别名：David Roy Eldridge 国籍：美国 出生地：宾夕法尼亚州匹兹堡 职业：小号手、音乐家 名称：Roy Eldridge 风格：爵士乐、摇摆乐、大乐队 简介：by Scott Yanow One of the most exciting trumpeters to emerge during the swing era, Roy Eldridges combative approach, chancetaking 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 recreation 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), Roy 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), McKinneys Cotton Pickers and most importantly Teddy Hill (1935). Eldridges 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 Hecklers Hop and Wabash Stomp. By 1939 Roy 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 trumepter in jazz during this era. During 1941-42 Eldridge sparked Gene Krupas Orchestra, recording classic versions of Rockin Chair and After Youve Gone and interacting with Anita ODay on Let Me Off Uptown. The difficulties of travelling with a White band during a racist period hurt him as did some of the incidents that occurred during his stay with Artie Shaw (1944-45) 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 ODay, including Let Me Off Uptown and Thanks for the Boogie Ride. He is also very prominent in the bands 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 1950-51 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 1950s, 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 1960s were tougher as recording opportunities and work became rarer. Eldridge had brief and unhappy stints with Count Basies 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 1970s playing regularly at Ryans and recording for Pablo and, although his range had shrunk a bit, Eldridges 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. 从艺历程：埃尔德里奇的音乐之旅始于中西部，他早年在多个乐队中担任指挥与演奏，深受萨克斯大师本尼·卡特与科尔曼·霍金斯的影响，特别是霍金斯在《The Stampede》中的独奏，激发了他独特的小号风格。 年少的埃尔德里奇因故离校，16岁便踏上巡回演出之路，但旅程未久便遇挫折，滞留俄亥俄。随后，他虽短暂加入“大希斯利狂欢节”，却因目睹种族歧视而返回家乡匹兹堡。在匹兹堡，他迅速在“摇滚黛娜”巡演中崭露头角，其才华令康特·贝西赞叹为“一生所遇最杰出的小号手”。 20岁时，埃尔德里奇在匹兹堡组建了自己的乐队“罗伊·埃利奥特和他的皇宫管弦乐团”，但经纪人出于商业考量更改了他的艺名。不久后，他离开该乐队，成功加入弗莱彻·亨德森之弟霍勒斯指挥的乐团，进一步拓展音乐视野。 随后，埃尔德里奇的足迹遍布多地，从底特律到斯皮德·韦伯的乐队，他凭借才华赢得一席之地。然而，韦伯乐队的内部矛盾促使成员另起炉灶，埃尔德里奇被推举为新乐队的领队，但这段经历并未长久。最终，他定居密尔沃基，在那里不仅参与了著名的剪弦比赛，还结识了挚友——小号手克莱迪斯·“贾博”·史密斯，继续书写他的音乐传奇。