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Retro Revolution Records

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

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

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Roy Eldridge ‎– Roy Eldridge -1965 - Jazz swing

Stock Photo Only

Label:Metro Records ‎– M-513
Format:Vinyl, LP, Compilation 

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 l ight scuffing only
Bin # *42

David Roy Eldridge (January 30, 1911 – February 26, 1989), commonly known as Roy Eldridge, and nicknamed "Little Jazz", was an American jazz trumpet player. His sophisticated use of harmony, including the use of tritone substitutions, his virtuosic solos exhibiting a departure from the smooth and lyrical style of earlier jazz trumpet innovatorLouis Armstrong, and his strong impact on Dizzy Gillespie mark him as one of the most influential musicians of the swing era and a precursor of bebop.

Early life

Eldridge was born on the North Side of Pittsburgh, Pennsylvania on January 30, 1911, to parents Alexander, a carpenter, 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 coherent blues licks at even this young age.[2] The young Eldridge looked up to his older brother, Joe Eldridge (born Joseph Eldridge, 1908, North Side of Pittsburgh, Pennsylvania died 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 the bugle, 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's upper register.[6] From an early age, Roy lacked proficiency at sight-reading, a gap in his musical education that would affect him for much of his early career, but he could replicate melodies by ear very effectively.[

BIN # 34

A1 When It's Sleepy Time Down South
A2 When I Grow Too Old To Dream
A3 Sweet Lorraine
A4 The Moon Is Low
A5 Ja-Da
B1 I'm Through With Love
B2 Don't Blame Me
B3 Blue Moon
B4 (What Did I Do, To Be So) Black And Blue
B5 Bugle Call Rag
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