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Nucleus Ian Carr's Nucleus: In Flagrante Delicto album cover
3.21 | 19 ratings | 2 reviews | 21% 5 stars

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Studio Album, released in 1977

Songs / Tracks Listing

1. Gestalt (11:55)
2. Mysteries (12:42)
3. Jeyday (6:15)
4. In Flagrante Delicto (16:13)

Total Time: 47:05

Line-up / Musicians

- Ian Carr / trumpet, flugelhorn, RMI electric piano, co-producer
- Brian Smith / tenor & soprano saxes, percussion
- Geoff Castle / Mini Moog, Fender electric piano
- Billy Kristian / bass
- Roger Sellers / drums

Releases information

Recorded live in Düren, Germany, 6 February 1977

Artwork: Heinz Bähr

LP Capitol Records ‎- EST 11771 (1977, UK)

CD BGO Records - BGOCD599 (2003, UK)

Thanks to ProgLucky for the addition
and to Quinino for the last updates
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NUCLEUS Ian Carr's Nucleus: In Flagrante Delicto ratings distribution

(19 ratings)
Essential: a masterpiece of progressive rock music(21%)
Excellent addition to any prog rock music collection(21%)
Good, but non-essential (58%)
Collectors/fans only (0%)
Poor. Only for completionists (0%)

NUCLEUS Ian Carr's Nucleus: In Flagrante Delicto reviews

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Collaborators/Experts Reviews

Review by Sean Trane
3 stars 3,5 stars really!!!

With this album, Nucleus was reaching the end of its second golden era (started with Roots but really with Under The Sun), but the departure of bassist Sutton left a void on the band and certainly so to drummer Roger Sellers. I am one who thinks he was the prime reason for nucleus connecting so well for the four succeeding albums, but his replacement - A finish man with an unpronouciating name but re-naming himself as Billy Kristian - probably lacked time to connect properly with Sellers. Other mainstays are Carr (of course) and Castle (holding the KB for a while now), while Brian Smith makes a noticeable return. This album is a live set and an excellent introduction to progheads who have problems with jazz sounds. This is a very rock-based jam band (Allman Bros and Grateful Dead style) but with jazz instruments.

Only four tracks but all of good fabrication, Gestalt being up-tempo and clearly in line with the album directions. Mysteries is obviously given to the new bassist to make himself at home than his "solo" gives into a good duo with Drummer Sellers, while the frontmen are busy taking out advantage of these solid rhythms. After a rather short Heyday (which were about to end), the cornerstone of the album being the 16 min+ title track, with its fascinating twists and rhythms and lengthy improvs but without any exaggerations or self-indulgences.

Not their best but not that far away from it either, this can be a good intro (as I stated above) , but it is also better to discover the band chronologically!

Review by Philo
3 stars Not only was Nucleus founder Ian Carr a big fan of fellow trumpeter Miles Davis but he actually wrote what has become the definitive biography on the man. It's even boldly called Miles Davis-The Definitive Biography. Carr must have taken his cue from his American peer as much of Carr's work is a blend of high energy fusion, though not as esoteric as what Davis would conjure up on On The Corner or Bitches Brew. Carr had his own agenda, producing a fine tonal blend of jazz rock with some of Britan's brightest musicians including guitarist Chris Spedding and the trio of bassist Roy Babbington, sax/obeo player Karl Jenkins and drummer John Marshall who would go onto to join Soft Machine during its latter stages, in fact around the same time as this album was released. In Fragrante Delicto is a latter day Nucleus album, a live album recorded in Germany during February 1977, and while it features another dramatic change in line up with saxophone player Brain Smith returning to the Nucleus fold. The album contains four tracks and for all its enjoyable, if dark and sombre, moods it never reaches the energetic heights of earlier Nucleus. Carr is still producing some interesting music here but without the drive of a guitar player the album lacks a cutting bite. All over the album there is a touch of minimalism but for a live set I fail to see this working, there are far too many empty spaces on the record and while bassist Bill Kristian tries to fill some spots, notably on "Mysteries", I was not too impressed. The musicianship is typically tight on In Fragrante Delicto but Carr may have been better off having worked out a new plan to drive his music forward, even adopting some sounds of the then time may have added a newer balance to the works for all its sins. All in all this is a good live album but it never becomes that essential a listen. In Fragrante Delicto , unfortunately, is the sound of fusion growing old in the late seventies in all its live glory.

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