Review
by Ronnie D. Lankford, Jr.
If a listener picks up a 50-minute jazz album that only contains four songs, he or she will rest assured that the musicians really get a chance to stretch things out. In the case of Decidedly, featuring tested players like trumpeter Roy Eldridge, guitarist Joe Pass, tenor Johnny Griffin, and pianist Ray Bryant, this is a good thing. Recorded live in 1975 in Antibes, France, before an appreciative audience, the material is being issued for the first time in 2002. The group kicks off with an Eldridge original, "Bee's Bloos," and settles into a relaxed groove for the rest of the show. A 16-minute take of "Lover Man (Oh, Where Can You Be?)" follows, with lengthy, soulful solos handed in by everyone. Bassist Niels-Henning Orsted Pedersen and drummer Louis Bellson offer tasteful underpinning along with a little muscle on "Undecided." The disc closes out with an appearance by Milt Jackson on piano for Thelonious Monk's "Hackensack." It will perhaps seem odd that this swinging set, performed in France while the fusion movement was sweeping the states, will probably have a more receptive audience today than it would have had over 25 years ago. But history, and good taste, are never predictable. Decidedly is a lovely live disc, and will be appreciated by fans of any of the participants.
Biography
by Scott Yanow
One of the most exciting trumpeters to emerge during the swing era, Roy Eldridge's combative approach, chance-taking style and strong musicianship were an inspiration (and an influence) to the next musical generation, most notably Dizzy Gillespie. Although he sometimes pushed himself farther than he could go, Eldridge never played a dull solo.
Roy Eldridge started out playing trumpet and drums in carnival and circus bands. With the Nighthawk Syncopators he received a bit of attention by playing a note-for-note re-creation of Coleman Hawkins' tenor solo on "The Stampede." Inspired by the dynamic playing of Jabbo Smith (Eldridge would not discover Louis Armstrong for a few years), Eldridge played with some territory bands including Zack Whyte and Speed Webb and in New York (where he arrive in 1931) he worked with Elmer Snowden (who nicknamed him "Little Jazz"), McKinney's Cotton Pickers, and most importantly Teddy Hill (1935). Eldridge's recorded solos with Hill, backing Billie Holiday and with Fletcher Henderson (including his 1936 hit "Christopher Columbus") gained a great deal of attention. In 1937 he appeared with his octet (which included brother Joe on alto) at the Three Deuces Club in Chicago and recorded some outstanding selections as a leader including "Heckler's Hop" and "Wabash Stomp." By 1939 Eldridge had a larger group playing at the Arcadia Ballroom in New York. With the decline of Bunny Berigan and the increasing predictability of Louis Armstrong, Eldridge was arguably the top trumpeter in jazz during this era.
During 1941-1942 Eldridge sparked Gene Krupa's Orchestra, recording classic versions of "Rockin' Chair" and "After You've Gone" and interacting with Anita O'Day on "Let Me Off Uptown." The difficulties of traveling with a White band during a racist period hurt him, as did some of the incidents that occurred during his stay with Artie Shaw (1944-1945) but the music during both stints was quite memorable. Eldridge can be seen in several "soundies" (short promotional film devoted to single songs) of this era by the Krupa band, often in association with O'Day, including "Let Me Off Uptown" and "Thanks for the Boogie Ride." He is also very prominent in the band's appearance in Howard Hawks' Ball of Fire, in an extended performance of "Drum Boogie" mimed by Barbara Stanwyck, taking a long trumpet solo -- the clip was filmed soon after Eldridge joined the band in late April of 1941, and "Drum Boogie" was a song that Eldridge co-wrote with Krupa.
Eldridge had a short-lived big band of his own, toured with Jazz at the Philharmonic, and then had a bit of an identity crisis when he realized that his playing was not as modern as the beboppers. A successful stay in France during 1950-1951 restored his confidence when he realized that being original was more important than being up-to-date. Eldridge recorded steadily for Norman Granz in the '50s, was one of the stars of JATP (where he battled Charlie Shavers and Dizzy Gillespie), and by 1956, was often teamed with Coleman Hawkins in a quintet; their 1957 appearance at Newport was quite memorable. The '60s were tougher as recording opportunities and work became rarer. Eldridge had brief and unhappy stints with Count Basie's Orchestra and Ella Fitzgerald (feeling unnecessary in both contexts) but was leading his own group by the end of the decade. He spent much of the '70s playing regularly at Ryan's and recording for Pablo and, although his range had shrunk a bit, Eldridge's competitive spirit was still very much intact. Only a serious stroke in 1980 was able to halt his horn. Roy Eldridge recorded throughout his career for virtually every label.
https://www.allmusic.com/artist/roy-eldridge-mn0000346637/biography
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Reseña
por Ronnie D. Lankford, Jr.
Si un oyente elige un álbum de jazz de 50 minutos que sólo contiene cuatro canciones, tendrá la seguridad de que los músicos realmente tienen la oportunidad de estirar las cosas. En el caso de Decidedly, en el que participan músicos tan experimentados como el trompetista Roy Eldridge, el guitarrista Joe Pass, el tenor Johnny Griffin y el pianista Ray Bryant, esto es algo positivo. Grabado en directo en 1975 en Antibes (Francia) ante un público entregado, el material se publica por primera vez en 2002. El grupo comienza con un tema original de Eldridge, "Bee's Bloos", y se instala en un ritmo relajado durante el resto del concierto. Le sigue una versión de 16 minutos de "Lover Man (Oh, Where Can You Be?)", con largos y conmovedores solos a cargo de todos. El bajista Niels-Henning Orsted Pedersen y el batería Louis Bellson ofrecen un buen apoyo junto con un poco de músculo en "Undecided". El disco se cierra con una aparición de Milt Jackson al piano para "Hackensack" de Thelonious Monk. Quizás resulte extraño que este conjunto de swing, interpretado en Francia mientras el movimiento de fusión arrasaba en los Estados Unidos, tenga probablemente un público más receptivo hoy que hace más de 25 años. Pero la historia, y el buen gusto, nunca son predecibles. Decididamente es un precioso disco en directo, y será apreciado por los fans de cualquiera de los participantes.
Biografía
por Scott Yanow
Roy Eldridge, uno de los trompetistas más excitantes que surgieron en la era del swing, su enfoque combativo, su estilo arriesgado y su sólida musicalidad fueron una inspiración (y una influencia) para la siguiente generación musical, sobre todo para Dizzy Gillespie. Aunque a veces se esforzaba más de la cuenta, Eldridge nunca tocaba un solo aburrido.
Roy Eldridge empezó tocando la trompeta y la batería en bandas de carnaval y circo. Con los Nighthawk Syncopators llamó un poco la atención al tocar una recreación nota por nota del solo de tenor de Coleman Hawkins en "The Stampede". Inspirado por la dinámica forma de tocar de Jabbo Smith (Eldridge no descubriría a Louis Armstrong hasta pasados unos años), Eldridge tocó con algunas bandas territoriales como Zack Whyte y Speed Webb y en Nueva York (donde llegó en 1931) trabajó con Elmer Snowden (que le apodó "Little Jazz"), McKinney's Cotton Pickers y, sobre todo, con Teddy Hill (1935). Los solos grabados de Eldridge con Hill, acompañando a Billie Holiday y con Fletcher Henderson (incluyendo su éxito de 1936 "Christopher Columbus") ganaron mucha atención. En 1937 apareció con su octeto (que incluía a su hermano Joe como contralto) en el Three Deuces Club de Chicago y grabó algunas selecciones destacadas como líder, incluyendo "Heckler's Hop" y "Wabash Stomp". En 1939 Eldridge tenía un grupo más grande que tocaba en el Arcadia Ballroom de Nueva York. Con el declive de Bunny Berigan y la creciente previsibilidad de Louis Armstrong, Eldridge era posiblemente el mejor trompetista de jazz durante esta época.
Durante 1941-1942 Eldridge fue el chispazo de la Orquesta de Gene Krupa, grabando versiones clásicas de "Rockin' Chair" y "After You've Gone" e interactuando con Anita O'Day en "Let Me Off Uptown". Las dificultades de viajar con una banda de blancos durante una época racista le perjudicaron, al igual que algunos de los incidentes ocurridos durante su estancia con Artie Shaw (1944-1945), pero la música durante ambas etapas fue bastante memorable. Se puede ver a Eldridge en varios "soundies" (cortos promocionales dedicados a canciones sueltas) de esta época de la banda de Krupa, a menudo en asociación con O'Day, incluyendo "Let Me Off Uptown" y "Thanks for the Boogie Ride". También es muy prominente en la aparición de la banda en Ball of Fire de Howard Hawks, en una actuación extendida de "Drum Boogie" imitada por Barbara Stanwyck, tomando un largo solo de trompeta -- el clip fue filmado poco después de que Eldridge se uniera a la banda a finales de abril de 1941, y "Drum Boogie" era una canción que Eldridge co-escribió con Krupa.
Eldridge tuvo su propia big band de corta duración, salió de gira con Jazz at the Philharmonic y luego tuvo una pequeña crisis de identidad cuando se dio cuenta de que su forma de tocar no era tan moderna como la de los beboppers. Una exitosa estancia en Francia durante 1950-1951 le devolvió la confianza al darse cuenta de que ser original era más importante que estar a la última. Eldridge grabó con regularidad para Norman Granz en los años 50, fue una de las estrellas de JATP (donde se enfrentó a Charlie Shavers y Dizzy Gillespie) y, en 1956, a menudo formaba equipo con Coleman Hawkins en un quinteto; su aparición en Newport en 1957 fue bastante memorable. Los años 60 fueron más duros, ya que las oportunidades de grabación y el trabajo eran cada vez más escasos. Eldridge tuvo breves e infelices temporadas con la orquesta de Count Basie y Ella Fitzgerald (sintiéndose innecesario en ambos contextos), pero a finales de la década ya dirigía su propio grupo. Pasó gran parte de los años 70 tocando regularmente en Ryan's y grabando para Pablo y, aunque su rango se había reducido un poco, el espíritu competitivo de Eldridge seguía intacto. Sólo un grave derrame cerebral en 1980 pudo detener su trompa. Roy Eldridge grabó a lo largo de su carrera para prácticamente todos los sellos.
https://www.allmusic.com/artist/roy-eldridge-mn0000346637/biography
1 - Bee's Bloos 9:51
2 - Lover Man (Oh, Where Can You Be) 16:36
3 - Undecided 11:33
4 - Hackensack 15:10
Credits:
Art Direction – Jamie Putnam
Bass – Niels-Henning Ørsted Pedersen
Design – Gilles Margerin
Drums – Louis Bellson
Edited By – Angel Balestier
Guitar – Joe Pass (tracks: 1, 2, 4)
Mastered By – Kirk Felton
Photography By – Jan Persson (4)
Piano – Milt Jackson (tracks: 4), Ray Bryant
Producer – Norman Granz
Reissue Producer [CD Production] – Eric Miller (6)
Tenor Saxophone – Johnny Griffin
Transferred By [Digital Transfers] – Dave Luke*
Trumpet – Roy Eldridge
Previously unreleased live session recorded in Antibes, France: July 20, 1975
Label: Pablo Records – PACD-5314-2
Country: US
Released: 2002
Genre: Jazz
https://www.discogs.com/release/8284727-Roy-Eldridge-Decidedly
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