Carr

2017 marks the 50th anniversary of the release on Goldwax of James Carr’s recording of ‘The Dark End Of The Street’, a record rightly hailed as a benchmark in soul, and in southern soul in particular. James’ recording of Dan Penn and Chips Moman’s genre-defining song is one of dozens but it was the first and is by unanimous consensus the best.

Although he was not an original member of Kiss, drummer Eric Carr was automatically accepted and held in high regard by their legions of fans. Born Paul Caravello in Brooklyn, NY on July 15, 1950, the youngster discovered rock & roll the way many others did in the early '60s, via the Beatles…

This 1989 compilation was produced by the late Alan Dell a man of great taste in all things musical. He often played Vikki Carr on his BBC radio shows ad as part of his EMI compilation series focused on many top flight vocalists and this certainly applies to the legendary Miss Vikki Carr.

This 24-track set covers Carr's R&B tunes, with many unissued but fine selections such as "If These Walls Could Speak," "Finders Keepers," and "Weather Man" finally getting out of the vault. The CD also includes her trademark upbeat, sassy songs, "Jump Jack Jump," "Boppity Bop (Boogity Boop)," "Ding Dong Daddy," and "Nursery Rhyme Rock." Thematic variety wasn't her label's strong suit when it came to material, and they might have done better with more numbers like "Please Mr. Jailer" and "It's Raining Outside," and a few less boogies and jump pieces.

While heavily influenced by Art Tatum, this performer was hardly considered a heavyweight pianist during his career. Born Louis F. Bush, or Busch depending on the source, the keyboard maestro who would also make heavy use of the stage name of Joe "Fingers" Carr managed to make it into Leonard Feather's Encyclopedia of Jazz, but with the following disclaimer: "A novelty performer rather than a jazz artist." The novelty itself was a kind of heavily sexed-up ragtime piano style that caught on in the very dawn of the hi-fi era. The invention was in sharp contrast to lounge music and would most likely have the opposite effect than a seduction if played in a bachelor pad. Carr began driving his piano this way while working as an A&R man for Capitol. In a brainstorm based on a sharp analysis of current trends, he decided to sign himself up as the mysterious "Fingers."

Jazz at Greville Lodge vol.2 features pianist Mike Carr and guitarist Jim Mullen. Live recording from November 2009. Mike Carr (b. 1937), jazz pianist and organist, established his reputation on the London jazz scene working with such heavyweights as Dizzy Gillespie, Coleman Hawkins, Johnny Griffin, Illinois Jacquet and Art Farmer. "l've never heard an organist who has all that swinging“ commented Oscar Peterson. Carr is a prolific musician who released numerous highly acclaimed albums. Jim Mullen (b. 1945) is a truly original voice in contemporary jazz guitar, who has won many British music awards including ,,Best Guitar“ in the BT Jazz Awards in 1994, 1996 and 2000. With many recordings to his credit, Mullen has recently recorded as a member of The All Stars Collective on the Paul McCartney-produced album All About The Music.

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.

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.

Recorded live on May 5, 2012, at Wigmore Hall, Colin Carr's recording of J.S. Bach's six Cello Suites is a remarkable demonstration of intellectual concentration, expressive consistency, and physical control that other cellists may envy. Carr's approach to these masterworks is straightforward and deeply personal, following neither historical nor modern schools of interpretation but flowing directly from his own expression in the moment. Because there are no convenient catchwords to apply to his playing, it is perhaps best to think that this is one man's vision of the suites as profound sources of inspiration, and as opportunities to show music's power to affect emotions through the subtlest means available.