Jumping from 6 to 6

Jumping from 6 to 6

ASIN: B0000005QP

Track Listings

1. Jumping from 6 to 6

2. Different Girl

3. True Blue

4. Someone Like You

5. When I Found You

6. Who, Tell Me Who?

7. Weary Blues from Waitin'

8. Hi-Billy Music

9. This Ain't a Good Time

10. Barnyard Beatnik

11. Honey Stick Around a While

12. Honky Tonk Queen

13. This Heart o' Mine

14. Lookin' for a "Love Me" Gal

15. Foothill Boogie

16. Juiced

Editorial Reviews
Amazon.com
You might think the last thing the world needs is yet another rockabilly revival band, but California's Big Sandy and his FlyRite Boys prove a welcome addition to the field with their first nationally distributed album, Jumpin from 6 to 6. For one thing, the Fly-Rite Boys construct their rockabilly not merely from the expected sources, honky tonk and jump-blues, but also from an often overlooked source, Western swing. When steel guitarist Lee Jeffriess and guest fiddler Brantley Kearns hook up on tunes like "Someone Like You" and "Honky Tonk Queen," the Fly-Rite Boys swing like few other rockabilly bands. --Geoffrey Himes

Tracks:

Jumping From 6 To 6
Different Girl
True Blue
Someone Like You
When I Found You
Who, Tell Me Who?
Weary Blues From Waitin'
Hi-Billy Music
This Ain't A Good Time
Barnyard Beatnik
Honey Stick Around A While
Honky Tonk Queen
This Heart O' Mine
Lookin' For A 'Love Me' Gal
Foothill Boogie
Juiced

Amazon.com

You might think the last thing the world needs is yet another rockabilly revival band, but California's Big Sandy and his FlyRite Boys prove a welcome addition to the field with their first nationally distributed album, Jumpin from 6 to 6. For one thing, the Fly-Rite Boys construct their rockabilly not merely from the expected sources, honky tonk and jump-blues, but also from an often overlooked source, Western swing. When steel guitarist Lee Jeffriess and guest fiddler Brantley Kearns hook up on tunes like "Someone Like You" and "Honky Tonk Queen," the Fly-Rite Boys swing like few other rockabilly bands. --Geoffrey Himes

Customer Reviews:

This is perhaphs teh finest classic Sandy.......2004-03-04

Of his early years(not that he's old), this is his best. the classic title track swings like mad, and the whole cd is full of energy Sandy's vocals sound right out of 1949! Lee Jeffries steel guitar playing add the perfect amount of western swing/hillbilyl boogie to the rockabilly mix. Austentic sounding stuff taht sounds late 1940's early 50's. Get this and Sandy's latest cd "It's Time" for starters.

It swings high and low!.......2001-06-17

Great Western, rockabilly swing. Lots of witty songs of longing brought to life by bonafide musicians. You'll play this one a lot!

Jumping for Joy!!!.......2000-08-29

By far a must have of anyone who enjoys rockabilly. I have listened to this album 100's of times and it just gets better. It is good quality music that makes you want to get up and dance. You will not be disappointed in this CD.

Big Sandy at his best.......2000-08-02

Robert William, AKA Big Sandy, approaches this album with an enthusiasm and gusto that is largely missing on later releases. Check out the vocals-on-the-edge-of-control on stand out tracks Jumpin from 6 to 6, Different Girl and the raucous Juiced.

Customer Reviews:

It's wonderful to have Bernstein back, but the performances fall short.......2006-11-26

These 1953 mono recordings catch Bernstein a decade after his famous debut with the NY Phil. and five years before he became their youngest-ever condcutor. It's great to hear that warm, comforting voice again, although his analyses--especially the longest one devoted to the Brahms Fourth--aren't as polished as they would become. He gets pedagogical at times and runs us through a rote example-and-explanation formula. Even then, howeer, colorful Bernstein touches peek out, and we are reminded of the man who taught an entire generation to venerate classical music.

For me, the performances themselves fall short. They were often recorded in a rush, sometimes late at night after a summer concert. I know that the Stadium Sym. is actually the NY Phil., but they don't sound particularly fine, and Bernstein's interpreatations, though vigorous, often border on the slapdash. Plowing through Beethoven's 3rd, Dvorak's 9th, Schumann's 2nd, Brahms' 4th and Tchaikovsky's 6th, I found few sparks of originaity, much less genius. This is a tough admission from one of LB's geat admirers, but there you are. The original recorded sound is also a bit thin and harsh.

Come back Lennie, we need you.......2006-02-22

This box is worth its price just for the five talks. Bernstein at this stage had a teaching style rather more stilted than the chatty sage of later years, but the combination of authority, insight and infectious enthusiasm is unique. Entertainingly offhand about the New World, he's at his best on the music he reveres most, i.e. Beethoven, Schumann, and Brahms, the first movement of whose Fourth Symphony gets a particularly in-depth analysis that left me yearning for more. Practically anyone could enjoy and learn from these talks - they're fascinating fun without a whiff of down-dumbing. When the classical and the popular cross over nowadays, the results are usually compromised and crass, but with Bernstein there doesn't even seem to be a gap to be crossed over - just a passion to share these wonders with as many people as possible. We need his all-embracing talent and vision today more than ever.

Then there are the performances. I'm not the biggest fan of mono symphonic recordings, but these positively leap down your ears, unmannered, committed and electric. It's hard to believe what was achieved under the hasty recording conditions described in the booklet. The sound is a little fierce, but good enough to make this set a wonderful gift for any open-minded but symphonically ignorant acquaintance. I can easily imagine it turning someone on to classical music.

For Bernstein enthusiasts, it's like owning a gold mine.......2005-06-19

This new album set is something that I had heard of, but never dared to hope would be released on CD. It consists of Leonard Bernstein's very first recordings of Beethoven's Symphony No. 3 (the "Eroica"), Dvorak's "New World Symphony", Schumann's Symphony No. 2, Brahms' Fourth Symphony, and Tchaikovsky's "Pathetique" Symphony. They are all conducted by Bernstein and played beautifully by an orchestra which bills itself as the New York Stadium Symphony Orchestra, but which is really the great New York Philharmonic, using the name that they gave themselves during summer concerts.

The performances are a revelation, because they demonstrate conclusively that Bernstein did not always "exaggerate" or "overinterpret" great music, as critics frequently claim. His performances here are very, very direct and straightforward, more like Fritz Reiner or Toscanini than like Bernstein.

If this album contained only Bernstein's early performances of these symphonies, it would be interesting, but it might not really attract that much attention, since he re-recorded all of these pieces in stereo in later years, and with the same orchestra.

What makes this set so valuable is that it contains his long out-of-print lectures on these symphonies, and far from what the previous reviewer claims, they never become boring and monotonous. No musician in our time, or maybe even in the history of music, was a better or more articulate and sensitive lecturer on music than Leonard Bernstein. His legendary appearances on the "Young People's Concerts" did more for the appreciation of classical music than all the "Beethoven's Wig" albums combined. (If you don't know what "Beethoven's Wig" is, check it out and shudder at how far music appreciation has fallen since Bernstein's death.)

Bernstein had a unique ability to make classical music accessible to everybody, without ever condescending to the listener or cheapening the music. His lectures on this album, previously only available to 1950's Book of the Month Subscribers (except for part of the Beethoven lecture, which is the only one that Bernstein did re-record in stereo), are invaluable both to music students and to those who are willing to listen. All of the lectures included cover all four movements of the symphonies discussed, except for the Brahms; that one is just as extensive as the others, but it covers only the first movement of the symphony.

However--be warned, the lectures do have a flaw that the symphonies themselves do not, and that is why I have subtracted one star.

The symphony recordings are obviously remastered from magnetic tape, but the lectures have been transferred from LP's. Thus, you will be able to hear an occasional click or pop from time to time, and there is a clearly audible "skip" on the Brahms lecture. It is NOT the CD being defective, or the laser beam on your player skipping; it is clearly the lecture recordings themselves. Deutsche Grammophon, which released this CD set, is very honest about the source of the transfers to compact disc, and is to be commended for this. (They mention it in the last page of the accompanying booklet.) But this shouldn't deter anybody from buying this enormously important Bernstein set.

Bernstein's Early American Recordings.......2005-04-02

The most recent batch of DG's "Original Masters" box sets boasts several titles that will leave classical collectors rejoicing, "Leonard Bernstein: The 1953 American Decca Recordings" foremost among them. This 5CD set features Lenny in his earliest recorded performances of some of his trademark works -- Beethoven's 3rd, Dvorak's 9th, Schumann's 2nd, Brahms' 4th and Tchaikovsky's 6th Symphonies. Bernstein would later re-record all of five these symphonies with the NYPO (btw, the Stadium Symphony Orchestra of New York IS the NYPO) to greater acclaim for Columbia, but these early accounts capture a brilliant young conductor at the threshold of greatness. Also after each performance, Bernstein offers a musical analysis, simplifying what the listener just heard as only he could, which is again something the conductor would become famous for in years to come. Well then, if this is such a great set, why the four-star rating? First, while the performances sound very good, these are 1953 mono recordings and the casual fan needs to be aware that analog and digital stereo recordings of these works by the conductor do exist, and are generally preferable. Second, the musical analysis is a nice touch, but certainly does not warrant repeated listenings, as does the music. In fact, nearly half of the contents of these five discs is LB talking, and it could have been filled with music instead, or simply sold as a less expensive 3CD set. However, these shortcomings aside, "Leonard Bernstein: The 1953 American Decca Recordings" is another outstanding release in a fine series.

Album Review:

Album Review

Album Review