Roy Eldridge: Little Jazz

Most jazz critics consider Roy "Little Jazz" Eldridge the successor of Louis Armstrong in the evolution of jazz trumpet players. Armstrong is almost universally considered the greatest jazz trumpeter in history; however, Eldridge is viewed as the musician who took the hot New Orleans style of Armstrong and turned it into something new.

Eldridge was notable for his rough and speedy technique, particularly when playing high notes on the trumpet. A now almost forgotten trumpeter, Jabbo Smith, who rivalled the virtuosity of Armstrong in the late twenties, was a huge influence on Eldridge, as was Armstrong.

In terms of jazz cornet/trumpet greatness, the progression is loosely as follows: Buddy Bolden-Freddie Keppard, Oliver-Louis Armstrong-Roy Eldridge-Dizzy Gillespie-Miles Davis-Clifford Brown.

Eldridge was born to a musical family in Pittsburgh, Pennsylvania, in 1911. As a child, Eldridge became a drummer in the band of his brother, Joe, before his brother convinced him to pick up the trumpet. By the age of 20, he had started his own band in Pittsburgh and then left that band to join the band of Horace Henderson, brother of the great New York bandleader, Fletcher Henderson. Shortly thereafter, in 1930, Eldridge moved to New York City.

In New York, Eldridge found work with a number of dance bands, and by 1935, as a member of the Teddy Hill Orchestra, Eldridge made his first recordings. Eldridge would eventually land a gig with the Fletcher Henderson Orchestra from 1935 to 1936, becoming Henderson’s star soloist by lending his hot solos to the Henderson classics, “Christopher Columbus” and “Blue Lou.”

Eldridge later moved on to work with white bands led by Gene Kroupa, and later, Artie Shaw. The presence of an African-American musician in a white band was a rarity in the segregated America of the 1930s. In the post-war era, Eldridge became one of the leading musicians who toured under the banner of “Jazz at the Philharmonic.” He also freelanced with the bands of Count Basie, Ella Fitzgerald, and Benny Goodman.

Eldridge’s best recordings include "Drummer Man" (1956) with Gene Krupa, “Rockin' Chair” (1956), "Little Jazz Giant" (1989), and a number of compilations dedicated to his music. Eldridge died in 1989.

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