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2 x CD |
| 4.800 Ft
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| 1. CD tartalma: |
| 1. | On The Sunny Side Of Th e Street
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| 2. | On Green Dolphin Street
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| 3. | Lil' Darlin'
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| 4. | Con Soul And Sax
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| 5. | The Jeep Is Jumpin,'
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| 6. | I'm Beginning To See Th e Light
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| 7. | Sophisticated Lady
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| 8. | Drop Me Off In Harlem
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| 9. | No One
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| 10. | Johnny Come Lately
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| 11. | Just Squeeze Me
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| 12. | It's Only A Paper Moon
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| 13. | Taff y
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| 14. | Good Queen Bess
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| 15. | L.B. Blues
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| 16. | In A Mellow Tone
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| 17. | Rockville
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| 2. CD tartalma: |
| 1. | I'll Always Love You
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| 2. | It Don't Mean A Thing
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| 3. | Belle Of The Belmont
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| 4. | Blues For Madeleine
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| 5. | When I'm Feeling Kinda Blue
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| 6. | Pyramid
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| 7. | Nonchalance
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| 8. | At Dawn
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| 9. | Th e Brown-Skin Gal In The Calico Gown
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| 10. | Stormy Weather
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| 11. | Rabbit Out Of Th e Hat
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| 12. | Hash Brown
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| 13. | Blue Notes*
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| 14. | Say It Again*
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| 15. | I Can't Believe Th at You're In Love With Me*
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| 16. | Broad Walk*
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| 17. | L.B. Blues*,
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| 18. | Sandy's Gone*
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| 19. | Candy's Theme*
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| 20. | The Caretakers Theme*
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| 21. | Again*
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Jazz / Mainstream Jazz
Recorded:
CD 1, #1-10: "CON-SOUL & SAX": New York, Jan 7, 1965.
CD 1, #11-17 & CD 2, #1-3: "IN ATLANTIC CITY": Grace's Little Belmont, Atlantic City, Aug 10 & 11, 1966.
CD 2, #4-12: "BLUE PYRAMID": New York, Nov/Dec, 1965 & Jan 17, 1966.
CD 2, #13-17: From "BLUE NOTES": New York, Aug 15 & 19, 1966.
CD 2, #18-21: From "SANDY'S GONE": New York, Sept 3, 1963.
JOHNNY HODGES (alto sax)
WILD BILL DAVIS (organ)
plus collective personnel:
Lawrence Brown (tb), Jimmy Hamilton (cl), Kenny Burrell & Mundell Lowe (g), George Duvivier (b) & Osie Johnson (d), among others
* Bonus Tracks
INCLUDES THE COMPLETE LPs: "Con-Soul & Jazz", "Wild Bill Davis & Johnny Hodges in Atlantic City" AND ALSO "Blue Pyramid"
PLUS BONUS TRACKS!
Total time:
CD 1: 70:22 mins.
CD 2: 73:53 mins.
Vol.1, the only 2-CD set of the series, comprises the only two albums in which Wild Bill Davis was the primary session leader, and in which his name preceded that of Hodges in the original cover art (Con-Soul & Jazz and Wild Bill Davis & Johnny Hodges in Atlantic City). These albums usually appear on jazz discographies under Wild Bill's name. In addition, we also have the album Blue Pyramid, in which Hodges' name is, as usual, the first one mentioned.
The three albums, recorded in '65 and '66, were the last small group albums by this amazing team. As fillers at the end of Disc Two are 5 songs from the Hodges album Blue Notes and the four tracks featuring both Hodges and Davis from the album "Sandy's Gone".
Johnny Hodges
Active Decades: '20s, '30s, '40s, '50s and '60s
Born: Jul 25, 1907 in Cambridge, MA
Died: May 11, 1970 in New York, NY
Genre: Jazz
Styles: R&B, Ballads, Swing, Mainstream Jazz
Possessor of the most beautiful tone ever heard in jazz, altoist Johnny Hodges formed his style early on and had little reason to change it through the decades. Although he could stomp with the best swing players and was masterful on the blues, Hodges' luscious playing on ballads has never been topped. He played drums and piano early on before switching to soprano sax when he was 14. Hodges was taught and inspired by Sidney Bechet, although he soon used alto as his main ax; he would regretfully drop soprano altogether after 1940. His early experiences included playing with Lloyd Scott, Chick Webb, Luckey Roberts, and Willie "The Lion" Smith (1924), and he also had the opportunity to work with Bechet. However, Johnny Hodges' real career began in 1928 when he joined Duke Ellington's orchestra. He quickly became one of the most important solo stars in the band and a real pacesetter on alto; Benny Carter was his only close competition in the 1930s. Hodges was featured on a countless number of performances with Ellington and also had many chances to lead recording dates with Ellington's sidemen. Whether it was "Things Ain't What They Used to Be," "Come Sunday," or "Passion Flower," Hodges was an indispensable member of Ellington's orchestra in the 1930s and '40s. It was therefore a shock, in 1951, when he decided to leave Duke Ellington and lead a band of his own. Hodges had a quick hit in "Castle Rock" (which ironically showcased Al Sears' tenor and had no real contribution by the altoist), but his combo ended up struggling and breaking up in 1955. Hodges' return to Duke Ellington was a joyous occasion and he never really left again. In the 1960s, Hodges teamed up with organist Wild Bill Davis on some sessions, leading to Davis joining Ellington for a time in 1969. Johnny Hodges, whose unchanging style always managed to sound fresh, was still with Duke Ellington when he suddenly died in 1970.
---Scott Yanow, All Music Guide |
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