Jazz Maturity....Where It's Coming From

Performer: Roy Eldridge
Artist: Ray Brown
Engineer: Bob Simpson
Producer: Norman Granz
Distributor: Fantasy (distributor)

Notes: /Oscar Peterson/Dizzy Gillespie. Personnel: Roy Eldridge, Dizzy Gillespie (trumpet); Oscar Peterson (piano); Ray Brown (bass); Mickey Roker (drums). Recorded at RCA Recording Studios, New York, New York on June 3, 1975. Includes liner notes by Leonard Feather. Digitally remastered by Joe Tarantino (1994, Fantasy Studios, Berkeley, California). Personnel: Dizzy Gillespie (trumpet); Oscar Peterson (piano); Roy Eldridge (trumpet); Mickey Roker (drums). Liner Note Author: Leonard Feather. Recording information: RCA Recording Studios, NY, NY (06/03/1975). The 1970s were a time of renaissance for Roy Eldridge, with jazz festivals and small group recording sessions plentiful. The music produced was in itself a remarkable synthesis of Eldridge's roots and the progressive schools of bop and cool jazz. This crossbreed, modern music has as much to do with the other two musicians headlining this release, Dizzy Gillespie and Oscar Peterson. Eldridge's influence on the younger generation is evident on all the solos, especially in the revved trumpeting of Gillespie. Listening to the cool playing on "Take the A Train" and "I Cried For You," one is struck by Eldridge's legacy of speed and high notes. Gillespie and Peterson are just as influential. "Quasi-Boogaloo," a collaborative piece by all three, is chock full of bop-tinged playing and cool chord structures. Roy Eldridge shows himself to be a consummate performer; his adaptations and borrowings make this set a vibrant musical exchange of ideas.

Pittsburgh-born trumpeter Roy Eldridge, affectionately known as "Little Jazz," is one of the key figures in the evolution of jazz trumpet. He started out playing with Midwestern "territory" bands, but from the mid-1930s through the '50s, he was with some of the biggest bands in jazz (Fletcher Henderson, Gene Krupa, Benny Goodman) in addition to leading his own group. A pioneer of swing-era trumpet, he was also extremely influential to bebop pioneers such as Dizzy Gillespie and Charlie Parker, though Eldridge himself never embraced the style.

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