Roy Acuffr

These recordings for the Verve label, most under the direction of Roy’s great champion Norman Granz, began in 1951 soon after Roy’s return to the USA from europe. The final session in the set is from June, 1960.Throughout sixteen different sessions, Roy’s tone hums with energy, whether he’s vaulting into an upper register with no apparent ceiling, or caressing a mournful ballad… Mosaic website

By 1976, vibraphone legend Roy Ayers and his group Ubiquity’s music had become dirtier, funkier, and more repetitive. Yet it was still in turns mellow and soothing. The outfit were square pegs that refused to fit in any holes that suggested straightforward jazz, soul or disco. Unbelievably, Everybody Loves the Sunshine was Roy Ayers’ 14th album, but it was the one that really struck a chord in the UK. Much of this was to do with its title-track, a woozy, off-kilter tribute to the summer. Piano dribbles out over lazy ARP synthesiser flourishes. As the tempo seems as enervated as the sweltering day the song describes, Ubiquity’s massed vocals joyously state the obvious: “Folks get down in the sunshine / Folks get brown in the sunshine / Everybody loves the sunshine.” Few records make you feel so pleasantly exhausted. The more conventional ballad Keep on Walking follows a similar groove; it can be seen as a direct influence on British funk ensembles such as Light of the World.

Although he shared the same rockabilly roots as Carl Perkins, Johnny Cash, and Elvis Presley, Roy Orbison went on to pioneer an entirely different brand of country/pop-based rock & roll in the early '60s. What he lacked in charisma and photogenic looks, Orbison made up for in spades with his quavering operatic voice and melodramatic narratives of unrequited love and yearning. In the process, he established rock & roll archetypes of the underdog and the hopelessly romantic loser.

Quickly joining the first wave of rockabilly, American singer-songwriter Roy Orbison (born in Texas in 1935) joined the Sun Records stable in 1956, joining several names who have remained like him in the legend of original white rock & roll, either Elvis Presley, Carl Perkins, Jerry Lee Lewis or Johnny Cash. Nicknamed Big O because of his powerful and soft voice at the same time, Orbison delivered his first classic in 1956 with the title "Ooby Dooby", which was followed by his first classic, "Only the Lonely", and hits like "Love Hurts ", "Crying" or "In Dreams". In 1964, he signed "Oh, Pretty Woman" which would become one of the most reissued singles of all time and would have several commercial lives. Orbison died in 1988, leaving behind a work of lasting influence

Quickly joining the first wave of rockabilly, the American singer-songwriter Roy Orbison (born in Texas in 1935) joined The Sun Records stable in 1956, joining several names that remained like him in The Legend of the original White rock & roll, Elvis Presley, Carl Perkins, Jerry Lee Lewis or Johnny Cash. Nicknamed Big O because of its powerful and sweet voice at the same time, Orbison delivered his first Classic in 1956 with the title "Ooby Dooby", followed by his first classic, "Only The Lonely", and hits like "Love Hurts", "Crying" or "In Dreams". In 1964, he signed "Oh, Pretty Woman" which became one of the most reissued singles of all time and went through several commercial lives.

There have been countless ROY ORBISON compilations over the years, but all too often overdubbed or stereo versions are used, which possess neither the presence nor the bite of his original mono 45rpm versions.

7-disc CD box set from legendary trumpeter Roy Aldridge and the Verve Label. Includes his complete recordings 24-bit digitally remastered and booklet with rare photos. 2003 USA 102-track 7 CD set, each housed in its own jewel case with picture sleeve, and sleeve notes about the recordings. Chronicles the completes sessions for Verve recorded by Roy Eldridge across 7 CD's MD7-222. Limited Edition: 10000 copies. " The annals of jazz abound with nicknames: Satch, King, Pres, Lady, Count, Dizzy, Bird, Hawk, Rabbit, Lips, Fats, Curly, Slim, Slam. But only one musician was named for the music itself: Little Jazz–soon shortened to simply Jazz by Roy Eldridge's close friends. Norman Granz, who produced most of the sessions in this set, once wrote that he knew "no other musician whose playing better typifies the spirit of jazz than Roy Eldridge," and indeed Little Jazz was ALL jazz, from top to toe, the whole feisty five feet, six inches of him. Bristling with energy, "trying to outplay anybody, and outplay them my way," he was always ready to challenge all comers, but most of all, himself. "