams at the independent Spotlite label finally released it, and it shows the lineup in transition, with Dave Green having joined on bass, and Mealing, who was soon to move on to a long and successful career as a pianist and arranger, still in the piano chair. SHADES OF BLUE:The feeling of the entire album is summed up by its title: "What Don and I aimed at,' said lan, "was to play the blues, either in form or feeling. We wanted to get as much interplay as we could between the instruments, and to make the approach as free as possible... we start off with the chords, and then make occasional forays into the no-man'Island beyond them." Although the recent Miles Davis groups with John Coltrane shaped part of the band's approach, there's no doubt in relistening to this album, from the 20-bar bossa nova theme of "Latin Blue" to the lyrical moodiness of Colin Purbrook's "Blue Mosque" that the band brought a fresh and original sound to British jazz.
Alyn Shipton
Jazz critic, The Times, and author of "Out of the Long Dark

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[simonbild67]

Nice

[toranuguitars]

one of the best jazz tune!