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2 x CD |
| 8.365 Ft
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| 1. CD tartalma: |
| 1. | Hi' Ya
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| 2. | Snibor
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| 3. | Texas Blues
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| 4. | I&
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| 5. | A-Oodie-Oobie
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| 6. | Meet Mr. Rabbit
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| 7. | Duke's in Bed
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| 8. | Just Squeeze Me
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| 9. | Ballad for Very Tired and Very Sad Lotus Eaters
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| 10. | Confab with Rab
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| 11. | It Had to Be You
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| 12. | Black and Tan Fantasy
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| 13. | Take the "A" Train
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| 2. CD tartalma: |
| 1. | The Happy One
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| 2. | Night Walk
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| 3. | You Got It Coming
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| 4. | Duke's Jam
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| 5. | Little Rabbit Blues
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| 6. | Johnny Comes Lately
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| 7. | Gone and Crazy
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| 8. | Fast Segdoh
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| 9. | Don't Call Me, I&
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| 10. | An Ordinary Thing
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| 11. | Waiting for Duke
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| 12. | Dust Bowl
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| 13. | Early Morning Rock
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| 14. | Viscount
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| 15. | Digits
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| 16. | Bouquet of Roses
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Jazz
CD 1, tracks #1-4 & CD 2, #1-4 from the album: "Ellingtonia '56" (Verve MGV-8155)
CD 1, tracks #5-13 from the album: "Duke's in Bed" (Verve MGV-8203)
CD 2, tracks #5-16 from the album: "The Big Sound" (Verve MGV-8271)
Johnny Hodges Octet (#1-4)
Ray Nance (tp), Lawrence Brown (tb), Johnny Hodges (as), Jimmy Hamilton (cl, ts), Harry Carney (bs), Billy Strayhorn (p), Jimmy Woode (b) and Sam Woodyard (d)
Recorded in New York City, on January 11, 1956
Johnny Hodges Nonet (#5-13)
Ray Nance (tp, vln, vcl), Clark Terry (tp), Quentin Jackson (tb), Johnny Hodges (as), Jimmy Hamilton (cl, ts), Harry Carney (bs), Billy Strayhorn (p), Jimmy Woode (b) and Sam Woodyard (d)
Recorded in New York City, on September 1, 1956
CD 2:
Johnny Hodges and His Orchestra (#1-4)
Willie Cook, Clark Terry, Cat Anderson, Harold 'Shorty' Baker (tp), Quentin Jackson, John Sanders, Britt Woodman (tb), Johnny Hodges (as), Russell Procope (cl, as), Jimmy Hamilton (cl, ts), Paul Gonsalves (ts), Harry Carney (bs), Billy Strayhorn (p), Jimmy Woode (b) and Sam Woodyard (d)
Recorded in New York City, on January 12, 1956
Johnny Hodges and His Orchestra (#5-8)
Ray Nance, Clark Terry (tp), Quentin Jackson, John Sanders, Britt Woodman (tb), Johnny Hodges (as), Russell Procope (cl, as), Jimmy Hamilton (cl, ts), Harry Carney (bs), Billy Strayhorn (p), Jimmy Woode (b) and Sam Woodyard (d)
Recorded in New York City, on June 26, 1957
Johnny Hodges and His Orchestra (#9-12)
Willie Cook, Clark Terry, Cat Anderson, Harold 'Shorty' Baker (tp), Quentin Jackson, John Sanders, Britt Woodman (tb), Johnny Hodges (as), Russell Procope (cl, as), Jimmy Hamilton (cl, ts), Paul Gonsalves (ts), Harry Carney (bs), Billy Strayhorn (p), Jimmy Woode (b) and Sam Woodyard (d)
Recorded in New York City, on September 3, 1957
Johnny Hodges and His Orchestra (#13-16)
Ray Nance (tp, vln), Clark Terry, Harold 'Shorty' Baker (tp), Quentin Jackson, John Sanders, Britt Woodman (tb), Johnny Hodges (as), Russell Procope (cl, as), Jimmy Hamilton (cl, ts), Paul Gonsalves (ts), Harry Carney (bs), Billy Strayhorn (p), Jimmy Woode (b) and Sam Woodyard (d)
Recorded in New York City, on September 3, 1957
Includes a 16-page booklet with recording details, extensive notes and rare photos.
The music here defies fad and fashion. Johnny Hodges and his alto sax speak with trademark elegance and eloquence - part and parcel of having been with the Duke Ellington Orchestra in its most celebrated days.
The sides included come from three of Hodges' classic albums: "Ellingtonia '56", "Duke's in Bed" and "The Big Sound", and the formations range from large combo units to the full-fledged Ellington band (without Duke). Rich, rocking, blue-boned relaxation is the mood, and this set of Hodges-guided numbers is full of his inimitable swing and ever present touches of warmth and humour.
Original recordings produced by Norman Granz.
This compilation produced by Jordi Pujol.
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"No surprises, but the sessions were as good as one might hope. Gathered here was the Ellington band with Billy Strayhorn at the piano. While it was not an Ellington record, the band brought its solid qualities in backing and the occasional solo to all the fine Hodges features. This was an integrated unit, not some detached studio band for Hodges to blow over, under, around, and through. It was wonderful Hodges and fine Ellington."
---Bob Rush -Cadence
"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. The two-CD set Johnny Hodges And The Ellington Men (FSR 573) has music from three Hodges albums: Ellingtonia '56, Duke's In Bed and The Big Sound. Hodges is heard with small groups and on a full album leading the Ellington Orchestra (with Strayhorn on piano). Not too surprisingly, many of the songs are from the Ellington book although there are also a fair number of heated riff pieces."
---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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