On occasion I will simply draw your attention to some of my favorite moments in recorded jazz. Trumpeter Roy Eldridge is probably most identified with fast, exciting showpieces such as his several versions of “After You’ve Gone.” And those are indeed amazing. But he also had daring things to say on slower pieces, what jazz people call “ballads.” (In folk music, a ballad is a long song that tells a tale, but in jazz, any slow song is a “ballad.”) “Rockin’ Chair” is his best-known ballad feature.
My dear friend Benny Carter recorded a wonderful trumpet version of I Surrender Dear with his big band. When we both went to a Jack Sheldon Big Band gig at the old Catalina’s in Los Angeles, Jack fell to his knees, kissed Benny’s shoes and exclaimed ‘I Surrender Dear, Benny Carter, greatest solo performance ever!’ Benny didn’t know where to hide himself!
I do wonder if the particular way in which Roy Eldridge ‘doubles up’ may have influenced how Charlie Parker would do so on slow numbers. Parker’s mentor Buster Smith was known for doubling up, so he almost certainly influenced Bird in that regard. But I don’ think one can listen to early recordings of Bird (the Wichita broadcasts with McShann, the tracks with Effergee Ware) and not hear an affinity between Bird’s doubling up and Eldridge’s on this track (1:43-1:51, 2:24-2:30). And we know that Parker was no stranger to Roy’s style, as he quotes Roy’s transition to the bridge of Body & Soul (Commodore 1502 B) in his own Body & Soul solo with McShann! Granted, Roy’s solo on that 1938 recording with Chu Berry has the rhythm section playing double time as well, hence he isn’t doubling up in that particular instance.
Ultimately, Bird in his maturity had his own thing; he does not sound like Eldridge on slow numbers. But as a younger musician he does, at least a little to my ears, leading me to wonder if Eldridge’s example was important to a young Parker as he formulated his own approach to playing ballads.
Perhaps I’m leaning a bit towards speculation, but I nonetheless find it interesting to think about how Roy Eldridge might’ve influenced musicians other than trumpet players. Thanks for a great post, Lewis!
My dear friend Benny Carter recorded a wonderful trumpet version of I Surrender Dear with his big band. When we both went to a Jack Sheldon Big Band gig at the old Catalina’s in Los Angeles, Jack fell to his knees, kissed Benny’s shoes and exclaimed ‘I Surrender Dear, Benny Carter, greatest solo performance ever!’ Benny didn’t know where to hide himself!
Thank you, Lewis.
Roy also seemed to fall in love with Billie Holiday in those days.
Incredible solo. And what a sound!
I do wonder if the particular way in which Roy Eldridge ‘doubles up’ may have influenced how Charlie Parker would do so on slow numbers. Parker’s mentor Buster Smith was known for doubling up, so he almost certainly influenced Bird in that regard. But I don’ think one can listen to early recordings of Bird (the Wichita broadcasts with McShann, the tracks with Effergee Ware) and not hear an affinity between Bird’s doubling up and Eldridge’s on this track (1:43-1:51, 2:24-2:30). And we know that Parker was no stranger to Roy’s style, as he quotes Roy’s transition to the bridge of Body & Soul (Commodore 1502 B) in his own Body & Soul solo with McShann! Granted, Roy’s solo on that 1938 recording with Chu Berry has the rhythm section playing double time as well, hence he isn’t doubling up in that particular instance.
Ultimately, Bird in his maturity had his own thing; he does not sound like Eldridge on slow numbers. But as a younger musician he does, at least a little to my ears, leading me to wonder if Eldridge’s example was important to a young Parker as he formulated his own approach to playing ballads.
Perhaps I’m leaning a bit towards speculation, but I nonetheless find it interesting to think about how Roy Eldridge might’ve influenced musicians other than trumpet players. Thanks for a great post, Lewis!