Musical Impact
Eldridge's fast playing and extensive development of the instrument's upper register were heavy influences on Dizzy Gillespie, who, along with Charlie Parker, brought bebop into existence. Tracks such as "Heckler's Hop," from Eldridge's small group recordings with alto saxophonist and clarinettist Scoops Carry, in which Eldridge's use of the high register is particularly emphasized, were especially influential for Dizzy. Dizzy got the chance to engage in numerous jam sessions and "trumpet battles" with Eldridge at New York's Minton's Playhouse in the early 1940s. Referring to Eldridge, Dizzy went so far as to say: "He was the Messiah of our generation." Eldridge first heard Dizzy on bandleader Lionel Hampton's 1939 recording of "Hot Mallets," and later recalled: "I heard this trumpet solo and I thought it was me. Then I found out it was Dizzy." A careful listening to bebop standards, such as the song "Bebop", reveals how much Eldridge influenced this genre of jazz. Eldridge also claimed that he was not impressed with Dizzy's bop solo style, saying once to bebop trumpeter Howard McGhee after jamming with Dizzy at the Heat Wave club in Harlem: "I don't dig it...I really don't understand him." Although frequently touted as the bridge between Louis Armstrong and Dizzy Gillespie, Eldridge always insisted: "I was never trying to be a bridge between Armstrong and something."
In modern jazz criticism, Eldridge has become something of a litmus test for jazz trumpeters. Critic Gunther Schuller, critiquing the style of multi-instrumentalist composer-arranger Benny Carter wrote that Carter's playing is "not true trumpet playing, in the sense that Roy Eldridge's or Buck Clayton's or Harry James's is."
Other significant musicians influenced by Roy Eldridge include Shorty Sherock of the Bob Crosby Orchestra, and bebop pioneers Howard McGhee and Fats Navarro.
Read more about this topic: Roy Eldridge, Music
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