Monday, May 25, 2026

Clyde Stacy • Rockabilly Legend

 



A rockabilly cat with a sunny disposition, Clyde Stacy never made much of a name for himself in his native U.S. but managed to swing up north to Canada where he had hits in the late ‘50s and early ‘60s. Born on a farm in Oklahoma on August 11 1936, Stacy moved to Lubbock, Texas when he was entering his teens. In Lubbock he attended the same school as Buddy Holly, their paths crossing on occasion as they both pursued music careers. Stacy wound up relocating to Tulsa in his late teens, working the fledging rockabilly scene in that Oklahoma city, hooking up with DJ/manager Don Wallace, who helped kickstart the singer’s career, getting him a contract with Candlelight Records. His first single, “So Young”/“Hoy Hoy,” was cut at Oral Roberts University, and the two sides both received considerable local play, getting into the lower reaches of Billboard’s Hot 100 in the U.S. but reaching the Top ten in Toronto and Winnipeg. Stacy’s next single “Dream Boy” saw a similar situation where it performed better in Canada than the U.S., then he switched his management to Phil Ladd, an old Lubbock colleague, who helped him sign with Bullseye. Again, Stacy’s next single, 1958’s “Baby Shame,” wound up making few waves in the U.S. but faired better in the Great White North, a situation repeated by its follow-up, “Honky Tonk Hardwood Floor.” Another single for Bullseye followed -- “Once in a While” -- but still Stacy had a hard time breaking through, and he settled into playing regularly around Scranton, Pennsylvania where he stayed grinding out a living until 1975 when he headed back home to Oklahoma. Stacy continued to play in Oklahoma and also appeared in various venues across the U.S. and Europe well into the new millennium.
https://www.allmusic.com/artist/clyde-stacy-mn0000523175/biography

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Clyde Stacy, un gato de rockabilly con una disposición alegre, nunca se hizo un nombre en su país natal, pero se las arregló para ir al norte, a Canadá, donde tuvo éxito a finales de los 50 y principios de los 60. Nacido en una granja en Oklahoma el 11 de agosto de 1936, Stacy se mudó a Lubbock, Texas cuando entraba en la adolescencia. En Lubbock asistió a la misma escuela que Buddy Holly, sus caminos se cruzaron en ocasiones ya que ambos siguieron carreras musicales. Stacy terminó trasladándose a Tulsa en su adolescencia, trabajando en la incipiente escena del rockabilly en esa ciudad de Oklahoma, enganchándose con el DJ/director Don Wallace, que ayudó a impulsar la carrera del cantante, consiguiéndole un contrato con Candlelight Records. Su primer single, "So Young"/"Hoy Hoy", fue grabado en la Universidad Oral Roberts, y ambos lados recibieron un considerable apoyo local, llegando a los niveles más bajos de los Hot 100 de Billboard en los EE.UU., pero llegando a los Top 10 en Toronto y Winnipeg. El siguiente sencillo de Stacy, "Dream Boy", vio una situación similar en la que se desempeñó mejor en Canadá que en Estados Unidos, y luego cambió su dirección a Phil Ladd, un viejo colega de Lubbock, que le ayudó a firmar con Bullseye. De nuevo, el siguiente sencillo de Stacy, "Baby Shame" de 1958, terminó haciendo pocas olas en los EE.UU. pero le fue mejor en el Gran Norte Blanco, situación que se repitió en su siguiente sencillo, "Honky Tonk Hardwood Floor". Le siguió otro sencillo de Bullseye - "Once in a Time" - pero aún así a Stacy le costó mucho abrirse paso, y se estableció para jugar regularmente en Scranton, Pennsylvania, donde se mantuvo hasta 1975, cuando regresó a su casa en Oklahoma. Stacy continuó tocando en Oklahoma y también apareció en varios lugares de los EE.UU. y Europa hasta bien entrado el nuevo milenio.
https://www.allmusic.com/artist/clyde-stacy-mn0000523175/biography


Sunday, May 24, 2026

Lester Young • Jazz Giants '56

 



Even critics who feel (against the recorded evidence to the contrary) that little of tenor saxophonist Lester Young's postwar playing is at the level of his earlier performances make an exception for this session. Young was clearly inspired by the other musicians (trumpeter Roy Eldridge, trombonist Vic Dickenson, pianist Teddy Wilson, guitarist Freddie Green, bassist Gene Ramey, and drummer Jo Jones), who together made for a very potent band of swing all-stars. The five songs on this album and bonus track, include some memorable renditions of ballads and a fine version of "You Can Depend on Me," but it is the explosive joy of the fiery "Gigantic Blues" that takes honors. This set, a real gem, is highly recommended.

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Incluso los críticos que consideran (en contra de la evidencia registrada que indica lo contrario) que poco del saxofonista tenor Lester Young está al nivel de sus actuaciones anteriores, hacen una excepción en esta sesión. Young se inspiró claramente en los otros músicos (el trompetista Roy Eldridge, el trombonista Vic Dickenson, el pianista Teddy Wilson, el guitarrista Freddie Green, el bajista Gene Ramey, y el baterista Jo Jones), que juntos formaron una banda muy potente de estrellas del swing. Las cinco canciones de este álbum y el bonus track, incluyen algunas interpretaciones memorables de baladas y una fina versión de "You Can Depend on Me", pero es la alegría explosiva del ardiente "Gigantic Blues" la que se lleva los honores. Este conjunto, una verdadera joya, es muy recomendable.




Gary Burton • Cool Nights

 


Biography by Scott Yanow
One of the two great vibraphonists to emerge in the 1960s (along with Bobby Hutcherson), Gary Burton's remarkable four-mallet technique (best displayed on an unaccompanied version of "No More Blues" from 1971) can make him sound like two or three players at once. He has recorded in a wide variety of settings and always sounds distinctive. Self-taught on vibes, Burton made his recording debut with country guitarist Hank Garland when he was 17. From there, he started recording regularly for RCA in 1961, beginning with his debut, New Vibe Man in Town.

Despite his burgeoning solo career, he continued work as a sideman, touring with George Shearing's quintet in 1963. He also gained some fame while with Stan Getz's pianoless quartet during 1964-1966, and then put together his own groups. In 1967, with guitarist Larry Coryell, he led one of the early "fusion" bands, releasing albums like A Genuine Tong Funeral, Duster, and Gary Burton Quartet in Concert. Coryell would later be succeeded by Sam Brown, Mick Goodrick, John Scofield, Jerry Hahn, and Pat Metheny.

During the '70s, Burton continued to release a steady stream of albums including the impressive solo session Alone at Last, Ring with Eberhard Weber, and the quintet date Dreams So Real: Music of Carla Bley. He also collaborated often during the '70s, touring and recording duet sets with Chick Corea such as 1972's Crystal Silence for ECM. There were similarly influential dates with Ralph Towner, Steve Swallow, Paul Bley, Keith Jarrett, and others. Among his sidemen in the late '70s and '80s were Makoto Ozone, Tiger Okoshi, and Tommy Smith. Very active as an educator at Berklee upon joining its faculty in 1971, Burton remained a prominent performer over the next few decades, releasing albums like 1982's Lyric Suite for Sextet, 1986's Whiz Kids, and 1988's Times Like These for GRP.

Moving into the '90s, Burton stuck with GRP, issuing albums like the Paul Bley duo date Right Time, Right Place, 1993's It's Another Day with vocalist Rebecca Parris, and 1995's Face to Face. He then shifted to Concord for a bevy of well-regarded efforts, including 1997's Departure and 1998's Like Minds. Two years later, Libertango, his tribute to tango master Astor Piazzolla, arrived. The very personal album For Hamp, Red, Bags, and Cal was issued in 2001, and in 2002 he explored classical music with the duet album Virtuosi, recorded with pianist Makoto Ozone.

The year 2004 found Burton back on familiar ground with the release of Generations, a bop-influenced album featuring a quartet of younger musicians. Burton paired with the same group for 2005's Next Generation. In 2009, Burton released Quartet Live featuring guitarist Metheny and bassist Swallow on Concord. In 2012, he released Hot House, another duet recording with Corea. In August of 2013, the vibraphonist released Guided Tour by the New Gary Burton Quartet on Mack Avenue Records. His new bandmates included drummer Antonio Sanchez, bassist Scott Colley, and guitarist Julian Lage. Two years later, he joined Metheny, Jan Garbarek, Paul McCandless, the SWR Big Band, and others in a concert marking bassist Eberhard Weber's 75th birthday. It was released as Hommage à Eberhard Weber on ECM. After a 50-plus-year career, Burton retired from performing in 2017, following a farewell tour with pianist Ozone.
https://www.allmusic.com/artist/gary-burton-mn0000738182#biography


gary-burton ...

Michel Petrucciani • The Best of the Blue Note Years

 

 
 
 
 

VA • Oriental Jazz (50's & 60’s Authentic Recordings)

 



Oriental Jazz (50's & 60's Authentic Recordings) is an English album released in 2013. There are a total of 28 songs in Oriental Jazz (50's & 60's Authentic Recordings). The songs were composed by talented musicians such as Fuad Hassan, Charles "Chick" Ganimian, Eddie "The Sheik" Kochak, and more.

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Oriental Jazz (50's & 60's Authentic Recordings) es un álbum inglés publicado en 2013. Hay un total de 28 canciones en Oriental Jazz (50's & 60's Authentic Recordings). Las canciones fueron compuestas por talentosos músicos como Fuad Hassan, Charles "Chick" Ganimian, Eddie "The Sheik" Kochak, y más.