1-1 Blue Lou 	9:50 	
1-2 Basin Street Blues 	7:20 	
1-3 Just You, Just Me 	7:18 	
1-4 Rifftide 	7:33 	
1-5 Ballad Medley 	10:27 	
   a) I Can't Get Started 		
   b) These Foolish Things 		
1-6 Undecided 	7:06 	
1-7 Honeysuckle Rose 	10:45 	
1-8 Oh Lady Be Good 	7:27 	
1-9 How High The Moon / Ornithology 	7:24

Musicians:
Coleman Hawkins – tenor sax
Roy Eldridge – trumpet
Robert Decker – bass
Don Wilson - piano
Buddy Dean – drums

In the late '50s trumpeter Roy Eldridge and tenor-saxophonist Coleman Hawkins teamed up on a fairly regular basis. Since they always brought out the best in each other (their solos could be quite competitive and fiery), all of their joint recordings are recommended. Two LPs from their gig at Washington D.C.'s Bayou Club in 1959 were previously released on the Honeysuckle Rose label. Five of those selections plus four previously unissued cuts are included on this Stash CD. Most of the tunes are medium-tempo jams such as "Just You, Just Me," "Rifftide," and "How High the Moon," but there is also an excellent ballad medley. Backed by a local rhythm section, Eldridge and Hawk are both in superior form, making this a highly recommended disc even for those listeners who already have the earlier LPs. ---Scott Yanow, Rovi

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1.Little Jazz
2.Mahogany Hall Stomp
3.Body and Soul
4.Arcadia Shuffle
5.St. Louis Blues
6.Swinging at the Deuces
7.The Gasser (Sweet Georgia Brown)
8.Yellow Fire
9.Shine
10.Minor Jive
11.Woodchopper's Ball
12.Heckler's Hop
13.Sam, Sam the Vegetable Man
14.Oh, Lady Be Good
15.Roy's Riffin' Now
16.King of Bongo Bong
17.Pluckin' the Bass/Little Jazz

Personnel:
Roy Eldridge (trumpet, vocals on 5 & 16)
Robert Williams (trumpet)
Eli Robinson (trombone)
Joe Eldridge (alto sax)
Prince Robinson (tenor sax, clarinet)
Franz Jackson (tenor sax)
Clyde Hart (piano)
John Collins (guitar)
Ted Sturgis (bass)
Panama Francis (drums)
Laurel Watson (vocal on 13)

After Roy Eldridge's lengthy stay at the Three Deuces Club in Chicago, he next set up shop at the Arcadia Ballroom in New York. Louis Armstrong had been the undisputed King of jazz trumpet over the past decade, but by now nobody could touch Little Jazz. He pays homage to his idol but is also doing things that no other trumpet player had ever attempted. These broadcast transcriptions, taken from four nights between August 5th and September 9th, were recorded on acetate discs so there are some rather abrupt beginnings and endings along with the usual surface noise.

On this LP the great swing trumpeter Roy Eldridge is heard leading his ten-piece group at New York's Arcadia Ballroom. These radio broadcasts were somewhat primitively recorded but the excitement of Eldridge's playing shines through. Although this particular band did record eight titles later in the year, most of the music on this set (including "Little Jazz," "Mahogany Hall Stomp," "Shine," "Woodchopper's Ball" and "Lady Be Good") was not recorded by the trumpeter during the era. This album is worth searching for by swing collectors. --Scott Yanow, Rovi

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1 	Bee's Bloos 	9:51
2 	Lover Man (Oh, Where Can You Be) 	16:36
3 	Undecided 	11:33
4 	Hackensack 	15:10

Bass – Niels-Henning Ørsted Pedersen
Drums – Louis Bellson
Guitar – Joe Pass (tracks: 1, 2, 4)
Piano – Milt Jackson (tracks: 4), Ray Bryant
Tenor Saxophone – Johnny Griffin
Trumpet – Roy Eldridge 

If a listener picks up a 50-minute jazz album that only contains four songs, he or she will rest assured that the musicians really get a chance to stretch things out. In the case of Decidedly, featuring tested players like trumpeter Roy Eldridge, guitarist Joe Pass, tenor Johnny Griffin, and pianist Ray Bryant, this is a good thing. Recorded live in 1975 in Antibes, France, before an appreciative audience, the material is being issued for the first time in 2002. The group kicks off with an Eldridge original, "Bee's Bloos," and settles into a relaxed groove for the rest of the show. A 16-minute take of "Lover Man (Oh, Where Can You Be?)" follows, with lengthy, soulful solos handed in by everyone. Bassist Niels-Henning Orsted Pedersen and drummer Louis Bellson offer tasteful underpinning along with a little muscle on "Undecided." The disc closes out with an appearance by Milt Jackson on piano for Thelonious Monk's "Hackensack." It will perhaps seem odd that this swinging set, performed in France while the fusion movement was sweeping the states, will probably have a more receptive audience today than it would have had over 25 years ago. But history, and good taste, are never predictable. Decidedly is a lovely live disc, and will be appreciated by fans of any of the participants. ---Ronnie D. Lankford, Jr., AllMusic Review

Norman Granz, legendary label impresario and concert organizer, had his own niche in the Seventies. Take an aging, but estimable swing star; match him with a band built on the talents of younger players; incite some sparks through friendly rivalries both manufactured and genuine; apply some promotional spin and watch the greenbacks roll in. Such was presumably the case with this until now unreleased concert recording financed and produced by Granz for a French audience under the auspices of his JATP promotional juggernaut. To be fair, Eldridge was more than deserving of the applause and adulation even though his chops on the date don’t seem to match the bountiful brio of his youthful years. His carefully chosen partners recognize his commanding stature and embrace his congenially combative nature in a manner that both inspires and challenges him.

Four lengthy and diversely drawn tracks make up the songbook and each appears custom arranged for maximum blowing potential. Griffin steals the spotlight on the opening Eldridge original “Bees Bloos” following the leader with a solo that is at once rough-hewn, and highly flammable through its alacrity and speed. Eldridge eases into the more stately “Lover Man” muted and a shade tentative, but the blues oozes through, coating the supporting efforts of his partners in a cerulean satin sheen. Pass’s gossamer chords float in the sonic space around Griffin’s more incessant thematic variations and Bellson’s brushes further advance the relaxed mood. The guitarist’s later solo proves conclusively why the signifier of ‘virtuoso’ was so often attached to his name and the same can easily be said for Pedersen’s turn, where the bassist make four strings sing with choir-size depth and resonance. Despite its temporal breadth the tune rolls out smooth as silk and each minute seems packed with the right measure of invention and interplay. Monk’s somewhat obscure “Hackensack” offers an unusual closer considering Eldridge’s credentials, but Griffin’s presence in the quintet serves as an arguable explanation. Also surprising is the guest appearance of Milt Jackson who contributes a minimalist piano solo on the track for added color. ---Derek Taylor, allaboutjazz.com

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1. Wrap up your troubles in dreams
2. R and R
3. Me and You
4. Body and soul
5. Embraceable you
6. Saturday Night Fish Fry

Roy Eldridge, in full David Roy Eldridge, byname Little Jazz (born January 30, 1911, Pittsburgh, Pennsylvania, U.S.—died February 26, 1989, Valley Stream, New York), American trumpeter, one of the great creative musicians of the 1930s.

A child prodigy, Eldridge began his professional career in 1917 when, on New Year’s Eve, he played the drums in his elder brother’s band. He went to New York City in 1930 and played in the trumpet sections of bands led by Cecil Scott, Elmer Snowden, and Teddy Hill. His style was influenced by that of saxophonist Coleman Hawkins. By the time he was playing with Hill at the Savoy Ballroom in New York City’s Harlem, in 1935, Eldridge was developing into an improviser of magnificent power and invention. The following year he joined the Fletcher Henderson orchestra, then in its last days, and his recordings from that period show him to be one of the great creative musicians of the decade. He also appears on a few of the historic small-group recordings with the singer Billie Holiday, and from time to time he had bands of his own.

Eldridge’s fame suddenly flowered in 1941 when he joined Gene Krupa’s band, and it was further increased in 1944 when he joined Artie Shaw. Later he toured with Jazz at the Philharmonic and other jazz concert groups all over the world; he retired in 1980. Stylistically he became one of the key figures of jazz trumpet playing, representing a link between the classical style of Louis Armstrong and the fierce departures of Dizzy Gillespie, who testified to Eldridge’s influence upon him.

Eldridge broke away from the traditional conception involving figures that were most natural to the trumpet (arpeggiated lines and sustained tones) and generated a technically difficult approach resembling jazz saxophone improvisation: very fast, scalelike passages. In addition, he incorporated harmonically unorthodox choices of notes and leaps into the high register (he loved to hear a note squeal and crack), which provided the basis for Dizzy Gillespie’s enormously influential modern jazz trumpet style. ---britannica.com

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1. Between The Devil And The Deep Blue Sea 2:48
2. St. James Infirmary 5:18
3. Beale Street Blues 5:09
4. Black And Blue 4:51
5. Sing Sing Sing (With A Swing) 3:33
6. Wynola 7:43
7. Cute 2:15
8. Bourbon Street Parade 2:46
9. All Of Me 2:33
10. Last Call At Jimmy Ryan's 4:58
11. Black And Blue (Alternate Take) 5:55
12. Between The Devil And The Deep Blue Sea (Alternate Take) 4:49
13. Last Call At Jimmy Ryan's (Alternate Take) 5:02

Roy Eldridge - Composer, Trumpet, Vocals
Major Holley - Bass
Dick Katz - Piano
Eddie Locke - Drums
Joe Muranyi  - Saxophone
Bobby Pratt - Trombone

During the 1970s, Roy Eldridge had a regular gig at Jimmy Ryan's in New York playing music that fell between swing and Dixieland. For this Pablo LP, he sought to play a program with his regular group (Joe Muranyi on clarinet and soprano, trombonist Bobby Pratt, pianist Dick Katz, bassist Major Holley and drummer Eddie Locke) that, although recorded in the studio, would sound like one of the Jimmy Ryan sets. So, in addition to such standards as "Between the Devil and the Deep Blue Sea" and "All of Me," Eldridge also performs (and takes occasional vocals on) some older tunes like "St. James Infirmary," "Beale Street Blues" and "Bourbon Street Parade." The music is quite joyful and spirited, with Eldridge in exuberant form. This LP is recommended and well-deserving of being reissued on CD. ---Scott Yanow, Rovi

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A1 	Between The Devil And The Deep Blue Sea 	9:11
A2 	Gofor 	6:33
A3 	I Surrender Dear 	10:33
B1 	Joie De Roy 	8:52
B2 	Perdido 	6:45
B3 	Bye Bye Blackbird 	7:24

Roy Eldridge - trumpet
Oscar Peterson - piano
Niels Pederson - bass
Bobby Durham - drums 

Eldridge's final recording as a leader is a real gem. Although his chops were no longer in prime form, he was still pushing himself to the limit. With a brilliant rhythm section egging him on (pianist Oscar Peterson, bassist Niels Pedersen, and drummer Bobby Durham), Eldridge still went for the high notes (and generally hit them) during this exciting set from the 1977 Montreux Jazz Festival. Although the musicians did not know it at the time, the last two songs ("Perdido" and "Bye Bye Blackbird") were a perfect ending to a brilliant career. This dramatic CD reissue is highly recommended. ---Scott Yanow, AllMusic Review

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01.After You've Gone Henry Creamer, Turner Layton (2:46) 
02.The Gasser Roy Eldridge (2:53) 
03.Jump Through the Window (2:40) 
04.Minor Jive Roy Eldridge (2:41) 
05.Stardust ... Hoagy Carmichael, Mitchell Parish (2:26) 
06.Oh, Lady Be Good [Incomplete Take] ... George Gershwin, Ira Gershwin (1:33) 
07.I Surrender, Dear ... Harry Barris, Gordon Clifford (2:44) 
08.Tea for Two ... Vincent Youmans, Irving Caesar (3:33) 
09.Flyin' on a V-Disc, Pt. 1 (Flying Home) ... Benny Goodman, Lionel Hampton (4:55) 
10.Flyin' on a V-Disc, Pt. 2 (Flying Home) ... Benny Goodman, Lionel Hampton (3:57) 
11.Don't Be That Way Benny Goodman, Edgar Sampson, Mitchell Parish (3:12) 
12.I Want to Be Happy Vincent Youmans, Irving Caesar (2:55) 
13.Fiesta in Brass Cab Calloway (2:53) 
14.St. Louis Blues W.C. Handy (2:35) 
15.I Can't Get Started Vernon Duke, Ira Gershwin (3:16) 
16.After You've Gone Henry Creamer, Turner Layton (3:00) 
17.Body and Soul Johnny Green, Edward Heyman, Robert Sour, Frank Eyton Roy Eldridge (3:16) 
19.Fish Market Roy Eldridge (3:10) 
19.Twilight Time Buck Ram, Alan Dunn, Al Nevins (2:51) 
20.St. Louis Blues W.C. Handy (2:21) 

Roy Eldridge (trumpet)
Lionel Hampton (vibes)
Ike Quebec (saxophone)
Art Tatum (piano)
Emmett Berry (trumpet)
Barney Bigard (clarinet)
Johnny Guarnieri (piano) 

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