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Jazz Maturity...Where It's Coming
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Album: Jazz Maturity...Where It's Coming
# Song Title   Time
1)    Quasi-Boogaloo More Info... 9:03
2)    Take The "A" Train More Info... 8:07
3)    I Cried For You (Now It's Your Turn To Cry Over Me) More Info... 7:54
4)    Drebirks More Info... 11:19
5)    When It's Sleepy Time Down South More Info... 6:18
6)    Indiana More Info... 6:41
 

Album: Jazz Maturity...Where It's Coming
# Song Title   Time
1)    Quasi-Boogaloo More Info... 9:03
2)    Take The "A" Train More Info... 8:07
3)    I Cried For You (Now It's Your Turn To Cry Over Me) More Info... 7:54
4)    Drebirks More Info... 11:19
5)    When It's Sleepy Time Down South More Info... 6:18
6)    Indiana More Info... 6:41
 
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Performer Notes
  • /Oscar Peterson/Dizzy Gillespie.
  • Personnel: Roy Eldridge, Dizzy Gillespie (trumpet); Oscar Peterson (piano); Ray Brown (bass); Mickey Roker (drums).
  • Recorded at RCA Recording Studios, New York, New York on June 3, 1975. Includes liner notes by Leonard Feather.
  • Digitally remastered by Joe Tarantino (1994, Fantasy Studios, Berkeley, California).
  • Personnel: Dizzy Gillespie (trumpet); Oscar Peterson (piano); Roy Eldridge (trumpet); Mickey Roker (drums).
  • Liner Note Author: Leonard Feather.
  • Recording information: RCA Recording Studios, NY, NY (06/03/1975).
  • The 1970s were a time of renaissance for Roy Eldridge, with jazz festivals and small group recording sessions plentiful. The music produced was in itself a remarkable synthesis of Eldridge's roots and the progressive schools of bop and cool jazz. This crossbreed, modern music has as much to do with the other two musicians headlining this release, Dizzy Gillespie and Oscar Peterson.
  • Eldridge's influence on the younger generation is evident on all the solos, especially in the revved trumpeting of Gillespie. Listening to the cool playing on "Take the A Train" and "I Cried For You," one is struck by Eldridge's legacy of speed and high notes. Gillespie and Peterson are just as influential. "Quasi-Boogaloo," a collaborative piece by all three, is chock full of bop-tinged playing and cool chord structures. Roy Eldridge shows himself to be a consummate performer; his adaptations and borrowings make this set a vibrant musical exchange of ideas.
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