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Originally released in 1965
Carr and Rendell were Britain’s answer to Miles & Coltrane, with beautiful, introspective modal numbers of bursting originality. Sadly, no-one knew.
Shades of Blue was the first Lansdowne outing of the Rendell Carr Quintet, and is an interesting contrast to the increasingly idiosyncratic and complex later works. If those later ’60s albums were landmarks in truly British modern jazz, this first 1964 recording reflects more American influence: one track with an easy latin groove (Blue Mosque), another a late-night bluesy swinger (Latin Blue), then a classic triple-speed chase (Blue Doom), usually a winning formula, and this one has a secret up its sleeve. Lurking in the shadows of side two track three is the title track, Shades of Blue, written by Neil Ardley. An atmospheric bitter-sweet ballad, you sense something special, magical unfolding, lovely, lyrical, enveloping. This track alone is worth the price of the whole collection.
Rendell delivers solid solos with an authoritative tenor voice, shades of Rollins and Zoot Sims , but it is when he switches to soprano that the music takes on a life of its own, laced with contrapuntal snake-charmer lines, rapid-fire ascending and descending arpeggios . His straight horn contrasts with Carr’s sour rasping brass, lurking in the bottom register. Colin Purbrook has a delicate, almost ethereal touch on piano, Trevor Tomkins is always on point with perfectly-judged textures and accents, Dave Green’s firm bass holds the ground.[londonjazzcollector]
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