Ian Stewart Tribute Book

The legendary limited edition, leather-bound Ian Stewart tribute book & print set is the rarest and most highly acclaimed book ever published around the Rolling Stones

Co-founder and pianist Ian Stewart - the sixth Stone

18 July 1938 – 12 December 1985

About Stu

Co-founding member and pianist Ian Stewart was acknowledged as the sixth Stone when he was inducted as a member of the Rolling Stones posthumously into the Rock’n’Roll Hall of Fame in 1989.

This unique book features contributions from some of the world’s best rock ‘n’ roll photographers with never before seen photos from Ian Stewart and the members of the Rolling Stones.

‘Stu’, as he was universally known, was also a blues and jazz pianist of the highest calibre. He not only founded the Stones – simultaneously he shaped the rhythm and blues scene that emerged in Southern Britain in the early 1960s.

Guitarists Eric Clapton, Jimmy Page and Jeff Beck regarded Stu as their musical touchstone, the catalyst for their own bands, and a lifelong friend.

More about Stu

Ian Stewart

18 July 1938 – 12 December 1985

It is thirty seven years since Rolling Stones co-founder Ian Stewart prematurely died in the waiting room of a Harley Street surgery. Stu as he was known was much mourned and is still greatly missed by family and friends as well as former band-mates. Acknowledged as the sixth Stone he was inducted as a member of the Rolling Stones posthumously into the Rock’n’Roll Hall of Fame in 1989.

In 2003 Will Nash published a Privately published 950 copy edition book (with print) that paid tribute to Stu through the contributions of over 80 individuals and twenty photographers. This set still remains the only book to feature extensive contributions from all the (then) six surviving members of the Rolling Stones as well as many other friends and working colleagues of Ian’s. The book is regarded as the most collectable of all books on the Rolling Stones (including Exile which Will Nash compiled and edited) due to it’s scarcity and unique content.

At the time of the initial subscription a number of copies of the edition were held back from release which are still available for sale only via this web site. Any specific enquiry can be made to info@out-take.co.uk

The Book

This limited edition, leather-bound volume chronicles Ian Stewart’s extraordinary talent and life told by those who loved, revered and respected him.

A magnificent salute to an unsung hero

Jimmy Page

950

Limited Edition

432

Pages

100+

Contributors

350

Photographs

80,000

Words

Nothing you have ever read or seen about the Rolling Stones will be complete without this extraordinary and beautiful volume

Gered Mankowitz

More about the book

Stu is the rarest and most acclaimed book ever published around the Rolling Stones. It was the result of two years’ of collaboration by the private press Out-Take, with over 100 text and photographic contributors. 

The volume with 432 pages and 85,000 words was privately published and subscribed for.  It had no ISBN which meant that it was never available from high street or online bookstores.  The edition of 950 copies hand-bound in leather has only ever been available direct from the publisher, Out-Take Limited. 

Each copy of the book includes an accompanying signed and numbered edition screen-print of Stu which was especially drawn for this tribute set by Ronnie Wood – each hand numbered – 1 to 950.

There are 80 text contributors in including, for the only time ever in print, all the members of the Rolling Stones, who reveal Ian Stewart through over 25 hours of interviews. As a co-founder of the band, as well as playing on many of the most famous songs in the rock n’ roll catalogue, Stu was more than just the “Sixth Stone” For as Keith Richards states in his Foreword “There have been arguments about this ever since we started and it goes on, but in my opinion whose band is it? It’s Ian Stewart’s band.

The Rolling Stones are Ian Stewart’s band. He was the first one there at the beginning.” Whilst Mick Jagger maintains that “Whichever way you want to put it into words, you feel that you are still playing his music and his influence is very strong”.

Alongside the text are many previously Un-published photographs by some of the world’s leading music photographers including Gered Mankowitz, Ethan Russell and Dominique Tarle. For Tarle (with whom Publisher Will Nash worked with extensively on his own book Exile) —“To me it’s the best book I’ve read about the Rolling Stones.” Whilst for Gered Mankowitz (another photographer with whom Nash has produced books with) “Nothing you have ever read or seen about the Rolling Stones will be complete without this extraordinary and beautiful volume.”

Additionally some photos include those taken by Stu himself an accomplished amateur photographer. Some of his images of the band were used in the early Rolling Stones fan magazine; apart from that, his work is almost entirely unpublished. In addition memorabilia owned by Stu form a major part of the visual content including his diary from 1962.

The response from purchasers of the book was always ecstatic as it was from the Contributors – Keith Richards regularly referring to it as “The Bible”.

A small number of copies of the book are still available for purchase at this time and no truly committed Rolling Stones fan and collector can afford not to have this book as a cornerstone of any Stones collection.

Excerpts

The response from purchasers of the book was always ecstatic as it was from the contributors - Keith Richards regularly referring to it as “The Bible”.

Contributors

Stu by Will Nash is nothing short of amazing. When I went through it the first time, my eyes welled up with tears of joy and sentimental memories. The photographs, both the ones of Stu and the ones taken by him are so incredible, telling a story all themselves. The text by those of us that knew and worked with him, including all the Stones and so many others paint a true and loving picture of him as a player, a friend and as the wonderful man he was.

As for the presentation and quality of the book, I’ve simply never seen better. It’s beautiful to look at, beautiful to hold and a beautiful tribute to one of the best-loved musicians ever known.

Chuck Leavell

When Will Nash first approached me saying that a Tribute Book for Stu was a good idea, I never thought that such a magnificent and moving work of art would be the end result.The Stewart family have been greatly touched by the respect and affection for Stu that shines through on all the pages. We all knew that Stu was special – now hopefully many more people willrealise it too.

This very special and unique book is a ‘must have’ for all fans of the Rolling Stones and their music as well as for all lovers and collectors of fine books.

The Stewart family are very proud to be a part of it.

Cynthia Dillane

Contributors

Contributors

Text

  • Ahmet Ertegun
  • Alan Dunn
  • Allan Rogan
  • Allen Klein
  • Anna Menzies
  • Andrew Oldham
  • Anita Pallenberg
  • Arnold Dunn
  • Astrid Lundstrom
  • Bill Wyman
  • Brian Jackman
  • Bobby Keys
  • Brian Croft
  • Charlie Hart
  • Charlie Watts
  • Chris Jagger
  • Chris & Krissie Kimsey
  • Chrissie Shrimpton
  • Chuck Leavell
  • Cynthia Dillane
  • Dawn Molloy
  • Dominic Lamblin
  • Dominic Tarle
  • Doris Richards
  • Eric Clapton
  • Ethan Russell
  • Eva Harvey
  • Georgia Bergman
  • Georgio Gormelsky
  • Gered Mankowitz
  • George Thorogood
  • Giles Stewart
  • Glyn Johns
  • Gretchen Carpenter
  •  Harvey Goldsmith
  • Ian Maclagen
  • Jack Bruce
  • Jane Rose
  • Jeff Beck
  • Jerry Hall
  • Jerry Pompeli
  • Jim Callaghan
  • Jimmy Page
  • Jo Wood
  • John Porter
  • June Shelly
  • Keith Altham
  • Keith Richards
  • Kenny Jones
  • Marianne Faithfull
  • Marianne Meldren
  • Marshall Chess
  • Marsha Hunt
  • Mary Beth Medley
  • Mary Nicholls
  • Michael Halsband
  • Mike Kappus
  • Mick Jagger
  • Mick McKenna
  • Mick Taylor
  • Ollie Brown
  • PP Arnold
  • P.J. Harvey
  • Paddy Grafton- Greene
  • Page Kevan
  • Patrick Stansfield
  • Peter Rudge
  • Ray Harvey
  • Rich Mandella
  • Rhoda Massy
  • Robert Greenfield
  • Roger Sutton
  • Ronnie Schnieder
  • Ronnie Wood
  • Roy Stewart
  • Ruck Nicholls
  • Rupert Loeinstein
  • Shirley Arnold
  • Sara Marks
  • Sherry Daly
  • Stephen Wyman
  • Trevor Churchill
  • Vicki Wickham
  • Willy Garnett

Photographs

  • Keith Richards
  • Ian Stewart
  • Stewart family collection
  • Eva Harvey collection:
  • Dezo Hoffman
  • Gered Mankowitz
  • Out-Take Ltd
  • Bill Wyman collection
  • Mick Ratman
  • Michael Cooper
  • Ethan Russell
  • Ken Regan
  • Barrie Wentzell
  • Dominique Tarlé
  • Rex Features
  • Michael Putland
  • Chuck Pulin/
  • Chris Kimsey
  • Michael Halsband
  • Munro Sounds Ltd
  • Marina Fusco
  • Dennis O’Regan
  • Ruck Nicholls
  • Jane Rose
  • Camera Press

Artwork

  • Charlie Watts
  • Ronnie Wood

Rolling Stone band members reflect on Ian Stewart

He means a lot to the history of the band

Mick Jagger

Exclusive to Stu, the following is an excerpt taken from an interview with Mick Jagger at his home in Paris.

When he was playing the band swung a lot harder than when he wasn’t. But he knew his limitations and he didn’t like it when the rhythm wasn’t one of his.

I remember all of the early times rehearsing with Stu, as he would turn up in those shorts because he arrived on his bicycle. He was always playing the piano in the oddest sort of way and he had a curious body language. When he played the piano he changed from one Stu, who was a type of suburban office Stu, the kind of guy who had the nine-to-five job, into this incarnation as boogie-woogie Stu. He would sort of pump his legs and he would get lost in the music.

Stu played boogie-woogie wonderfully well and he had this terrific swing to his playing which is really what marks a good boogie-woogie player. Boogie-woogie doesn’t always fit over everything, but he had a knack of making it work. He also didn’t play minor chords within the normal sequences. He could play minors, but he didn’t change from major to minor with any great ease, so he would just leave them out really. For example, when we came to an A minor in a sequence he would just leave it out. That was his way of arranging it.

Mick Jagger

There’s not a night goes by that he’s not here

Keith Richards

Exclusive to Stu, the following is an except taken from the extensive interviews with Keith Richards in Toronto and  in Washington DC.

The thing is that when he died I was waiting for him to visit me. I was staying at Blakes Hotel, just off the Fulham Road. ‘I’ve got to pop into town and see the quack,’ was the way Stu put it. He was going to come down afterwards and see me as he wanted to talk about something. I was waiting, as it was very unlike Stu not to make his appointments. At around three or four in the morning I got a phone call from Charlie, saying, ‘Are you still waiting for Stu?’ I said ‘yeah’. He said, ‘He’s not coming.’ And that’s how I got the news… kind of ironic, in a way, that I was his next destination but he got diverted.

Stu was probably one of the hardest hits I ever had, apart from my son dying. But you go into a sort of anaesthetised blank after a bit. And the first thing I did was get really mad at him, which is my normal reaction with any friend or somebody I love that croaks when they’re not supposed to, as far as I’m concerned. That’s my criteria: you’re not supposed to croak. I mean I’m counting – where’s my shoulders?  And I get mad with them for leaving me alone. And that’s the kind of way I’ve always dealt with the close ones dying, and it’s only a cushion. Eventually you do it, and then I think they haven’t really died because I talk to Stu all the time.

Keith Richards

He only really liked playing the piano

Charlie Watts

Exclusive to Stu, the following is an extract taken from one of the many interviews for the book  with the Late Charlie Watts in Paris.

When I became friends with Stu the connection was jazz. We used to like the same people really, except I used to like Tubby Hayes and Stu thought he was diabolical. But the great thing about Stu musically was that he had wonderful taste. Even now, I play records he found and they’re the best.

At the time I met Stu I was twenty and I bought my records from Ray Smith, who’s only just retired. Back then Ray ran the jazz department at Collett’s when it was in New Oxford Street. It had the folk records upstairs and they bunged the ashen-faced Ray downstairs. He used to live in the basement where he would sit at one end playing the drums to these records, which were always the latest ones. Stu would sneer at them if he was down there. Stu was a Dobell’s man. And Dobell’s is a much more mainstream, traditional place.

When I first went to America, going to New York to me meant going to Birdland. Stu was with me as we’d always go out together everywhere. Stu would always choose. In fact he used to drag me along to some of the weirdest gigs, but they were great. Thank God he did, because I saw three great musicians who were his favourites: Joe Jones, Ram Ramirez and the great Paul Quinichette on tenor sax. Another one that he took me to see, later in life, featured the great Gus Johnson on drums, one of Stu’s favourite drummers. I also remember the Sonny Rollins Trio playing once at Birdland. The other one which sticks, not least because I thought Stu was going to go mad at it, was Charlie Mingus’s band, but it was fabulous.

One night we got stranded in New York. I got a record the other day of the band that played there, The Al Cohn-Zoot Sims band. The address is on the record, because I never knew where it was; it was called the Half Note, and the trumpet player Clark Terry was playing. Well, he brought us home, and me and Stu were travelling up Fifth Avenue going, ‘Bloody hell, we’re in Clark Terry’s car.’ It was fantastic.

We used to go to a place called Frank’s Drum Shop a lot in Chicago and another place there, The London House. We used to both love Chicago.

Charlie Watts

 

If they were giving me shit he’d always protect me, jump to my defence

Ronnie Wood

Exclusive to Stu, the following are excerpts taken from interviews with Ronnie Wood at his home in Kingston-upon–Thames.

He was the man that made it all function; he made things happen and you didn’t necessarily have to be right on top of him to see how he did it. You just knew that things would get done. All the roadies respected Stu. He always had the same beaten up old wagon and was always cutting corners and talking about the ‘Carnet’. We would trust Stu and the equipment if we were leaving a city; you knew it was going to get back in one piece, by hook or by crook.

Stu never lost anything that I know of, which was quite important, although he lost a few motors – but he eventually managed to salvage them as well. I think he was allergic to electric things; he pretended to be anyway. He would always give you a hand, but he’d make the job a little bit longer than was necessary, just to put the emphasis on the fact that he was working on it. Stu was important in picking up on jams or songs in their early stages, while they were still working them into shape. He loved to get his teeth round rock’n’roll – as you know, it’s only rock’n’roll and if anything was rocking he would love to be straight on it, and he’d tell you when it was damn good! If there was a new song that came up, like say ‘Summer Romance’ or ‘Where The Boys Go’, or any of those kind of up-tempo, fun things, and it was in a key that he liked, he was always on it.

Normally with a piano player, it’s a case of you’re on this one or you’re not. There was none of that with Stu: he’d just choose whether he was going to be there or not, and no one would flinch. Sometimes, Mick would turn around and say, ‘There’s not meant to be a piano on this, Stu,’ but he’d carry on with the song and Stu wouldn’t move – he’d just keep on playing.

Ronnie Wood

It was Andrew’s decision that Stu didn’t look the part and he was the odd one out.

Bill Wyman

Exclusive to Stu, the following are excerpts taken from interviews with Bill Wyman at his home in Chelsea.

I don’t think he minded stepping down. He was, for want of a better word, more of a jazzer than we were. Stu’s whole music industry was mainly jazz, big band stuff, piano players; we were going somewhere else. When it got to us doing kind of poppy songs he didn’t like it very much, and I think he was quite happy to step back provided he could still partake in playing piano on certain tracks he liked. It was all down to what he liked doing. Charlie was a jazz drummer. He adapted to play what we were playing and liked doing it. Stu would only play on things he liked; it was just the same as his clothes and everything else; he was non-changeable, non-adaptable Stu. He was that way and you either took him like that or you didn’t, and he never changed from the first day I met him to the day he died. He had the same opinions about things, the sarcastic comments to the band. He was the only person that could get away with it because we all loved him.

Bill Wyman

He must have been an incredibly patient man to put up with the rest of us.

Mick Taylor

Exclusive to Stu, the following is an excerpt taken from  interviews with Mick Taylor in London

Stu was part of The Rolling Stones. I’m not sure that they would have stayed together if Stu hadn’t been there. I think they needed somebody like that. Stu brought to The Rolling Stones common sense. I think he kept them down to earth. It’s often quite unassuming people, that have been involved in a situation right from the beginning and whom people respect, that actually have a much bigger influence than is immediately obvious or visible. I can’t imagine The Rolling Stones without Stu.

Mick Taylor

Each copy of the book includes an accompanying signed and numbered edition screen-print of Stu which was especially drawn for this tribute set by Ronnie Wood – each hand numbered – 1 to 950.

  • Screen printed in twelve colours
  • Edition size: 950 signed and numbered in pencil
  • Paper size: 30cm x 23cm
  • Image size: 24.2cmx19cm
  • Printed on Somerset TP 300gsm paper by Bernard Pratt, Pratt Studios, England
  • Enclosed in a hard cover portfolio, inside the slipcase accompanying the book

Stu - signed and numbered illustration by Ronnie Wood

Out-Take is an acclaimed private publishing press established by William Nash specialising in the publication of limited edition books and print sets only available by subscription.

Publisher

Out-Take was established by William Nash in order that he could publish the book Stu which he had conceived and compiled over a period of twenty-four months — it was to be his first ever book and it required a considerable amount of time and treasure. It was a sign of the high regard in which Stu was held that so many responded to the requests to participate.

Having amassed much material the challenge soon became having to decide what to keep, having to cut some significant contributions. There were considerable technical challenges. Given how photography changed over the span of the book from all black and white in the early days to colour later on, even the quality of the colour film changed during this time. The pure grayscale against the colour looked often thin and cold, and with many archival photographic prints a formula needed to be devised to give continuity to the reproductions themselves as well as to number of photographers work involved. So a decision that for bulk of the black and white images to be reproduced as tritones made up of black, a deep brown and a very pale yellow. Then this exact formula needed to be applied to every black and white image throughout the book although in the case of very old prints these were to be printed in four colour black and white. Given these challenges it was apparent that the book would need to be printed in eight Page sections to ensure absolute control over the flow of the images.

This then led to the difficulty of finding a paper that would absorb the ink without varnish but also let the colours sing. Bright white wasn’t right as it didn’t let the colours sing and uncoated stock would not give a good base to keep the images sharp. In the end we opted for a semi-coated 200gsm Hello silk paper a more natural paper colour than bleached white. The silk gave the photos a print-like finish look to both in full colour and tritone photographs. We ran a few full wet proofs on the correct paper to ensure the tritone formula and colour worked when on the slightly warm paper. With this level of attention to detail it took a full five weeks on press (not the most cheap use of time) to sign off on every section so the 950 book blocks could be packed to the bindery.

When the first bound copies were shipped the response from the photographers was gratifying with Ken Regan saying that his photographs “have never been so finely reproduced in a book”. To mark the 60th anniversary of the forming of the Stones we are able once again able to bind some more copies of this, the rarest and most desired Rolling Stones book and print package.

Since the publication of Stu Out-Take has gained a reputation as the bespoke publisher founded upon it peerless production values and the integrity of its relationships with clients and authors.

In addition to advising on many trade press books and offering renowned editorial services the company remains the sole administrator of the Ian Stewart Photographic Archive.

A wonderful book for a wonderful chap

Keith Richards

This limited edition, leather-bound volume is the result of two years’ collaboration between its iconic contributors, including an exclusive signed and numbered edition screen-print of Stu drawn by Ronnie Wood, this landmark hand-bound leather limited edition captures many intimate and previously unseen moments of the world’s greatest rock and roll band.

Detailed Information

Stu Book & Print Package

The limited edition, leather-bound Ian Stewart tribute book is the rarest and most acclaimed book ever published around the Rolling Stones

Includes an exclusive signed and numbered edition screen-print of Stu drawn by fellow bandmate Ronnie Wood
Dimensions
W15.0 cm  •  L42.5 cm  •  H38.5 cm
Weight
6.50kg

£750.00Add to basket

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