Roy Eldridge & Dizzy Gillespie: Pretty-Eyed Baby

Track

Pretty-Eyed Baby

Artist

Roy Eldridge (trumpet, vocals) and Dizzy Gillespie (trumpet, vocals)

CD

Roy and Diz (Verve 314 521 647)

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Musicians:

Roy Eldridge (trumpet, vocals), Dizzy Gillespie (trumpet, vocals), Oscar Peterson (piano), Herb Ellis (guitar), Ray Brown (bass), Louie Bellson (drums).

Composed by Mary Lou Williams, Snub Mosley and William Luther Johnson

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Recorded: New York, October 29, 1954

Albumcoverdizzygillespie-royeldridge-royanddiz

Rating: 90/100 (learn more)

In an interview, Jon Hendricks asked Dizzy Gillespie to demonstrate the evolution of styles by singing a riff as Louis Armstrong would sing it, then as how Roy Eldridge would sing it, and finally how Dizzy would sing it. Dizzy replied with a simple rhythmic idea from Louis, an intense, agitated version for Roy and then an arhythmic flurry of fast notes for himself. Although Dizzy was joking around, he admitted that his example wasn’t too far from reality. The similarities and differences between Roy and Dizzy are better illustrated in “Pretty-Eyed Baby”, a light-hearted duet from Roy And Diz, which features both principals on trumpet and vocals. Although the recording is in mono, it’s very easy to tell the difference between the two players, as Eldridge plays a Harmon mute throughout and Dizzy plays in a cup mute. Further, each man’s scat singing style echoes their trumpet work: Roy with a pronounced rasp and powerful rhythm, Dizzy smoother with very complex rhythmic combinations. The trumpet solos that follow the scat are 8-bar exchanges (probably kept short as both trumpeters had played in their high registers for most of the date). The improvised 2-part vocal harmony on the coda doesn’t really work—I doubt they rehearsed the number before recording it—but the recording is an important historical document of two of the best trumpeters (and scat singers) in jazz history.

Reviewer: Thomas Cunniffe

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