In the wake of Louis Armstrong, three trumpeters became the voice of the swing era, namely Roy Eldridge, Harry “Sweets” Edison and Clark Terry. Respectively making their names with Gene Krupa, Count Basie and Duke Ellington, all three found their own footing in the post-Swing Era music style of Bebop and Hard Bop. Here is a collection of their albums, all essential in understanding how a trumpet is supposed to sound, albeit in three distinct voices.
Roy “Little Jazz” Eldridge is best know for his relentless ability to swing and blow with extroverted energy. He teams up with the sophisticated alto saxist and Swing Era vet Benny Carter in 1957 for a gorgeous ballad medley as well as a gracefully sublime “I Still Love Him So”. The same year he shows his chops, going toe to toe with Dizzy Gillespie and Oscar Peterson’s quartet on a boisterous “I’ve Found A New Baby” and fun “Sometimes I’m Happy”. A teaming of brass masters Eldridge, Gillespie and Harry Edison results in a mind blowing “ Tour De Force” and galloping “Steeplechase”, allowing the listener to appreciate the unique sounds and stylings of each master. And speaking of masters, Eldridge reunites with Fletcher Henderson alumnus Coleman Hawkins on the tenor and Jo Jones’ drumming for a festive “Sweet Georgia Brown” and bel canto “Embraceable You”. From the same year 1958, Eldridge is on tenor giant Lester Young’s last album for an emotive “They Can’t Take That Away From Me” and lovely ballad “Gypsy In My Soul”. Eldridge goes in quartet fashion, even delving into samba tones on “Bossa Nova” as well as sleek swingers like “Sweet Sue, Just You”. Eldridge was always up for a gig, and the last two albums team him up with vet friend Coleman Hawkins, bopping through “Bean Stalkin” and bouncing through “Tea For Two” at the Opera House in 1961, and bringing in Ellingtonian Johnny Hodges on alto for a mix of Ducal tunes like “Perdido” and “Caravan”. Swing that music!
Harry “Sweets” Edison, after leaving Basie, lived the life of a studio stud, appearing on albums by Frank Sinatra and Ella Fitzgerald. His patented tone and sparse style fit in well to the modern jazz milieu. He teamed up with Buddy Rich in 1955 in a small group session along with Barney Kessel/g and Jimmy Rowles/p for steady beats on “Easy Does It “ and “All Sweets”. A classic ’56 session with big toned tenorist Ben Webster results in Basie-ish pieces like “Opus 711” and “Hollering at the Watkins”, as well as a ’57 encounter emphasizing the blues with “Gee Baby, Ain’t I Good To You” and “Blues for the Blues”, while a 1962 reunion with Hank Jones/p and George Duvivier produce the aria “ My Romance” and gracefully pulsed “Did You Call Her Today”. Speaking of tenorists, Sweets meets with Lester Young and Oscar Peterson’s quartet with the velvety horns palpably soft on “Love Is Here To Stay” and mellifluous on “Sunday”. A brilliant choice of meeting with smoky toned tenor man Jimmy Forrest results in Kansas City groove fest with Edison turning out the lights on “Pussy Willow” and “Nasty” as well as a delightful “Candy” and Basie classic “Jive At Five”. Last but not least is the addition of baritoned vocalist from the Basie years Joe Williams joining in the festivities for a joyful collection including “Aren’t You Glad You’re You” and “I don’t Know Why”. If this stuff doesn’t’ get you moving, have your blood pressure taken!
Clark Terry has the distinction of being a member of both Count Basie and Duke Ellington, with Miles Davis being highly influenced by the classy brass player. Terry adapted best of all to the new sounds of modern jazz, bringing in his flugelhorn together with boppers Yusef Lateef/sx, Jimmy Knepper/tb, and Tommy Flanagan/p for sublime pieces like “Blue Waltz” and “No Problem”. The same year of 1961 teams him with Junior Mance/p and Charlie Persip in a classy quartet setting for a piece by Brahms in ”Lullaby” as well as the Terry’s own lovely “Michelle”. IN 1962, Terry puts together a couple of clever albums, one dedicated to the US with Ed Shaughnessy/dr, Bud Johnson/ts, Ed Costa/p-vib and George Barrow/brass on the creative “What A Country” and “The Fight Song”. Terry’s joining with tenor pioneer Coleman Hawkins results in the electric “Freedin’ The Been” and joyful “ Don’t Worry About Me”. A memorial concert for the recently deceased Eddie Costa has Terry with Dick Hyman/p, Art Davis/b and Osie Johnson/dr for celebratory takes of “Thing’s Ain’t What They Used To Be” and “I’m Confessin’ That I Love You” with Coleman Hawkins. Clark is next found on Kai Winding’s “modern” album in 1963 with guitarist Kenny Burrell with arrangements by Claus Ogerman on velvety pieces dedicated to surfers, with pieces like “Tube Wall” and “Pipeline”. Terry is also a sideman on vibist Gary Burton’s creative encounter with tenorist Sonny Rollins, on the fascinatingly free rides of “Hello, Young Lovers” and “Gentle Wind and Falling Star”. Terry in 1963 features the music from an Ervin Drake Broadway show with boppers like Phil Woods/fl-as and Mel Lewis/dr for a swinging “Humble” and bossa nova’d “Maybe Some Other Time”. Terry closes up the year with a fun album including Bobby Lucas/ts-harm, Sheldon Po well/sax-fl, Ray Bryant/p and Major Holley/b on timeless takes of “Georgia On My Mind” and “Misty”. A horn made for the ages.