This set features two sizzling horns mingling in a decidedly frenetic dance contest. These songs hop and bounce with enduring vitality. A definite coolness exists within the searing solos of the two trumpet kings as they empty their lungs, executing mind-spinning, scale-like passages and high notes, and there's a palpable sense of competition as they take turns performing their acrobatic brass-work. They can both propel notes from their horns like nobody's business, yet their tonal and stylistic differences create two distinct elements within the music. Bassist Ray Brown's tempos provide a cool structure for the flurries of notes the trumpets cast forth. Some of the most poetic moments from these 1954 recordings are when their collaboration intertwines them within the passages, but their supercharged blowing naturally finds a subtler ground and tact when they come together in a musical braid work that's no less affecting than their solos.

Recorded in June 1960, Swingin' on the Town was a bit of a retro affair at the time, since swing was no longer popular dance music, nor the cutting edge of jazz. Still, Eldridge was one of the best swing trumpeters of any era, and his music continued to deepen over the years; there was no reason for him not to play swing standards if he could still make them sound fresh. Throughout Swingin' on the Town, he does make it sound fresh. It helps that he's supported by bassist Benny Moten, pianist Ronnie Ball and drummer Eddie Locke, who keep things lively, but Eldridge is the focus here, and his performances are supple, swinging and charming. He doesn't do anything out of the ordinary, but he delivers the expected with grace. Not a major album in his catalog, but certainly an enjoyable one.

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 CD contains the best recordings from the early years of the fiery trumpeter Roy Eldridge. Eldridge, one of the great swing trumpeters and a powerful player into the 1970s, is heard with Teddy Hill's orchestra, backing singer Putney Dandridge, on four titles with Fletcher Henderson (including the hit "Christopher Columbus"), starring on a four-song session with Teddy Wilson, joining Billie Holiday on "Falling in Love Again," soloing on two numbers with Mildred Bailey (his "I'm Nobody's Baby" solo is years ahead of its time), and, best of all, leading a small group through six songs (plus an alternate) from his own explosive sessions of January 1937. This brilliant music is essential for all serious jazz collections.

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"…

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.

Teaming together Dizzy Gillespie and Roy Eldridge should result in some classic music, but by 1975, Eldridge (although still a fierce competitor) was past his prime and Gillespie was starting to fade. The material performed for this CD reissue is just not all that inspiring - a few overly played standards and blues. Despite some good efforts by Gillespie and Eldridge, pianist Oscar Peterson easily emerges as the most impressive soloist; better to acquire the magnificent collaborations of the 1950s instead.

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.

The Krupa band of 1941 to 1943 had two great forces in it with the addition of trumpeter Roy Eldridge and vocalist Anita O'Day replacing Irene Day. Eldridge almost singlehandedly transformed the orchestra from a pop-based dance band to a more jazz-inspired one, and O'Day was simply the most swinging singer Krupa ever had in the fold. Highlights include a wild "After You've Gone," "Stop! The Red Light's On," "Let Me Off Uptown," "Thanks for the Boogie Ride," "Knock Me a Kiss," "Bop Boogie," and the previously unissued "Barrelhouse Bessie From Basin Street." Those interested in Krupa's career as a bandleader should start with this one.

What It's All About is swinging, building up solos to potentially ferocious levels and going for broke. That was always the philosophy that Roy Eldridge followed and, even though it was rather late in his career by the time he recorded this Pablo set, he was still pushing himself. His septet on the album is full of talented veterans including altoist Norris Turney, Budd Johnson on tenor, pianist Norman Simmons, and (on half of the set) vibraphonist Milt Jackson. The music (three Eldridge originals and two obscurities) features plenty of lengthy and spirited soloing.

Part of his five sessions that featured duets with different trumpeters, pianist Oscar Peterson's matchup with trumpeter Roy Eldridge has its strong moments. Eldridge did not quite have the range of his earlier years, but his competitive streak had not mellowed with age. Peterson pushes Eldridge to his limit and the music is generally quite exciting. Highlights include "Little Jazz," "Sunday," and "Between the Devil and the Deep Blue Sea."