7-disc CD box set from legendary trumpeter Roy Eldridge and the Verve Label. Includes his complete recordings 24-bit digitally remastered and booklet with rare photos.
Born in Pittsburgh in 1911, he began playing professionally in carnival bands and such before making a name for himself in a few Midwest regional bands. He arrived in New York in 1931, where Elmer Snowden, McKinney’s Cotton Pickers and Teddy Hill all employed him. He also backed Billie Holiday and featured with Fletcher Henderson. In the late 1930s, he was leading his own octet in Chicago with brother Joe on alto saxophone..
Roy was a trailblazer socially as well as musically; in the 1940s, he joined Gene Krupa’s band, making him the first black musician to tour with Krupa. His classic version of “Rockin’ Chair” and the always enjoyable feature “Let Me Off Uptown” with Anita O’Day are from this period. He continued to perform and record as a leader, and worked for a stint with Artie Shaw (1944-45). Later in the 1940s, he hooked up with Benny Goodman, and also with Norman Granz for a tour in Europe with Jazz at the Philharmonic. But fearing that the modernists in jazz were getting all the attention Stateside, he stayed in Europe, believing his career in America was over.
What happened next is why these Verve recordings exist.
Born in Pittsburgh in 1911, he began playing professionally in carnival bands and such before making a name for himself in a few Midwest regional bands. He arrived in New York in 1931, where Elmer Snowden, McKinney’s Cotton Pickers and Teddy Hill all employed him. He also backed Billie Holiday and featured with Fletcher Henderson. In the late 1930s, he was leading his own octet in Chicago with brother Joe on alto saxophone..
Roy was a trailblazer socially as well as musically; in the 1940s, he joined Gene Krupa’s band, making him the first black musician to tour with Krupa. His classic version of “Rockin’ Chair” and the always enjoyable feature “Let Me Off Uptown” with Anita O’Day are from this period. He continued to perform and record as a leader, and worked for a stint with Artie Shaw (1944-45). Later in the 1940s, he hooked up with Benny Goodman, and also with Norman Granz for a tour in Europe with Jazz at the Philharmonic. But fearing that the modernists in jazz were getting all the attention Stateside, he stayed in Europe, believing his career in America was over.
What happened next is why these Verve recordings exist.