Take Five: A Weekly Jazz Sampler

Roy Eldridge: The 'Little Jazz' Centennial

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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.

Roy Eldridge: The 'Little Jazz' Centennial

Cover for Uptown

Let Me Off Uptown

  • Artist: Roy Eldridge with Gene Krupa and Anita O'Day
  • Album: Uptown

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.

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Song
Let Me off Uptown
Album
Uptown
Artist
Roy Eldridge with Gene Krupa and Anita O'Day
Label
Columbia
Released
1990

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Cover for Black Legends Of Jazz: The Original Decca Recordings

After You've Gone

  • Artist: Roy Eldridge and His Orchestra
  • Album: Black Legends Of Jazz: The Original Decca Recordings

Eldridge recorded one of Gene Krupa's flagship songs three years after the drummer broke up the band following a marijuana conviction. (Historian Dan Morgenstern suspects that the backlash and pressure of having a successful integrated band played a part, too.) Regardless, this arrangement of "After You've Gone" captured the essence of an Eldridge solo: explosive, technical and full of bravado. This version is far more energetic, and arguably better, than the one he recorded with Krupa.

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Song
After You've Gone
Album
Black Legends Of Jazz: The Original Decca Recordings
Artist
Roy Eldridge and His Orchestra
Label
Verve

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Cover for Uptown

Rockin' Chair

  • Artist: Roy Eldridge with Gene Krupa and Anita O'Day
  • Album: Uptown

The remarkable story of "Rockin' Chair," as told by Gary Giddins in Visions of Jazz, begins with Eldridge getting "blind drunk" at the session, then crying about his performance to bandleader Gene Krupa, begging him not to release it. Two months later, after Eldridge forgot about it, his friend Ben Webster played it back for him. Eldridge said, "Who's that? It's not Louis, it's not Diz." Eldridge didn't recognize it until the chorus and then flipped. He later acknowledged that this was his favorite all-time performance on record, remarking, "There isn't really a flaw in it."

Hear "Rockin' Chair" on A Blog Supreme.

Purchase Featured Music

Song
Rockin' Chair
Album
Uptown
Artist
Roy Eldridge with Gene Krupa and Anita O'Day
Label
Columbia
Released
1990

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Cover for Roy and Diz

Blue Moon

  • Artist: Roy Eldridge
  • Album: Roy and Diz

Dizzy Gillespie said Eldridge was the most competitive trumpeter he'd ever met. Eldridge, who always fostered a friendly rivalry with Gillespie, lived for the trumpet battle, historic cutting-contests between equal (or not so equal) jazz men. (See Roy Eldridge vs. Charlie Shavers, circa 1952.) Eldridge said, "All my life, I've loved to battle. I used to stand out on the sidewalk smoking, listening to the band inside, summing up the opposition. Eventually, I'd walk inside and try to cut them." This battle between Diz and Roy begins with their mutes, but later, as the song intensifies, the mutes come off; it's as if they're taking their gloves off.

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Song
Blue Moon
Album
Roy and Diz
Artist
Roy Eldridge
Label
Verve
Released
1954

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Cover for Coleman Hawkins and Roy Eldridge at the Opera House

Bean Stalkin'

  • Artist: Coleman Hawkins and Roy Eldridge
  • Album: Coleman Hawkins and Roy Eldridge at the Opera House

Roy Eldridge studied the saxophonists — maybe even more than the trumpeters — in creating his own sound. His favorite, Coleman Hawkins, played extremely virtuosic, long, sinewy lines, so he appropriated that way of playing to his horn. By doing this, along with using sophisticated harmony, he dramatically pushed the music forward, influencing a generation of players after him. Eldridge's first opportunity to play with his saxophone hero occurred in 1945, but this 1957 concert might be their finest hour today.

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Song
Bean Stalkin'
Album
Coleman Hawkins and Roy Eldridge at the Opera House
Artist
Coleman Hawkins and Roy Eldridge
Label
Verve

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