Levis Leroy

On this reissue CD of a Contemporary set (bassist Leroy Vinnegar's first as a leader), six of the seven songs have the word "walk" in their title, including "Would You Like to Take a Walk," "Walkin' My Baby Back Home," "I'll Walk Alone," and Vinnegar's original "Walk On." Vinnegar actually does not take much solo space and generously features his talented sidemen: vibraphonist Victor Feldman, trumpeter Gerald Wilson, tenor saxophonist Teddy Edwards, pianist Carl Perkins, and drummer Tony Bazley. A fine, straight-ahead session.

Vol. 5 in Document's Complete Recorded Works of Leroy Carr focuses upon one of his last great periods of recording activity, from mid-August to mid-December 1934, providing the listener with 19 titles and three alternate takes. In addition to his main man Scrapper Blackwell, Carr is heard with guitarist Josh White on this collection, which is as strong as any other volume in Document's meticulously thorough Leroy Carr retrospective. Most of this music moves at an easy and unhurried pace, which is ideal for expressing simple intimate truths about loneliness, heartbreak, and interpersonal relationships…

Some 60 years after his passing, Leroy Carr's complete issued recordings were chronologically compiled and released on compact disc by Document Records, Ltd. The sixth and last installment in that exhaustively complete series picks up the trail on December 17, 1934, and follows his remaining Vocalion recordings with a spate of Bluebirds waxed on February 25, 1935. Almost every song heard on this collection moves slowly and deliberately, as if to support an extra load of Weltschmerz. Although "Bread Baker" is a robustly hedonistic hymn to physical pleasures, "It's Too Short" cooks like a boogie, and "Just a Rag" is upbeat, throughout most of this collection Carr's subject matter is far from uplifting…

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…

AVID Jazz is proud to introduce an exciting new addition to our Four Classic Album series, Four Classic Jazz Instrumentalists. We continue with Four Classic Jazz Bassists, a re-mastered 2CD set complete with original artwork, liner notes and personnel details.

Complete Recorded Works, Vol. 3 (1930-1932) continues Document's exhaustive overview of Leroy Carr's recordings for Vocalion between 1928 and his death in 1935. Though Carr produced a few classics during the year and a half covered by this volume (including "Alabama Women Blues" and "New How Long How Long Blues, Pt. 2"), the vast majority of listeners will have trouble working through this material, much of which sounds very similar. Still, it's the only way to hear the complete work of this important bluesman, which is more than enough for serious blues fans.