It is June 1950. Roy "Little Jazz" Eldridge is in Paris, making records with a small band of younger musicians. Easily adapting to rapidly evolving styles in music, the trumpeter eases himself into a steadily developing tide of modernity. The music forms a wonderful and comparatively elegant sequel to his rip-snorting big-band recordings of the 1940s. It is a pleasure to hear young tenor saxophonist Zoot Sims relaxing with Eldridge, and the pianist is 23-year-old Dick Hyman, already a strikingly facile and inventive ...
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It is June 1950. Roy "Little Jazz" Eldridge is in Paris, making records with a small band of younger musicians. Easily adapting to rapidly evolving styles in music, the trumpeter eases himself into a steadily developing tide of modernity. The music forms a wonderful and comparatively elegant sequel to his rip-snorting big-band recordings of the 1940s. It is a pleasure to hear young tenor saxophonist Zoot Sims relaxing with Eldridge, and the pianist is 23-year-old Dick Hyman, already a strikingly facile and inventive performer. Pierre Michelot and Eddie Shaughnessy form the rest of the rhythm section in this tight little group. Continuing his personal tradition of great ballad interpretations, Eldridge delivers "Wrap Your Troubles in Dreams" with an open horn. "King David," "Undecided," and "The Man I Love" are each cooked at brisk velocities. Anita Love joins with Eldridge in energetic scat singing throughout Duke Ellington's "It Don't Mean a Thing." Yet the very funny, effortlessly hip, and decidedly cool "Ain't No Flies On Me" allows the two singers to relax and interact more deliciously than ever. The next session in the Eldridge chronology scales the band down to a quartet, with Gerald Wiggins, Pierre Michelot, and the great Kenny "Klook" Clarke. Eldridge ambles through Irving Berlin's "Easter Parade" -- which sounds a bit like "Put On Your Old Grey Bonnet" -- and renders up two more gorgeous ballads. "Goliath Bounce" is a smooth walk and "Wild Driver" a rolling boil, but the hottest number from this date, simply titled "Nuts," opens with a sort of Caribbean brushfire percussion maneuver by Clarke. As the tune unfolds its many intricate bop ideas, Clarke rides his cymbals most excitingly. The session of October 28, 1950, touched upon a wide range of styles and moods. "I Remember Harlem" is a deep study in reflective blue impressions, chamber jazz with bowed bass and haunted horn. Fats Waller's sobering "Black and Blue" gets a slight adjustment in the lyric, "Baby, Don't Do Me Like that" is more or less patterned after Louis Jordan's R&B act, and "L'Isle Adam" is a burner for muted trumpet on the fast track. Eldridge also sang two of his original songs with French lyrics, including a cheerful ode to lettuce and mayonnaise. The great surprise in this package is the inclusion of three long-forgotten piano solos from the same session. "Boogie Eldridge" is the veritable spark plug, as our man growls and even howls while massaging the keys. The last two tracks find Eldridge in Stockholm, sitting in with musicians well schooled in every style of jazz and popular music of the day. Duke Ellington's "Echoes of Harlem" is deep and ominous, while "School Days" plays off of the novelty antics of Joe Carroll and Dizzy Gillespie. ~ arwulf arwulf, Rovi
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Add this copy of 1950-1951 to cart. $12.71, very good condition, Sold by Books From California rated 4.0 out of 5 stars, ships from Simi Valley, CA, UNITED STATES, published 2002 by Classics.
Add this copy of 1950-1951 to cart. $13.62, very good condition, Sold by Books From California rated 4.0 out of 5 stars, ships from Simi Valley, CA, UNITED STATES, published 2003 by Classics.
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