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Roy Eldridge Bio/Disco


Roy would always try to imitate Rex's sound and style every time he played. Rex was Roy's first big influence. During the ninth grade, Roy quit school. He joined the Greater Sheesly Show Band, a traveling band for a circus. He was one of the best, but the youngest trumpet player so he was forced to play tuba. .
             The thing that would stick out most about Roy was the players he looked up to and tried to learn from. Although he played the trumpet, his idols were almost all alto-saxophone players. Roy didn't like the way trumpet players, in general, improvised. Which he considered they would sit on high notes and not play any rhythm. Instead he idolized the alto players: long running scales. "I resolved to play my trumpet like a sax"( Chilton pg. 12) Roy was also one of the first trumpet players that began soloing in the high registers. .
             In the late 1920's, Roy played with many mid-west bands. Roy hit it big in the 1930's when he moved to New York City. He joined many good jazz ensembles, including ones led by clarinetist Cecil Scott, pianist Charlie Johnson, saxophonist Teddie Hill, and Fletcher Henderson. He earned the nickname "Little Jazz" from Otto Hardwick, a sax player with the Duke Ellington Orchestra. In 1936 Roy married Viola Lee Fong, and he moved to Chicago. While he was there, he took up residency at the Three Deuces Club. Eldridge came to lead many of the bands there. On of these bands would radio broadcast five nights a week. In 1938, Roy left Chicago, because of "mafia pressure". He would say "once you started working for them, and in their clubs, you would never get out, and would play there for the rest of your life."( Chilton pg. 65) In the 1940's, he was one of the first black musicians to gain a permanent seat in two white bands. Although this represented progress, Roy left these bands in 1944 after he would not be allowed in the concert hall where he was a featured soloist because of his skin color.


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