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3 x CD |
| 6.426 Ft
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| 1. CD tartalma: |
| 1. | Swingin' On That Famous Door
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| 2. | Farewell Blues
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| 3. | Mary Had A Little Lamb
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| 4. | Wabash Stomp
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| 5. | Florida Stomp
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| 6. | Heckler's Hop
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| 7. | Where The Lazy River Goes By
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| 8. | That Thing
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| 9. | After You've Gone
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| 10. | The Gasser
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| 11. | Jump Through The Window
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| 12. | I Can't Get Started
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| 13. | After You've Gone
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| 14. | Body And Soul
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| 15. | Fish Market
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| 16. | Twilight Time
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| 17. | Little Jazz Boogie
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| 18. | Embraceable You
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| 19. | All The Cats Join In
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| 20. | Ain't That A Shame?
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| 21. | Hi Ho Trailus Boot Whip
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| 22. | Tippin' Out
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| 23. | Yard Dog
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| 24. | Lover, Come Back To Me
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| 25. | Rockin' Chair
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| 26. | It's The Talk Of The Tow
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| 2. CD tartalma: |
| 1. | Don't Be That Way
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| 2. | I Want To Be Happy
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| 3. | Fiesta In Brass
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| 4. | St Louis Blues
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| 5. | I Only Have Eyes For You
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| 6. | 'S'wonderful
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| 7. | I'm In The Mood For Love
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| 8. | "Bean" At The Met
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| 9. | The Grabtown Grapple
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| 10. | The Sad Sack
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| 11. | Little Jazz
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| 12. | Scuttlebutt
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| 13. | Mysterioso
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| 14. | Hop Skip And Jump
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| 15. | The Gentle Grifter
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| 16. | King David
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| 17. | Undecided
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| 18. | Ain't No Flies On Me
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| 19. | Wild Driver
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| 20. | If I Had You
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| 21. | Nuts
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| 22. | Goliath Bounce
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| 23. | I Remember Harlem
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| 24. | L'isle Adam
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| 25. | Tu Disais Que Tu M'aimais
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| 3. CD tartalma: |
| 1. | I'd Love Him So
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| 2. | Fireworks
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| 3. | Wild Man Blues
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| 4. | Echoes Of Harlem
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| 5. | School Days
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| 6. | Saturday Night Fish Fry -- Part 1
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| 7. | Saturday Night Fish Fry -- Part 2
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| 8. | The Heat's On
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| 9. | No Rolling Blues
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| 10. | They Raided The Joint
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| 11. | Roy's Got Rhythm
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| 12. | Nappin' John
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| 13. | Scottie
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| 14. | Baby, What's The Matter With You?
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| 15. | Yard Dog
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| 16. | Sweet Lorraine
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| 17. | Jumbo The Elephant
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| 18. | Basin Street Blues
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| 19. | I Remember Harlem
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| 20. | Easter Parade
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| 21. | I See Everybody's Baby
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| 22. | Roy's Riff
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| 23. | Wrap You Troubles In Dreams
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| 24. | Rockin' Chair
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| 25. | Little Jazz
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Jazz
76 sides recorded between 1935 & 1952
Featuring Teddy Wilson, Coleman Hawkins, Artie Shaw, Barney Kessel, Zoot Sims, Dick Hyman, Buddy Tate, Oscar Peterson...and many more!
Continuing AVID Entertainment's Gold Remasters 3 x CD Box Set series we present one of the unsung jazz trumpet hero's of the classic jazz era…Roy Eldridge, "The Little Jazz Giant".
Our musical journey begins in 1935 with The Delta Four before Roy was invited to front his own swing combo in 1937, a period he was to look back on as the happiest of his playing life.
There followed a period of big band success before Roy joined Artie Shaw in 1944 as a featured sideman on an astronomical $500 a week!
Following appearances in Europe including Paris and Stockholm, two great jazz cities, Roy returned to New York to fulfil an ambition to record with strings before finishing off our musical journey with four tracks recorded with Oscar Peterson in 1952.
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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