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| 4.001 Ft
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| 1. | Mama Knows
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| 2. | I'm In Another World
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| 3. | Dreary Days
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| 4. | I Can't Believe That You're In Love With Me
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| 5. | B.a. Blues
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| 6. | Wanderlust
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| 7. | All Too Soon
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| 8. | Somebody Loves Me
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| 9. | Away From You
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| 10. | Something To Live For
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| 11. | In A Sentimental Mood
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| 12. | I Didn't Know About You
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| 13. | Guitar Amour
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| 14. | You Blew Out The Flame In My Heart
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| 15. | Theme From The Eleventh Hour
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| 16. | Love Song From Mutiny On The Bounty
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| 17. | Solitude
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| 18. | Satin Doll
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| 19. | Don't Blame Me
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| 20. | Prelude To A Kiss
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| 21. | Warm Valley
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Jazz
Digitally remastered two-fer containing a pair of albums from the Jazz saxist: Buenos Aires Blues and The Eleventh Hour. The first LP, in quintet format, marks Hodges only recorded encounter ever with Argentinean pianist and composer Lalo Schifrin. The latter LP showcases the saxophonist soloing on standard tunes with a big band conducted and arranged by Oliver Nelson. Includes 12-page booklet.
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
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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