Leblanc & Carr Midnight Light (1977)

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.

People living in the early 21st century would do well to consider complete immersion in more than an hour's worth of vintage Vocalion blues records made during the darkest days of the Great Depression by pianist Leroy Carr and guitarist Scrapper Blackwell. Vol. 4 in Document's Complete Recorded Works of Leroy Carr contains 23 sides dating from March 1932 through August 1934, with three takes of "Mean Mistreatin' Mama" (suffused with a mood that almost certainly inspired Big Maceo's sound) and an extra version of Carr's beautifully straightforward "Blues Before Sunrise." This is not a "get up and shake your butt" kind of collection, and anyone who complains that it isn't has missed the entire point of historic blues appreciation altogether…

ENGLAND sound like a cross between YES and GENESIS with a dash of GENTLE GIANT.They present melodic and uplifting music that is at times too light for my tastes…

This celebration of Jethro Tull’s tenth album follows a similar pattern to previous reissues, with the first disc containing a Steven Wilson remix followed by some ‘associated recordings’ including the previously unreleased Old Aces Die Hard and Working John, Working Joe. CDs two and three offer 22 track live tracks, recorded on the Songs From The Wood Tour across two American dates, (Boston on 6 December 1977 and Maryland on 21 November 1977). These unheard tracks have been remixed to stereo by Jakko Jakszyk and are completely unheard. There are two DVDs in this set. The first contains a 5.1 surround sound mix (DTS and Dolby 5.1) and 96/24 LPCM stereo versions of the both the original and Steven Wilson remixed version of Songs From The Wood. This DVD also features selected associated tracks, as well as various quad mixes and flat transfers. The other DVD contains video footage from that Maryland gig of 21 November 1977. The audio has been mixed to stereo and 5.1.

This celebration of Jethro Tull’s tenth album follows a similar pattern to previous reissues, with the first disc containing a Steven Wilson remix followed by some ‘associated recordings’ including the previously unreleased Old Aces Die Hard and Working John, Working Joe. CDs two and three offer 22 track live tracks, recorded on the Songs From The Wood Tour across two American dates, (Boston on 6 December 1977 and Maryland on 21 November 1977). These unheard tracks have been remixed to stereo by Jakko Jakszyk and are completely unheard. There are two DVDs in this set. The first contains a 5.1 surround sound mix (DTS and Dolby 5.1) and 96/24 LPCM stereo versions of the both the original and Steven Wilson remixed version of Songs From The Wood. This DVD also features selected associated tracks, as well as various quad mixes and flat transfers. The other DVD contains video footage from that Maryland gig of 21 November 1977. The audio has been mixed to stereo and 5.1.

This album features works by composers for whom the conception and creation of music was intimately bound up with a religious attitude towards the world. Before the birth of aesthetics in the 18th century, the symbolic or “external” meanings of music resided in the music itself; neither its expressiveness nor its purpose as an integral part of social and religious rituals were separated from a larger context of moral and spiritual considerations. In this sense, although their tonal languages and forms differ greatly, later composers such as Liszt, Franck and Messiaen followed the spirit of Bach, reflecting a musical philosophy in which musical means and theological ends were deeply intertwined, if not one and the same.

Named Gramophone’s One to Watch and winner of the 2022 International Handel Singing Competition, Alexander Chance makes his recording debut on Linn. Drop not, mine eyes is a recital of English lute songs that soaks up the zeitgeist of the past couple of years to create a programme full of melancholic works by Dowland, Campion, Danyel, Purcell and others. If the ever-popular Dowland was readily prone to sadness, as exemplified by the pair I saw my lady weep and Flow , my tears, or indeed In darkness let me dwell, the polymath Thomas Campion favoured a more sober style, as shown in I care not for these ladies . Thomas Ford displays his more profane side here with Fair, sweet, cruel and What then is love . When it comes to melancholy, John Danyel’s Grief, keep within and Drop not, mine eyes are every bit as good as Dowland. The programme closes with Purcell, the other English Orpheus. Toby Carr provides sympathetic accompaniment on lute and theorbo.