#RoyEldridge at the Arcadia Ballroom 1939

Roy Eldridge at the Arcadia Ballroom 1939 #jazz pic.twitter.com/wT24OSIxRW

— Singletone B.S.Jazz (@PhoRHxmwyDzvz13) October 23, 2016

Roy Eldridge: The 'Little Jazz' Centennial

William Gottlieb/The Library of Congress via Flickr

Trumpeter Roy Eldridge's legendary sound and bravado dwarfed his 5'6" frame. Known as "Little Jazz," and later just "Jazz," his nicknames befit his devotion (five decades) to the art form. His peers spoke of his soulful style and great competitiveness, not to mention his ridiculous chops. These qualities marked him as one of the greatest trumpet kings of all time; he reigned from the late 1930s and beyond, when many other top trumpeters came into the fold.

But Eldridge's legend endured. He was an innovator who, for many historians, conveniently bridged the gap between Louis Armstrong and Dizzy Gillespie in jazz's evolutionary chain. This may be hyperbole or an oversimplification, but many agree that Eldridge modernized the way to play jazz. And nobody ever discounted the red-hot passion that once crackled from his brass. On Jan. 30, Eldridge would have been 100, so we celebrate The Little Jazz Centennial with some of his fieriest early performances.

Complete on: http://www.npr.org/blogs/ablogsupreme/2011/01/28/133181564/roy-eldridge-the-little-jazz-centennial?sc=nl&cc=jn-20110130

When Gene Krupa invited Roy Eldridge to play lead trumpet in his band in the early '40s, it made a statement: Few musicians broke the color barrier during this time. So it's unsurprising that Krupa infamously brawled with a racist music presenter who refused to let Eldridge enter a theater before a gig. This tabloid encounter occurred six months after they recorded "Let Me Off Uptown" with Anita O'Day, with whom Roy Eldridge sings in Krupa's biggest hit song.

Roy Eldridge On Piano Jazz

by Alfred Turner


Trumpeter, composer and singer Roy "Little Jazz" Eldridge was one of the most exciting musicians to emerge from the Swing era. Eldridge first met Marian McPartland in 1950, when she invited him to play with her one night at The Embers in New York. By the time he joined her for this 1986 Piano Jazz session he had laid aside the trumpet, but was still performing on his other instruments — drums and piano — and singing.

Having played with Fletcher Henderson, Gene Krupa, Artie Shaw, Count Basie, Oscar Peterson, Billie Holiday and Ella Fitzgerald, Eldridge has great stories to tell, including an eye-opener about the time he and Krupa recorded one of Eldridge's great hits, "Rockin' Chair." He also brings along a number of his own tunes, two of which he plays with McPartland: "Ball of Fire" (written with Krupa) and "Fast Boogie."

Eldridge accompanies himself as he sings a sly version of his song "Petite Laitue," telling McPartland, "Laitue means 'milk.' The rest of the lyrics I don't know, but they're all nice 'n' clean." She counters, "What a shame!"

McPartland offers a tribute to Eldridge with an elegant version of "Rockin' Chair," a hit he had in Krupa's band and a first-time solo performance for her. Then she accompanies Eldridge as he sings "I Want a Little Girl" in his colorful, inimitable style. Much to Eldridge's delight, McPartland does a gently swinging version of "Indian Summer." Then they wrap up the session by improvising on a fast boogie they call "M & R Blues."
Originally recorded Aug. 18, 1986.
Rear the session on: http://www.npr.org/templates/story/story.php?storyId=113202499
http://www.npr.org/templates/story/story.php?storyId=113202499&ft=1&f=24

Roy Eldridge Remembers Harlem....

Inner City Records is proud to announce the re-release of I Remember Harlem by Roy Eldridge (IC 7012).
This album marks another addition to the label's Jazz Legacy Series, featuring recordings from the greats of the mid-twentieth century.

Called by Scott Yanow “one of the most exciting trumpet players to emerge during the swing era, “ Roy's recordings continue to delight listeners around the world through his inventive, bold approach and consummate musicianship.

This album, made during Roy's stay in Paris in the '50s, features a host of excellent players including Raymond Fol, Don Byas, a young Claude Bolling and more. They play mostly Eldridge originals, including many of his French-titled tunes. Listeners will also enjoy Eldridge's warm singing on Black and Blue, his duets with Bolling on Wild Man Blues and Fireworks, and two intimate Eldridge piano solos.
http://www.allaboutjazz.com/php/news.php?id=39068