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| Stride Right [Japan version] |
| Johnny Hodges |
| első megjelenés éve: 1966 |
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| (2006)
[ LIMITED ]
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CD |
| 8.129 Ft
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| 1. | Caution Blues [Blues In Thirds]
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| 2. | Stride Right
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| 3. | Rosetta
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| 4. | Perdido
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| 5. | Fantastic, That's You
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| 6. | Tale Of The Fox
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| 7. | I'm Beginning To See The Light
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| 8. | C Jam Blues
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| 9. | Tippin' In
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Jazz / Stride
Recorded: Jan 14, 1966
Johnny Hodges - Sax (Alto), Composer
Earl Hines - Composer, Piano
Eddie Marshall (Drums)
Kenny Burrell (Electric Guitar)
Richard Davis (Bass)
24bit Digitally Remastered Japanese Limited Edition in an LP-STYLE Slipcase.
Creed Taylor Producer
Lee Friedlander Cover Photo
Rudy Van Gelder Engineer
Stanley Dance Liner Notes
The 1966 meeting of alto saxophonist Johnny Hodges and pianist Earl Hines in the studio should be considered a cause for celebration for swing fans. Accompanied by a rhythm section including guitarist Kenny Burrell, bassist Richard Davis, and drummer Joe Marshall, the two giants make magic together as they explore originals by each of the leaders, as well as gems from the Ellington songbook. Hines' "Caution Blues" (which is better known as "Blues in Thirds") serves as a mellow introduction. Hines shows off his still potent stride piano chops in his delightful "Stride Right," which causes everyone but Marshall to duck out except for the theme statements. But the two giants especially stimulate one another in the swinging take of Hines' well-known "Rosetta." Hodges moves to the forefront with the snappy rendition of "Perdido," which also has fine solos by Davis and Burrell. The alto saxophonist especially seems to enjoy the brisk pace of "I'm Beginning to See the Light." Hines incorporates Ellington's affinity for train-like licks with the improvised introduction to the swinging "'C' Jam Blues," which Hodges suggested that he repeat after he initially played it during their final chorus of "Perdido" earlier in the session. This highly recommended Verve LP is long overdue to be reissued on CD. ~ Ken Dryden, All Music Guide
Johnny Hodges and Earl "Fatha" Hines stride right through the lengthening history of jazz like giants. Very early in their brilliant careers, they were established as influential stylests. Alto saxophonists everywhere tried to sound like Hodges and piano players like Hines, but these two were naturally gifted intuitives whose forms of expression involved skills and meanings that could only approximated in imitaion. In the course of time, most of the imitators moved on to other models, but the originals continued to be themselves - very much themselves.
There was not much need for talk when they came together in the studio. They knew each other's capabilities and understood one another. "Johnny and I have been friends a long time," Hines explained simply. The groups's instrumentation necessitated no complicated routines, and there would normally be no second take unless someone goofed. An almost unconcious emphasis on spontaneity was allowed to develop as the session progressed, as Hodges surprised Hines on Hines territory, and vice versa.
---Stanley Dance
The 1966 meeting of alto saxophonist Johnny Hodges and pianist Earl Hines in the studio should be considered a cause for celebration for swing fans. Accompanied by a rhythm section including guitarist Kenny Burrell, bassist Richard Davis, and drummer Joe Marshall, the two giants make magic together as they explore originals by each of the leaders, as well as gems from the Ellington songbook. Hines' "Caution Blues" (which is better known as "Blues in Thirds") serves as a mellow introduction. Hines shows off his still potent stride piano chops in his delightful "Stride Right," which causes everyone but Marshall to duck out except for the theme statements. But the two giants especially stimulate one another in the swinging take of Hines' well-known "Rosetta." Hodges moves to the forefront with the snappy rendition of "Perdido," which also has fine solos by Davis and Burrell. The alto saxophonist especially seems to enjoy the brisk pace of "I'm Beginning to See the Light." Hines incorporates Ellington's affinity for train-like licks with the improvised introduction to the swinging "'C' Jam Blues," which Hodges suggested that he repeat after he initially played it during their final chorus of "Perdido" earlier in the session.
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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