Roy Eldridge What It's All About CD

Personnel: Roy Eldridge (trumpet); Norris Turney (alto saxophone); Budd Johnson (tenor saxophone); Milt Jackson (vibraphone); Norman Simmons (piano); Ted Sturgis (bass); Eddie Locke (drums).
Recorded at RCA Recording Studios, New York, New York on January 16, 1976. Includes original release liner notes by Dan Morgenstern.
Digitally remastered by Phil De Lancie (1995, Fantasy Studios, Berkeley, California).
Personnel: Roy Eldridge (trumpet); Norris Turney (alto saxophone); Budd Johnson (tenor saxophone); Norman Simmons (piano); Milt Jackson (vibraphone); Eddie Locke (drums).
Liner Note Author: Dan Morgenstern.
Recording information: RCA Recording Studios, New York, NY (01/16/1976).
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 CD resissue, 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. ~ Scott Yanow
Recorded in 1976, these rhythmic melodies are fine improvisational works. Performing with zeal and compatibility, the six individuals here form a unit that makes the recordings a jazzy breeze. Eminently easy to listen to, WHAT IT'S ALL ABOUT combines solid musicianship, blue notes, and heated riffs.
Roy Eldridge may be the headliner, but he's joined by first rate jazzmen such as Budd Johnson on tenor saxophone and Norris Turney on alto. Johnson's solo chorus on the track titled "I Still Love Him So" is as energetic and as whimsical as Eldridge's trumpet preceding it. "The Heat's On" flies out of the speakers, and fills the ears with beautiful and sensitive phrasing from the soloists. "Recado Bossa Nova" is cool modern jazz, with an infectious Latin beat. Eldridge's horn is soft, and the song is bolstered by Milt Jackson's vibraphone and Turney's flute.JazzTimes (3/96, p.107) - "...unusual in several respects. There is characteristic combative trumpet and contrasting muted solos of rare feeling on the slower tempos..."