After enjoying trumpet star Roy Eldridge’s take on the Duke Ellington/Cootie Williams classic Echoes of Harlem, it feels like the perfect moment to swing our Side‑Session spotlight over to Roy — “Little Jazz” himself.
As a big‑band aficionado first and foremost, I’ve always loved Roy’s work with Gene Krupa’s band in the early 1940s. So today we’ll spin a quartet of sides that show off the full Eldridge arsenal: fire, finesse, humor, and heart.
Let Me Off Uptown (Okeh, 1941)
A stone‑cold classic, with Roy trading playful jabs with voclaist Anita O’Day before uncorking a sizzling trumpet solo.
This record is just a blast — ten inches of shellac capturing the whole electric mood of the era.
For extra fun, here's a video transcription of the song:
After You’ve Gone (Okeh, 1941)
A workout for the ages. Roy tears into this old standard with pyrotechnics that still feel modern.
Rockin’ Chair (Okeh, 1941)
The tempo drops and Roy turns lyrical, delivering a solo that’s a masterclass in melodic storytelling.
Knock Me a Kiss (Columbia, 1942)
A novelty tune elevated by Roy’s charm — he sings, he swings, and the band wraps around him like a well‑tailored suit.
That’s just plain fun.
Taken together, these four sides represent a real peak for Roy, Gene and Anita — a little pocket of perfection in the Krupa discography!
A Little Archeology: Tracing “After You’ve Gone”
Since “After You’ve Gone” is such a signature Eldridge vehicle, let’s dig up a couple of earlier versions that set the stage.
Benny Goodman Trio — After You’ve Gone (Victor, 1935)
Benny on clarinet, Teddy Wilson on piano, and Gene Krupa on drums — three masters in tight formation.
Roy Eldridge & his Orch — After You’ve Gone (Vocalion, 1937)
With vocalist Gladys Palmer, and with Roy already sketching the blueprint for what he’d later unleash with Krupa.
These are just snippets from the long, brilliant career of Little Jazz — but what glorious snippets they are.
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