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2 x CD |
| 8.769 Ft
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| 1. CD tartalma: |
| 1. | Blues a Plenty
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| 2. | Cool Your Motor
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| 3. | Gone with the Wind
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| 4. | Honey Hill
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| 5. | I Didn't Know About You
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| 6. | Satin Doll
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| 7. | Reelin' and Rockin'
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| 8. | Don't Take Your Love from Me
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| 9. | Saturday Afternoon Blues
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| 10. | Just a Memory
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| 11. | Let's Fall in Love
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| 12. | Big Shoe
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| 13. | Ruint
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| 14. | Bend One
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| 15. | You Need to Rock
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| 2. CD tartalma: |
| 1. | M.H.R
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| 2. | Broadway Babe
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| 3. | Three and Six
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| 4. | Not so Dukish
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| 5. | Central Park Swing
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| 6. | Preacher Blues
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| 7. | Jeep Bounced Back
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| 8. | The Last Time I Saw Paris
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| 9. | Rosanne
bonus track
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| 10. | This Love of Mine
bonus track
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| 11. | Hodge Podge
bonus track
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| 12. | Jappa 3
bonus track
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| 13. | Through for the Night
bonus track
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| 14. | Come Sunday
bonus track
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| 15. | The Sheik of Araby
bonus track
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| 16. | Latino
bonus track
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| 17. | In a Mellow Tone
bonus track
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| 18. | I Let a Song Go Out of My Heart
bonus track
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| 19. | Don't Get Around Much Anymore
bonus track
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Jazz
CD 1, tracks #1-9 from the album: "Blues-a-Plenty" (Verve MGV-8358)
Recorded in New York City, on April 5, 1958
Roy Eldridge (tp), Vic Dickenson (tb), Johnny Hodges (as), Ben Webster (ts), Billy Strayhorn (p), Jimmy Woode (b) and Sam Woodyard (d)
CD 1, tracks #10-15 from the album: "Side By Side" (Verve MGV-8345)
Recorded in New York City, on August 14, 1958
Roy Eldridge (tp), Lawrence Brown (tb), Johnny Hodges (as), Ben Webster (ts), Billy Strayhorn (p), Jimmy Woode, Wendell Marshall (b) and Jo Jones (d)
CD 2, tracks #1-8 from the album: "Not So Dukish" (Verve MGV-8355)
Recorded in New York City, on September 10, 1958
Roy Eldridge, Ray Nance (tp), Lawrence Brown (tb), Johnny Hodges (as), Ben Webster (ts), Billy Strayhorn (p), Jimmy Woode (b) and Sam Woodyard (d)
CD 2, tracks #9-19 are bonus tracks.
(*) This set also contains, as a bonus, three of the most consistently rewarding small Hodges units featuring Ben Webster - recorded between 1952-1954 and roughly patterned after "Rabbit" Hodges' classic combos of the ‘40s.
Tracks #9-12:
Recorded in Los Angeles, California, on July 22, 1952
Emmett Berry (tp), Lawrence Brown (tb), Johnny Hodges (as), Ben Webster (ts), Leroy Lovett (p), Red Callender (b) and J.C. Heard (d). Al Hibbler (vcl on #10)
Tracks #13-16:
Recorded in New York City, on December 11, 1952
Emmett Berry (tp), Lawrence Brown (tb), Johnny Hodges (as), Ben Webster, Rudy Williams (ts), Ted Brannon (p), Barney Richmond (b) and Al Walker (d)
Tracks #17-19:
Recorded in New York City, on April 9, 1954
Emmett Berry (tp), Lawrence Brown (tb), Johnny Hodges (as), Ben Webster (ts), Leroy Lovett (p), Lloyd Trotman (b) and Osie Johnson (d)
Includes a 16-page booklet with recording details, extensive notes and rare photos.
Johnny Hodges, the most distinctive and eloquent voice of the Duke Ellington boys, is the leader of these great 1958 sessions (without Duke), but with Billy Strayhorn, Duke's alter ego on piano, and featuring such greats as Roy Eldridge and Ben Webster. Primarily noted for his ballads, Hodges could blow soft as a whisper or loud as a trumpet, but never forfeits his major concerns, excitement, taste and restraint, delivering pure quality with moving simplicity. "The warmest saxophonist of them all" is a frequently quoted and fulsome description of Johnny Hodges that has never, to anyone's knowledge, been disputed.
Original recordings produced by Norman Granz.
This compilation produced by Jordi Pujol.
---------------------------------------------
Notes:
"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. Not So Dukish (FSR 574) from 1958 is also a two-CD set and is a high-quality grab-bag. The first CD (taken from Blues A Plenty and Side By Side) has Hodges playing in an all-star septet with trumpeter Roy Eldridge, trombonist Lawrence Brown and tenor-saxophonist Ben Webster; plenty of fireworks take place. The second disc has eight songs from a similar group (with both Eldridge and Ray Nance on trumpets) plus 11 numbers from 1952-54 that team together Hodges and Webster."
---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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