Marvellously accompanied by long-time collaborator, pianist Harmin Lewis, Karr presented a varied programme that included a sonata by the English composer Henry Eccles (1670-174), two short pieces by George Gershwin and P. Ramlee's Bunga Melor.

The show, presented by the Selangor Institute of Music, was not only a dazzling display of sublime musicianship, but also an infectious expression of music's often mirthful quality.

Karr, an amiable extrovert, was a joy to watch, as he bowed his 17th century Amati with an inexhaustible, he seemed to be gracefully dancing with his imposing instrument, and his playful gestures were a constant source of amusement.

His easy going approach helped to lighten the weightiness of the programme, but despite his unsolemn style, his readings of the Eccles and Grieg sonatas were uncompromisingly exact.

Particularly intriguing was his account of Grieg's Sonata in A minor, Op 36. which Karr chirpily introduced to the near capacity audience as a work for cello and piano that the Norwegian composer wrote "as a gift for his brother".

Karr, who edited and transcribed the piece for double bass himself, gave a glowing reading. He has especially impressive on the slow movement, demonstrating his supreme command of vibrato and the incredible range within his reach.

His bass had a singing quality, particularly in the middle register, while the high notes were as rich as those produced on a cello.

Bottesini's Reverie and Tarantella were treated with the same combination of passion and precision. These pieces by the 19th century Italian composer who was himself a master double-bass player were perfect vehicles for Karr's virtuosity.

After the intermission came interesting renditions of P. Ramlee's Bunga Melor and Rahmat Ali's Pujangga Madah. Karr played the melodies spiritedly, though in parts, Lewis' rhythmic accompaniment seemed somewhat mistimed.

Both players were a lot more convincing on Gershwin's jazz-inflected Prelude No. 2 and Slap That Bass (from the film Shall We Dance), which Karr introduced as "chocolate music".

"If chocolate could sing, it will sound like a double bass... When I was born, I was destined to become a 'chocoholic'," he told the audience, adding that most double-bass players were "chocoholics".

The tunes were swingingly delivered, and Karr showed that he's equally adept at plucking the bass (arco) as he is at bowing it (pizzicato).

Before he and Lewis launched into Serge Koussevitzky's Valse Miniature, Karr recounted how he came to own the 1611 Amati bass that has become his constant companion.

"When I gave my debut performance; Olga Koussevitzky (serge's window) was in the audience. She called me the next day and invited me over." Karr said she was impressed enough with his playing to present him with the Amati.

The Valse Miniature was played with vigour and precision, but it was Paganini's Moses Fantasy which inspired a bravura performance by Karr. His formidable technique and clean, crisp execution, even on the fast passages, showed how great a musician he is.

Encores were inevitable in a performance of this elevated class, and Karr and Lewis obliged ebulliently.

Earlier, Karr described how he and Lewis has been "working together for 22 years", forging an almost symbiotic performance relationship.

And as to why he chose the double bass, Karr said: "When I was a boy, I heard a singer who brought tears to my eyes. I then decided to become a singer."

"But when I sang, the people cried. So I stopped singing."

Karr then took up the double bass because it's "a voice I can identify with". Anyway, his family has played the instrument "for seven generations" so it was only logical that he should be drawn to it as well.

He's now happy to "sing with my bass strings".