Jess Stacy 1904

Pianista statunitense (Bird’s Point o Cape Girardeau, Missouri, 11.8.1904 – Los Angeles, 1.7.1995). Pratica dapprima la batteria, poi il pianoforte; debutta sulle riverboats con i gruppi di Harvey Berry e Tony Catalano (1920-22). Suona in seguito con Al Katz (1926) e Joe Kayser (1927-28).

A Chicago, a partire dal1928, è insieme a Frank Teschemacher e Muggsy Spanier e, dal 1928 al 1935, nelle orchestre di Danny Altier, Floyd Town, Louis Panico, Art Kassel, Eddie Neibauer, Paul Mares, Frank Snyder, Maurice Stein. Nel luglio 1935 entra nella formazione di Benny Goodman, che egli lascia, quattro anni dopo, per Bob Crosby (1939-42).

Durante lo stesso periodo, incide con Gene Krupa (1935-36), Harry James e Lionel Hampton (1937-38), Eddie Condon, Ziggy Elman, Bud Freeman (1938), George Wettling, la Metronome All Stars (1940); ritorna con Goodman (1942-44), lavora insieme a Horace Heidt (1944) e Tommy Dorsey (1944-45). Dal maggio 1947 al febbraio 1948 dirige una grande orchestra.
Accompagna Jack Teagarden e Billy Butterfield (1948) e si esibisce da solista nei club della West Coast. Praticamente inattivo durante gli anni ’60, ritorna nel 1969 a capo di una All Stars e al festival di Monterey (1974).

Ispirato a Eal Hines e alle concezioni musicali di Bix Beiderbecke, Jess Stacy sviluppa un’esecuzione dinamica e un discorso musicale coerente e brillante, caratterizzato da un notevole senso dello swing.
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American pianist (Bird's Point or Cape Girardeau, Missouri, 11.8.1904 - Los Angeles, 1.7.1995). Practice the drums first, then the piano; he debuted on riverboats with the groups of Harvey Berry and Tony Catalano (1920-22). He later plays with Al Katz (1926) and Joe Kayser (1927-28).

In Chicago, from 1928, he was with Frank Teschemacher and Muggsy Spanier and, from 1928 to 1935, in the orchestras of Danny Altier, Floyd Town, Louis Panico, Art Kassel, Eddie Neibauer, Paul Mares, Frank Snyder, Maurice Stein. In July 1935, he joined the formation of Benny Goodman, whom he left four years later for Bob Crosby (1939-42).

During the same period, he recorded with Gene Krupa (1935-36), Harry James and Lionel Hampton (1937-38), Eddie Condon, Ziggy Elman, Bud Freeman (1938), George Wettling, the Metronome All Stars (1940); returns with Goodman (1942-44), works together with Horace Heidt (1944) and Tommy Dorsey (1944-45). From May 1947 to February 1948, he conducted a large orchestra.

He accompanies Jack Teagarden and Billy Butterfield (1948) and performs solo in West Coast clubs. Virtually inactive during the 1960s, he returned in 1969 to head an All-Stars and to the Monterey festival (1974).

Inspired by Eal Hines and the musical conceptions of Bix Beiderbecke, Jess Stacy develops a dynamic execution and a coherent and brilliant artistic discourse, characterized by a remarkable sense of swing.
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