The Austrian Document Records label continues its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939 with this fourth volume, which picks up with a series of sessions probably held in May 1944 for record company owner Moses Asch and eventually issued on various records by the labels Asch, Stinson, Folkways, and Arhoolie. The singer's contract with Asch was nonexclusive, and while residing on the West Coast later in the year, he recorded for Capitol Records in October, the tracks issued on singles and EPs. Many of Leadbelly's better-known songs are included in these sessions (in many cases as re-recordings), among them "Easy Rider" ("See See Rider"), "Bourgeois Blues," "Rock Island Line," and "Irene" ("Goodnight Irene")…
The Austrian Document Records label continues its series of CDs presenting Leadbelly's commercial recordings in chronological order from 1939 with this fifth volume, which picks up at the end of the singer's series of recordings for Capitol Records in Los Angeles in October 1944. Although the next batch of performances (tracks three through 14) come from a live performance for children in San Francisco in February 1945 that was broadcast on the radio, they fit into the "commercial recordings" framework because the tape was later pressed onto a disc by Folkways Records. By June 1946, Leadbelly was back in New York doing informal sessions for Moses Asch, soon to found Folkways, though most of these tracks were issued on its predecessor, Disc Records…
Completists, specialists and academics take note - Document's Complete Recorded Works, Vol. 1 (1928-1929) offers an exhaustive overview of Leroy Carr's early recordings. Less dedicated listeners will probably find the long running time, exacting chronological sequencing, poor fidelity (all cuts are transferred from original acetates and 78s), and number of performances a bit off-putting, even though the serious blues listener will find all these factors to be positive.
Tabu Productions was an American record label founded by Clarence Avant in 1975. It focused on R&B and funk.
Keyboard Wizards III- Arden and Ohman is my favorite disc so far. The other two I own are vols. I and V which are also good but lack the variety Arden and Ohman possess. Vol. III's salient quality is the diversity of ensembles. Piano alone, big band and vocals all are featured which give it an edge over the other great discs. The music and piano work is certainly dated, reflecting the whimsical and seemingly care-free times of the late 1920s. If you are a musicologist or simply a fan of American music history, this album may be for you, too.