Roy Eldridge Roy Eldridge -1965 – Jazz swing (vinyl)

Roy Eldridge Roy Eldridge -1965 – Jazz swing

Stock Photo Only

Label:Metro Records M-513Format:Vinyl, LP, CompilationCountry:CanadaReleased:1965Genre:JazzStyle:Swing
Sleeve Condition (Out of 10) ~8 – general wear – intact
Label Condition (Out of 10) ~ 10
Vinyl Condition ~ (Out of 10)
Side 1 -7 light scuffing only
side 2 -7 light scuffing onlyBin # *42

David Roy Eldridge (January 30, 1911 February 26, 1989), commonly known as Roy Eldridge, and nicknamed “Little Jazz”, was an Americanjazztrumpet player. His sophisticated use of harmony, including the use oftritone substitutions, his virtuosic solos exhibiting a departure from the smooth and lyrical style of earlier jazz trumpet innovatorLouis Armstrong, and his strong impact onDizzy Gillespiemark him as one of the most influential musicians of theswing eraand a precursor ofbebop.

Early life

Eldridge was born on theNorth SideofPittsburgh, Pennsylvaniaon January 30, 1911, to parents Alexander, acarpenter, and Blanche, a gifted pianist with a talent for reproducing music by ear, a trait that Eldridge claimed to have inherited from her.[1]Eldridge began playing the piano at the age of five; he claims to have been able to play coherentblueslicks at even this young age.[2]The young Eldridge looked up to his older brother, Joe Eldridge (born Joseph Eldridge, 1908,North SideofPittsburgh, Pennsylvaniadied 5 March 1952), particularly because of Joe’s diverse musical talents on the violin,alto saxophone, andclarinet.[3]Roy took up the drums at the age of six, taking lessons and playing locally.[4]Joe recognized his brother’s natural talent on thebugle, which Roy played in a local church band, and tried to convince Roy to play thevalved trumpet. When Roy began to play drums in his brother’s band, Joe soon convinced him to pick up the trumpet, but Roy made little effort to gain proficiency on the instrument at first.[5]It was not until the death of their mother, when Roy was eleven, and his father’s subsequent remarriage that Roy began practicing more rigorously, locking himself in his room for hours, and particularly honing the instrument’supper register.[6]From an early age, Roy lacked proficiency atsight-reading, a gap in his musical education that would affect him for much of his early career, but he could replicatemelodiesby ear very effectively.[

BIN # 34

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