David Roy ‘Little Jazz’ Eldridge (born Pittsburgh, Pennsylvania, 1991) is one of the most important trumpet soloists in jazz history. A superb technician, and a player of extraordinary fire and emotional projection, Eldridge first played drums (at six), and received some tuition on trumpet from elder brother Joe Eldridge (1908 – 52), himself a first class alto – saxophonist, violinist. After working with various little-known bands (including his own), first came into prominence with Horace Henderson’s Dixie Stompers, then with Zach Whyte (both in 1928), Speed Webb (1929 - 30), Cecil Scott, Elmer Snowden, Charlie Johnson, Teddy Hill, before co-leading (with brother Joe) local Pittsburgh outfit (1933). With McKinney’s Cotton Pickers, then back with Teddy Hill, worked with another of his own bands, before in, 1935, becoming a member of one of the principal jazz outfits of the periods Fletcher Henderson.
Although Eldridge’s trumpet was heard with Henderson only for a comparatively short period (1936-37), he carried on the great transition of superior trumpet soloists with the bans, producing red-hot solos on such as Christoper Columbus, Stealin’ Apples and Blue Lou (all The Fletcher Henderson Story/The Fletcher Henderson Story, Vol 4). Around this time, was catalyst supreme on some of the finest small-group recordings of the 1930s: with Gene Krupa’s Swing Band, in 1936 (Benny Goodman, Vol 4: 1935-1939); with Teddy Wilson (The Teddy Wilson and Teddy Wilson & His All Stars): ) as well as Wilson-led sessions involving singer Billie Holiday (The Golden Years Vol 1,2) and God Bless The Child) ). Eldridge was to work with Holiday in later years (In Concert: Coleman Hawkins with Roy Eldridge & Billie Holiday) and The Voice of Jazz, Vol 7).
During 1937, he brought an exciting eight-piece band into Chicago’s Three Deuces (Roy Eldridge At The Three Deuces, Chicago – 1937), which featured not only Joe Eldridge on alto, but also some of his brother’s most exceptional playing up to that time. Roy Eldridge was to become resident at Three Deuces Between 1936-38, after which he toured States with some band. That same year left music business for a while to study radio engineering. Comeback took place in November ’38, at 52nd Street’s Famous Door. Same month recorded for Commodore, in company with Chu Berry (The Big Sounds of Coleman Hawkins & Chu Berry), and in January following year took one of his best-ever bands into Arcadia Ballroom, New York (Arcadia Shuffle) producing one dazzling, solo after the other.
