the Roy Eldridge biography
His up-tempo statements, with double-time runs executed with facility hitherto unknown, obviously deeply influenced a young, upcoming Dizzy Gillespie. Eldridge’s ballad playing was warm and deeply felt. And there was little doubt about his familiarity with the ability to ‘feel’ the blues.
Following the prestigious residencies at Apollo, Golden Gate Ballroom and Kelly’s Stables (1939040), he returned, in 1941, to Chicago for further important season, this one at Capitol Lounge. Next, he joined new Gene Krupa big band as features soloist.
After Krupa’s band split in 1943, became, for a time, session player with Paul Baron Orchestra at CBS (1943-44), playing Mildred Bailey radio series. Toured with Artie Shaw, again as featured soloist (1944-45) (Artie Shaw Featuring Roy Eldridge, Artie Shaw & His Orchestra, Vol 2) and Artie Shaw and His Gramercy Five). Eldridge, an always sensitive, sometimes explosive character, had to undergo various Jim Crow experiences when touring with Shaw – despite conscious efforts by the leader and his other sidemen to prevent such occurrences – which left a scar that lasts until today.
Returned to Krupa in 1949, after leading own bands, then toured Europe with Benny Goodman (1950), signed with Norman Granz as solo recording artist and to tour with Grantz’s Jazz At The Philharmonic packages. In this latter environment, both best and worst of Eldridge could be found. However, there were time when his admittedly extrovert tendencies were channeled into something more memorable and lasting (J.A.T.P. In Tokyo).
Over the over the succeeding years, he has continued to record with many of jazz’s finest players, including Dizzy Gillespie (Trumpet Kings and The Gillespie Jam Sessions) ; Ben Webster (Ben Webster & Associates/Ben Webster & Friends) ; Stan Getz (Nothing But The Blues) ; Lester Young (Prez & Teddy) ; Buddy Tate (Buddy Tate & His Buddies) ; Gene Krupa and Buddy Rich (Drum Battle) ; Oscar Peterson (Oscar Peterson & Roy Eldridge) ; Peterson & Sonny Stitt (Only The Blues/Sittin’ In) ; Bud Freeman (Chicago); and Johnny Hodges (Blues A-Plenty) . Each of these albums contains much superb Eldridge, especially those with Getz, Peterson, Stitt, Webster and the two Gillespies.
One notable failure was on-record- collaboration with Art Tatum (The Tatum Group Masterpieces) with Eldridge sounding not at all at ease, or anywhere near his best. There is a rumor that Eldridge and Tatum recorder their contributions at different times. There have been
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