Roy Eldridge by Jack Lincoln

History
EARLY LIFE Born Pittsburgh, Pennsylvania 30th January 1911
Mother was a pianist who could aurally reproduce music (which
Eldridge too was able to do)
Played piano at the age of 5 with his brother as role model as he
played alto sax, clarinet and violin.
His brother Joe recognised his ability on a bugle and encouraged
him to play trumpet, however it wasnt until the death of their
mother and remarriage of their father when Roy was eleven that he
began to lock himself in his room and woodshred with emphasis on
the high register.
EARLY CAREER- 1926-1930
Expelled from high school in year 9. Started playing trumpet and
drums in travelling circus and carnival bands but returned due to
witnessing racism which left a deep scar and would affect his
directions for his whole life.
Gained attention with the Nighthawk Syncopators for playing a
transcription of Coleman Hawkins solo on The Stampede (heavily
inspired by Coleman Hawkins and Jabbo Smith) During this time
Count Basie called him the greatest trumpet Id ever heard in my
life.
After leading his own bands he left and joined Horace Henderson
(little bro of Fletcher Henderson) and destroyed one of his heroes
Jabbo Smith in a cutting contest.
BECOMING ONE OF THE BEST 1930-40
Moved to New York in November 1930 and began to take off from
here..
Played with bands in his area such as Speed Webb and Zack Whyte
before arriving in New York 1931 where he worked with Elemer
Snowden,McKinneys Cotton Pickers and Teddy Hill in 1935.
Recorded solos with Teddy Gill, backed Billie Holiday and Fletcher
Henderson (featured soloist at the time) which enhanced his
reputation
Received his nickname Little Jazz from Otto Hardwick who found
Eldridges small height and his competitive playing style amusing.
Many critics have stated that from the mid-1935s onwards Eldridge
had overtaken Louis Armstrong as the hot trumpet player.
Made his own octet (featuring his brother Joe on Alto) at the three
deuces Club in Chicago 1937 and recorded legendary sessions as a
leader such as Hecklers Hop and Wabash Stomp.
Left the music industry in 1938 due to his annoyance at the racism
in the industry to pursue radio engineering but returned in 1939.
In 1939 had a larger group at the Arcadia Ballroom in New York.
With the decline of past trumpet players and the same ol stuff from
Louis Armstrong, Eldridge was king.

1940s- Gene Krupa and freelancing

Joined Gene Krupas Orchestra in 1941 and statwd till 1942
invigorating the band and recording memorable versions of Rockin
Chair and After Youve gone.
It is said that the addition of Eldridge into the band transformed it
from a decent show band to a world class jazz band.
Shared the featured role with Anita ODay- which he detested as he
didnt want to be upstaged by her
Left the band when Krupa was sent to prison due to marijuana
possession July 1943.
Struggled playing In white bands during a racist period and many
incidents occurred with Krupas band and Artie Shaws, led to
tensions and him leaving the band.
Played with small groups with artists such as Earl Hines, Hawk and
Ella Fitzgerald and even Count Basie at a point.
Had a big band for a short period of time and toured with Jazz at the
Philharmonic.
Struggled when he found out his playing was not as modern as
bebop like Dizz and the new cats (although he was not a big fan of
Dizzys playing stating he sounded like a worse version of himself)
Lived in France 1950-51 which restored his confidence and his
importance on personal style as the French public dug his style.
Late Life
Had his own groups late 60s and spent 70s playing at Ryans with
still his brash competitive sound with a Dixieland style (as Ryans
was a Dixieland Club)
Suffered his first stroke in 1970 but after a quick recovery continued
to lead a band at Ryans whilst still being able to execute his virtosic
speed, range and creativity with the exception of taking frequent
breaks.
Suffered a heart attack in 1980 and retired from playing trumpet.
Died three weeks after his wife died on the 26th February 1989 at
the age of 78
STYLE
One of the most exciting players in the swing era. Combative
approach, took lots of chances
Due to the immense practice schedule Eldridge lived by in his teens
he had extremely virtuosic technique, this allowed him to execute
rapid fire double time lines and play in the upper range of his
instrument with complete control like no other had before him.
Playing style was very intense and quite confronting in the sense
that he would play loud and adventurous lines
Had a unique, raspy tone compared to squeaky clean Louis
Heavily influenced by prominent saxophone players such as
Coleman Hawkins and Benny Carter as well as trumpet players such
as Red Nichols and Jabbo Smith.

Interestingly enough was not influenced by Louis as he did not hear

any recordings of him till early 1930s.
Pushed himself hard to make exciting solos.

Impact
Roy Eldridge has been seen as the biggest influence on Dizzy
Gillespie who mimicked his virtuosic speed and use of the high
register in his own playing, in earlier recordings of Dizzy his style is
nearly identical to Roy.
Because of this Roy Eldridge has been called the bridge between
Louis Armstrong and Dizzy Gillespie (a statement made by critics
that Eldridge detested) and therefore remains one of the most
important trumpet players in jazz history.
hecklers hop- Roy Eldridge and his Orchestra
Recorded 28th Jan 1937 Chicago
Vocation label
Personnel:
-Joe Eldridge/Scoops Carey Alto Sax
Double Bass- Truck Parham
Drums- Zutty Singleton
Guitar- John Collins
Piano- Teddy Cole
Tenor Saxophone- David Young
Trumpet- Roy Eldridge
-Bouncy, Highly swung, can still see prior influences
-AABA
-Complicated head in melody for its time, very showy
-Saxophone solo, may have been influenced by lester young (similar light,
flowing sound)
-Piano solo in bridge, sounds similar to prior pianists although less
complex
-Trumpah solo- Shows Eldridges control across the whole instrument as he
starts in his low range whilst embellishing with note turns, no note splits,
fast low technique, massive high chops which he is able to execute with
complete control and even able to add vibrato and shakes, shows his
competitive spirit as no-one at this time could stand up to a solo like this
-2nd chorus- saxophone and rhythm section plays backgrounds
-Saxophone solos over an AA section, guitar on B, Final A section and a
pseudo-tag ending played with Eldridge demolishing louis armstrong with
high chops

After Youve Gone- Roy Eldridge and his Orchestra

Label- Vocation

Recorded Same Session with same musicians ( besides Vocals- Gladys

Palmer)
-Begins with chaotic, very showy intro
-A section features Roy playing a heavily swung melody with emphasis
being placed on faster notes executed with complete control, during this
section saxophones play a smooth legato guideline pattern which
contrasts to Eldridges short blasts. A small break from the rhythm section
reveals Eldridges command.
-Following a short piano break vocals are introduced, very bluesy feeling
with piano playing a stride like feel.
-Drum fill into trumpet break.
-Saxophones play syncopated background figure while Eldridge solos, in
which he showcases his strong high range and adventurous style while
also demonstrating his complete control of the trumpet. Alternate
techniques such as note falls and alternate fingerings are also used.
-Stride/ragtime piano trades with the trumpet until Eldridge slows the time
down, outlining the chords for an ending.

Bibliography
http://www.allmusic.com/artist/roy-eldridge-mn0000346637/biography
https://www.discogs.com/Roy-Eldridge-And-His-Orchestra-That-ThingHecklers-Hop/release/4796031
http://www.jazzdisco.org/roy-eldridge/discography/
Whos who of Jazz (Storyville to Swing Street)- John Chilton