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| 1. | Rose Room
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| 2. | Blues for Basie
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| 3. | Mood Indigo
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| 4. | Squatty Roo
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| 5. | Perdido
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| 6. | Honey Bunny
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| 7. | Passion
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| 8. | Pretty Little Girl
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| 9. | No Use Kickin'
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| 10. | Ballad Medley Whispering / Tenderly / Don't Take Your Love from Me / Prelude to A Kiss / Polka Dots and Moonbeams / Passion Flower
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| 11. | Scufflin'
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Jazz
Tracks #1-5 originally issued as: "Perdido" (Verve MGV-8179)
Recorded in New York City, on January 7, 1955
Harold 'Shorty' Baker (tp), Lawrence Brown (tb), Johnny Hodges (as), Arthur 'Babe' Clarke (ts), Leroy Lovett (p), Johnny Williams (b) and Louie Bellson (d)
Tracks #6-11 originally issued as: "Creamy" (Verve MGV-8136)
Recorded in New York City, on September 8, 1955
Clark Terry (tp), Lawrence Brown (tb), Jimmy Hamilton (cl, ts), Johnny Hodges (as), Harry Carney (bs), Billy Strayhorn (p), Jimmy Woode (b) and Sonny Greer (d)
Includes extensive booklet with recording details, extensive notes and rare photos.
These 1955 Johnny Hodges sessions feature two remarkable units including mostly musicians who had been long associated with Duke Ellington. Among them were two excellent trumpet players with clear ideas about Hodges: Clark Terry and Harold “Shorty” Baker. In Terry’s laconic opinion, Johnny had “always been true to himself.” In the meantime, Baker once said that “Nobody knows what Johnny Hodges feels inside as he walks out to the mike. He may look as though he’s on his last walk to the gallows, but he appreciates the applause and he thanks the audience with a million dollars’ worth of melody!”.
Their insights testify to the respect and regard Johnny Hodges (1907-1970) enjoyed among musicians. That his popularity with the public, in a five decade of professional activity, should remain undiminished, similarly testifies to the fact that artistic ability and integrity do not always go unnoticed and unrewarded.
Original sessions produced by Norman Granz.
This compilation produced by Jordi Pujol.
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"Johnny Hodges' small group dates for various Norman Granz-owned labels (Norgran, Clef, and Verve) pleased fans of Duke Ellington, due in part to the frequent presence of fellow sideman from the band. The 1955 'Creamy' session is no exception, with Clark Terry (trumpet and flugelhorn), baritone saxophonist Harry Carney, clarinetist Jimmy Hamilton (who doubles on tenor sax), and trombonist Lawrence Brown joining Hodges in the front line. The rhythm section consists of Billy Strayhorn, bassist Jimmy Woode, and drummer Sonny Greer. In addition to a long ballad medley with individual features for each player (except for Greer), the remainder of the date is devoted to originals by Hodges or Strayhorn, along with "Scufflin'," an impromptu-sounding swinger credited to the alto saxophonist's wife, Cue Hodges. While there are no real surprises anywhere on this record, it is well worth acquiring."
---Ken Dryden -All Music Guide
"As Duke Ellington's altoist during 1928-51 and 1955-70, Johnny Hodges became world famous and beloved by jazz fans. His luscious tone and melodic style on ballads, blues and swing tunes was highly influential, making him the top altoist (along with Benny Carter) before the rise of Charlie Parker. Hodges led quite a few sessions of his own along the way,. During 1951-55 broke away from Ellington to lead his own combo, before returning for another 15 years.
While Mosaic previously released Hodges' solo recordings of the 1950s on two box sets, those are long out of print. Fresh Sound has come out with four reissues dating from that era. Perdido (FSR 572) has Hodges in 1955 performing with a septet shortly before he rejoined Ellington, and with a slightly later octet. The music is very much in the Ellington vein although a little looser and with more of a jam session feel. With Shorty Baker or Clark Terry on trumpet, trombonist Lawrence Brown and (on one session) baritonist Harry Carney, clarinetist Jimmy Hamilton and pianist Billy Strayhorn, it is no surprise that there are plenty of exciting moments to be heard, along with a six-song ballad medley."
---Scott Yanow -Los Angeles Jazz Scene (May, 2010)
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: Early R&B, Jazz Instrument, Mainstream Jazz, Saxophone Jazz, Swing
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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