The Virtuosity of Eddie Durham: Exploring My Favorite Guitar & Trombone Solos

Eddie Durham stands as a remarkable figure in jazz history, known for his innovative guitar and trombone solos that helped shape the sound of swing and big band music. His work blends technical skill with emotional depth, creating moments that resonate with listeners even decades later. In this post, I want to share some of my favorite solos by Eddie Durham, highlighting what makes them special and why they continue to inspire musicians and fans alike.

From the Book "Swingin' The Blues - The Virtuosity of Eddie Durham": "I always liked the trombone sound in the circus band... because a guy could make it sound like he was crying. I liked Big Green, Jimmy Harrison, J.C. Higginbotham, Joe Nanton with Duke, and later on, because he was sweeter, Lawrence Brown. I got crazy about Tommy Dorsey, Trummy Young, Dicky Wells. But I did not copy any of them. They always tried to hold the trombone back by making it an obbligato instrument, like a tailgate (tail along), slow. But trombone players are fast. I can just about play anything on my trombone that you can play on an alto. It's a hard instrument. Don Redman started into that and then I started trick stuff with "Sliphorn Jive" I wrote for Glenn Miller, and "Lafayette" I wrote for Bennie Moten. There are 14 positions on it instead of the official 7 at 3" apart. I play 1 1/2 inches apart perfectly, but you have to have a very good range, and with two guys with good range, you can do anything that you can do with anything else, a lot of effects. As far as mutes, there's the round wha wha mute, a solo-tone mute, and the plungers. Tricky Sam was definitely an innovator with the plunger..." (get the book on Amazon for much, much more).

!Close-up view of vintage electric guitar resting on a wooden stage floor

Eddie Durham’s Role in Jazz History

Before diving into specific solos, it’s important to understand Durham’s place in jazz. He was a pioneer in integrating the electric guitar into jazz ensembles at a time when the instrument was still emerging. His work with bands like the Count Basie Orchestra helped popularize the guitar as a solo instrument, breaking away from its traditional rhythm role.

Durham’s solos often combine smooth phrasing with rhythmic complexity. His ability to weave melodic lines that complement the band’s overall sound made his solos stand out. This approach influenced many guitarists who followed, including Charlie Christian and Wes Montgomery.

Solo 1: “Topsy” written for the Count Basie Orchestra

One of Durham’s most celebrated solos appears in the tune “Topsy,” recorded with the Count Basie Orchestra. This solo showcases his clean articulation and inventive use of syncopation. The way he builds tension through subtle note choices keeps the listener engaged throughout.

What makes this solo memorable is Durham’s balance between technical skill and emotional expression. He doesn’t rely on fast runs or flashy techniques. Instead, he focuses on phrasing and timing, creating a narrative that feels both spontaneous and carefully crafted.

Key elements to listen for in “Topsy”:

• Smooth, flowing lines that contrast with the band’s driving rhythm

• Use of space and silence to create anticipation

• Clear melodic development that tells a story

  
  

Solo 2: “Moten Swing” – A Trombone Highlight

While Durham is often celebrated for his guitar work, his trombone solos also deserve attention. In “Moten Swing,” his trombone solo adds a warm, rich texture that complements the brass section perfectly. His tone is full-bodied, and his phrasing is lyrical, showing his versatility as a musician.

This solo stands out because it blends technical mastery with a soulful feel. Durham’s ability to switch between instruments and maintain such a high level of expression is rare and impressive.

What to appreciate in this solo:

• Smooth transitions between notes with minimal breathiness

• A balance of rhythmic drive and melodic lyricism

• Interaction with the band’s call-and-response patterns

  
  

Solo 3: Don't Get Around Much Anymore

With THE HARLEM BLUES & JAZZ BAND (recorded live) "GEORGIA" (muted tb).

BLUE BONE CD (1978): "OUT OF NOWHERE" (g); "GUITAR PIECE #2" (g); "FRONT & CENTRE" (tb); "SLIDING ALONG" (tb farts).

Eddie Durham & His Band *(1940 Dave Dexter Sessions): "I WANT A LITTLE GIRL" (g);

"MOTEN'S SWING" (tb).

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Why Eddie Durham’s Solos Still Matter

Durham’s solos remain relevant because they combine technical skill with emotional storytelling. His work teaches musicians the importance of phrasing, timing, and tone. Rather than focusing on speed or complexity, Durham’s solos emphasize musicality and connection with the audience.

For listeners, these solos offer a window into seminal jazz guitar and trombone playing. They capture a moment when jazz was evolving rapidly, and Durham was at the forefront of that change.

How to Appreciate Durham’s Solos

To get the most out of Eddie Durham’s solos, try these approaches:

• Listen actively: Focus on how he uses space and timing, not just the notes.

• Follow the band: Notice how his solos interact with the rest of the orchestra.

• Compare instruments: Pay attention to differences between his guitar and trombone solos.

• Learn the context: Understanding the song’s mood and arrangement adds depth to the experience.

  
  

Final Thoughts on Eddie Durham’s Legacy

Eddie Durham’s solos offer a rich listening experience that combines innovation with heartfelt expression. His work helped shape jazz guitar and trombone playing, influencing generations of musicians. By exploring his favorite solos, we gain insight into the art of soloing and the power of musical storytelling.