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| The Complete Verve Roy Eldridge Studio Sessions |
| Roy Eldridge |
| első megjelenés éve: 2003 |
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| (2008)
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7 x CD |
| 48.151 Ft
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| 1. CD tartalma: |
| 1. | Baby, What's the Matter With You?
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| 2. | Yard Dog
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| 3. | Sweet Lorraine
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| 4. | Jumbo the Elephant
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| 5. | Basin Street Blues
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| 6. | I Remember Harlem
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| 7. | Easter Parade
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| 8. | I See Everybody's Baby
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| 9. | Roy's Riff
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| 10. | Wrap Your Troubles in Dreams (And Dream Your Troubles Away)
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| 11. | Rockin' Chair
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| 12. | Little Jazz
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| 13. | Love for Sale
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| 14. | Dale's Wail
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| 15. | The Man I Love
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| 16. | Oscar's Arrangement
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| 17. | Dale's Wail [Alternate Take 10]
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| 18. | Dale's Wail [Alternate Take 12]
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| 19. | Dale's Wail [Alternate Take 13]
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| 2. CD tartalma: |
| 1. | Willow Weep for Me
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| 2. | Somebody Loves Me
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| 3. | When Your Lover Has Gone
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| 4. | When It's Sleepy Time Down South
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| 5. | Feeling a Draft
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| 6. | Don't Blame Me
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| 7. | Echoes of Harlem
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| 8. | I Can't Get Started
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| 9. | When It's Sleepy Time Down South [Alternate Take]
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| 10. | Echoes of Harlem [10" LP Master]
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| 11. | A Foggy Day
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| 12. | Blue Moon
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| 13. | Stormy Weather
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| 14. | Sweethearts on Parade
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| 15. | If I Had You
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| 16. | I Only Have Eyes for You
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| 17. | Sweet Georgia Brown
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| 18. | The Song Is Ended
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| 3. CD tartalma: |
| 1. | Sometimes I'm Happy
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| 2. | Algo Bueno
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| 3. | Trumpet Blues
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| 4. | The Heat's On
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| 5. | The Ballad Medley: I'm Through With Love/Can't We Be Friends/Don't You ...
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| 6. | Blue Moon
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| 7. | I've Found a New Baby
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| 8. | Pretty-Eyed Baby
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| 9. | I Can't Get Started
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| 4. CD tartalma: |
| 1. | Limehouse Blues
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| 2. | Steeplechase
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| 3. | Tour de Force
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| 4. | Ballad Medley: I'm Through With Love/The Nearness of You/Moonlight ...
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| 5. | Les Tricheurs
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| 6. | Phil's Tune
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| 5. CD tartalma: |
| 1. | I Still Love Him So
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| 2. | The Moon Is Low [LP Version]
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| 3. | I Missed My Hat
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| 4. | Ballad Medley: I Remember You/Chelsea Bridge/I've Got the World on ...
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| 5. | Polite Blues
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| 6. | Close Your Eyes
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| 7. | The Moon Is Low [78 Version]
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| 8. | The Moon Is Low [Alternate Take][
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| 9. | I Missed My Hat [Alternate Take]
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| 10. | Close Your Eyes [Alternate Take]
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| 11. | Ballad Medley: I Remember You/Chelsea Bridge/I've Got the World on ...
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| 12. | Where's Art?
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| 13. | I Don't Know
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| 14. | Striding
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| 15. | Wailin'
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| 6. CD tartalma: |
| 1. | That's A-Plenty
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| 2. | Royal Garden Blues
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| 3. | Jazz Me Blues
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| 4. | Tin Roof Blues
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| 5. | Struttin' With Some Barbecue
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| 6. | (What Did I Do to Be So) Black and Blue
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| 7. | Bugle Call Rag
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| 8. | Ja-Da
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| 9. | Royal Garden Blues [Alternate Take][
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| 10. | Music for a Stripteaser
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| 11. | Sprang
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| 7. CD tartalma: |
| 1. | It Never Entered My Mind
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| 2. | You're Blasé
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| 3. | A Foggy Day
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| 4. | Stars Fell on Alabama
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| 5. | Can't We Be Friends?
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| 6. | I Can't Get Started
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| 7. | How Long Has This Been Going On
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| 8. | Have You Met Miss Jones?
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| 9. | Love Is Here to Stay
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| 10. | Cheek to Cheek
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| 11. | They Can't Take That Away from Me
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| 12. | Blue Moon
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| 13. | Bossa Nova [Stereo]
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| 14. | The Way You Look Tonight [Stereo]
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| 15. | Sweet Sue, Just You [Stereo]
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| 16. | I've Got a Crush on You [Stereo]
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| 17. | When I Grow Too Old to Dream [Stereo]
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| 18. | Dreamy [Stereo]
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| 19. | Honeysuckle Rose [Stereo]
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| 20. | All the Things You Are [Stereo]
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| 21. | Easy Living [Stereo]
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| 22. | But Not for Me [Stereo]
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| 23. | Song of the Islands [Stereo]
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| 24. | Misty [Stereo]
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Jazz / Mainstream Jazz
Roy Eldridge - Overdubs, Vocals, Trumpet
Al Cohn - Sax (Tenor)
Al DeRisi Trumpet
Al Porcino Trumpet
Alvin Stoller Drums
Barney Kessel Guitar
Benny Carter Sax (Alto)
Benny Morton Trombone
Benny Moten Bass
Bernie Glow Trumpet
Bruce McDonald Piano
Buddy Rich Drums
Buddy Tate Sax (Tenor)
Burt Goldblatt Cover Photo, Photography
Clyde Lombardi Bass
Count Basie ?
Dan Morgenstern Liner Notes
Danny Bank Sax (Baritone)
Dick Wellstood Piano
Dizzy Gillespie Trumpet, Vocals
Eddie Barefield Clarinet
Eddie Locke Drums
Ellen Fitton Tape Transfer
Flip Phillips Sax (Tenor)
Francis Wolff Photography
George T. Simon Photography
George Williams Director
Gus Johnson Drums
Hal McKusick Sax (Alto)
Harry "Sweets" Edison Trumpet
Herb Ellis Guitar
J.C. Heard Drums
Jo Jones Drums
John Richard Lewis Piano
John Simmons Bass
Lou Oles Trumpet
Louie Bellson Drums
Malcolm Addey Mastering
Michael Cuscuna Release Production
Norman Granz Producer
Oscar Peterson Piano, Organ
Paul J. Hoeffler Photography
Popsy Randolph Photography
Ralph Burns Arranger
Ralph Burns Orchestra Orchestra
Ray Brown Bass
Richard Mantel Design Direction
Ronnie Ball Piano
Russell Garcia Arranger, Director
Sam Markowitz Sax (Alto)
Scott Wenzel Release Production
Stan Levey Drums
Teddy Brannon Piano
Val Valentin Producer
Walter Page Bass
Roy Eldridge
Active Decades: '30s, '40s, '50s, '60s, '70s and '80s
Born: Jan 30, 1911 in Pittsburgh, PA
Died: Feb 26, 1989 in Valley Stream, NY
Genre: Jazz
One of the most exciting trumpeters to emerge during the swing era, Roy Eldridge's combative approach, chancetaking style and strong musicianship were an inspiration (and an influence) to the next musical generation, most notably Dizzy Gillespie. Although he sometimes pushed himself farther than he could go, Eldridge never played a dull solo!
Roy Eldridge started out playing trumpet and drums in carnival and circus bands. With the Nighthawk Syncopators he received a bit of attention by playing a note-for-note recreation of Coleman Hawkins' tenor solo on "The Stampede." Inspired by the dynamic playing of Jabbo Smith (Eldridge would not discover Louis Armstrong for a few years), Roy played with some territory bands including Zack Whyte and Speed Webb and in New York (where he arrive in 1931) he worked with Elmer Snowden (who nicknamed him "Little Jazz"), McKinney's Cotton Pickers and most importantly Teddy Hill (1935). Eldridge's recorded solos with Hill, backing Billie Holiday and with Fletcher Henderson (including his 1936 hit "Christopher Columbus") gained a great deal of attention. In 1937 he appeared with his octet (which included brother Joe on alto) at the Three Deuces Club in Chicago and recorded some outstanding selections as a leader including "Heckler's Hop" and "Wabash Stomp." By 1939 Roy had a larger group playing at the Arcadia Ballroom in New York. With the decline of Bunny Berigan and the increasing predictability of Louis Armstrong, Eldridge was arguably the top trumepter in jazz during this era.
During 1941-42 Eldridge sparked Gene Krupa's Orchestra, recording classic versions of "Rockin' Chair" and "After You've Gone" and interacting with Anita O'Day on "Let Me Off Uptown." The difficulties of travelling with a White band during a racist period hurt him as did some of the incidents that occurred during his stay with Artie Shaw (1944-45) but the music during both stints was quite memorable. Eldridge can be seen in several "soundies" (short promotional film devoted to single songs) of this era by the Krupa band, often in association with O'Day, including "Let Me Off Uptown" and "Thanks for the Boogie Ride." He is also very prominent in the band's appearance in Howard Hawks' Ball of Fire, in an extended performance of "Drum Boogie" mimed by Barbara Stanwyck, taking a long trumpet solo -- the clip was filmed soon after Eldridge joined the band in late April of 1941, and "Drum Boogie" was a song that Eldridge co-wrote with Krupa.
Eldridge had a short-lived big band of his own, toured with Jazz at the Philharmonic and then had a bit of an identity crisis when he realized that his playing was not as modern as the beboppers. A successful stay in France during 1950-51 restored his confidence when he realized that being original was more important than being up-to-date. Eldridge recorded steadily for Norman Granz in the 1950s, was one of the stars of JATP (where he battled Charlie Shavers and Dizzy Gillespie) and by 1956 was often teamed with Coleman Hawkins in a quintet; their 1957 appearance at Newport was quite memorable. The 1960s were tougher as recording opportunities and work became rarer. Eldridge had brief and unhappy stints with Count Basie's Orchestra and Ella Fitzgerald (feeling unnecessary in both contexts) but was leading his own group by the end of the decade. He spent much of the 1970s playing regularly at Ryan's and recording for Pablo and, although his range had shrunk a bit, Eldridge's competitive spirit was still very much intact. Only a serious stroke in 1980 was able to halt his horn. Roy Eldridge recorded throughout his career for virtually every label.
---Scott Yanow, All Music Guide |
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