 | "Little Jazz" was a King of Swing-- an exciting risk-taking, competitive, high-note, swing-hard, play-long, energetic trumpet player. He paved the way for Dizzy Gillespie with his saxophone-like phrasing and chromatics, inspiring Dizzy to develop the be-bop style. He studied with older brother, Joe, a saxophonist who would encourage Royto practice from saxophone method books. Started on drums at age 6. Played fIrst gig New year's Eve, 1917, with brother Early professional experience with carnivals, played trumpet, tuba, drums; after getting stranded in Little Rock, Arkansas, he worked with Oliver Muldoon '27. returned to Pittsburg, where, for a few months, he led his own band, Roy Elliott and his Palais Royal orchestra Then worked in St. Louis before joining Horace Henderson for eight months in '28; returned to Pitts. and resumed studies with his brother Worked briefly with Zach Whyte, then with Speed Webb's band '29-30, taking over as leader in Flint, Michigan. Moved to NYC in '30 and played with several dance bands: Cecil Scott (where Otto Hardwicke dubbed him "Little Jazz"); Elmer Snowden; Charlie Johnson at Small's. Played with Teddy Hill's orchestra, then toured with Connie's Hot Chocolates revue. In '33, he once again returned to Pitts., co-led a band with his brother, then join. McKinney's Cotton Pickers in Balt., Md. '34. returned to NYC in '35, rejoining Hill at the Savoy; Eldridge and Chu Berry were now the band's principal soloists. Though he once cited Louis Armstrong, Rex Stewart, and Red Nichols as his formative influences, Eldridge drew significantly from such saxophonists as Benny Carter and Coleman Hawkins; by the mid '30s, he had developed an original style and become a vital figure in the evolution of jazz trumpet style. His first recorded solo was with Hill on a '35 date; later that year, he led his own band at the Famous Door and join. Fletcher Henderson as featured soloist, once again sharing honors with Berry. On leaving Henderson in '36, he form. an oct. to played at the Chicago club Three Deuces, where he remained through '37, except for brief absences. The group, which including Joe Eldridge as saxophonist/arranger, became widely popular through nightly broadcasts; a '38 tour including the group's debut at the Savoy, NYC. His work with Hill and Henderson and recordings by the Three Deuces group ("Heckler's Hop," "After You've Gone," etc.) deeply influenced Dizzy Gillespie's early style. Eldridge quit the music business for a few months in '38 to study radio engineering. In Oct., he resumed played as a guest with Mal Hallett's orchestra in NYC; the next month. he was back at the Famous Door with his own band, which became the house band at the Arcadia Ballroom' 39-40, played dates at the Apollo, and in residence at Kelly's Stable from Apr. to Oct. '40. By the late '30s, Eldridge was recognized as one of the Swing Era's greatest improvisers. Courted by white swing bands, he joined Gene Krupa's as featured soloist and singer fro '41 to '43, when the band broke up. Eldridge gained national prominence with Krupa, leaving a legacy that included his superb solo on "Rockin ' Chair" and '41 hit vocal duet with Anita O'Day, "Let Me Off Uptown." In '43-4, Eldridge led small groups in NYC and Chi. and worked as staff mus. with Paul Baron's orchestra at CBS in NYC and on Mildred Bai- ley's radio series. toured with Artie Shaw' 44-5, then had various bands of his own. returned to Krupa for a few months in '49, but left to join the first national JATP. He toured Europe with Benny Goodman in '50, remained in Paris, working there and toured to great acclaim in Europe as a single, also appeared with Sidney Bechet, Charlie Parker, and others. A week after his return to NYC in April' 5 I, he was leading a small band at Birdland, where he appeared regularly through the '50S. He was featured annually in Norman Granz events in the '50S and '60s, which included US and Europe tours with either JATP or smaller shows with Ella Fitzgerald and Oscar Peterson. During these years, he primarily played in small groups, devoting his playing time almost equally to Flugelhorn and trumpet. In the ' 50S and early' 60s, he frequently appeared with a quintet, co-led with Coleman Hawkins; also played many dates with clarinetist Sol Yaged and led his own small groups at the Village Vanguard, The Embers, etc. He accomppanied Ella Fitzgerald '63-5; played with Count Basie summer of '66; led own quintet with Richie Kamuca on and off '65-'70, including a long run at the Half Note, NYC, in late '69 and early '70. toured Europe with "Jazz from a Swingin' Era" '67; cont. extensive toured throughout the '70S with JATP and other Granz shows, and as a single. Took over as house leader at Jimmy Ryan's fro '70 to '80, when he suffered a severe stroke. From then on, he performed only as singer, drummer, and pianist, gradually cutting down on his activities as the decade wore on. Eldridge's style combined power, speed, wed to agility and range, harmonic awareness, a brilliant tone with a tearing edge, overall ebullience, and a highly competitive nature. The core of the great spirit he displayed on trumpet never left him. |
