The 40 tracks compiled on this two-disc set represent the entire span of pianist and singer Leroy Carr's recording career that spanned a brief seven years, from 1928-1935. The material represented here – all but one of these tracks were recorded for the Vocalion label – features accompaniment by guitarist Scrapper Blackwell on all but one selection, and Josh White on a handful as well. Carr's material here ranges from the classic piano blues of the era that spawned Ma Rainey and Bessie Smith to vaudeville and hokum tunes made popular by artists like Tampa Red and Georgia Tom. Carr's voice is the haunting thing here; it's higher and very clear, sweet almost, as evidenced by most of these sides. But there was an edge, too; one that belied a kind of pathos underneath even the most cheery material – check "Mean Mistreater Blues" or "Bread Baker." But the darker material such as "Suicide Blues" (one of six previously unissued performances), "Straight Alky Blues," or "Shinin' Pistol," is strange and eerie given Carr's smooth approach. Carr may not be the most well-known bluesman of the era, but his contribution is profound and lasting. This collection puts to shame almost all others with the exception of the multi-volume complete recordings on Document.
Another masterpiece of British jazz reissued on Universal's outstanding Impressed Re-pressed series, where it joins other long unavailable classics such as Amancio D'Silva's Integration , reviewed last month. Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influential jazz-rock band Nucleus was rising from the ashes.
In 1724, Sébastien de Brossard hailed Jean-Baptiste Drouard de Bousset as ‘indisputably the best of our composer-authors’. Although, at the beginning of the 18th century, the Master of Music at the Académies des Sciences et des Inscriptions imposed himself as the unquestionable leader of the genre, his 875 airs sérieux are little known nowadays and deserve to be brought back into the light. Such is the desire of Elizabeth Dobbin and the ensemble Le Jardin Secret, who recreate with artistry and intelligence the ‘noble, pleasant and natural’ songs of the composer, described by Titon du Tillet in his Parnasse françois (1732). Reflecting the traditions of the 17th and 18th centuries, the musicians have included improvised passages in their performance of these airs and, in particular, chosen to accompany the voice with two theorbos and viola da gamba, instruments that Bousset owned when he died.