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| 1. | Used to Be Duke
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| 2. | On the Sunny Side of the Street
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| 3. | Sweet as Bear Meat
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| 4. | Madam Butterfly
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| 5. | Warm Valley
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| 6. | Autumn in New York
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| 7. | Sweet Lorraine
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| 8. | Time on My Hands
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| 9. | Smoke Gets in Your Eyes
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| 10. | If You Were Mine
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| 11. | Poor Butterfly
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Jazz
Johnny Hodges - Sax (Alto)
Andy Kman Production Coordination
Call Cobbs Piano
Harold Baker Trumpet
Harry Carney Sax (Baritone)
Harry Weinger Reissue Supervisor
Hollis King Art Direction
Isabelle Wong Design
Jimmy Hamilton Clarinet
John Coltrane Sax (Tenor)
John Williams Bass
Kevin Reeves Mastering
Lawrence D. Brown Trombone
Louie Bellson Drums
Norman Granz Personal Supervisor
Norman Leonard Cover Photo
This CD reissue of Used to Be Duke from 1954 is historically significant in that it celebrates the substantive time Johnny Hodges spent with the Duke Ellington orchestra by playing music written by his bandmembers who also appear on this album. The title indeed implies a past association when in fact it was around this time that Hodges rejoined Ellington's band after a five-year hiatus. Actually a nonet instead of a full-blown orchestra, the group includes two significant non-Ellingtonians in pianist Richie Powell and tenor saxophonist "Johnny Coltrane." Powell's new (at this time) membership in the Clifford Brown-Max Roach combo and his stewardship in this group from 1952-1954 ended in the tragic automobile accident that took both Powell and Brown's life in June of 1956. Coltrane, fresh out of the Dizzy Gillespie orchestra playing alto saxophone, is only an ensemble player here with no solo features and a blended-in sound for which the listener really has to strain to hear him at all. It's a pity that Hodges sublimated 'Trane's role in this band -- it could have been marvelous. The music itself is solid enough, including the classic, happy, blues/swing/jam session title track loaded with a string of concise solos. Standards like "On the Sunny Side of the Street" (with pianist Call Cobbs for his lone appearance,) Ellington's "Warm Valley" and "Sweet Lorraine" would be summer stock if not for the extra sensitive solos by Hodges or trumpeter Harold "Shorty" Baker. The rather humorous "Sweet as Bear Meat" also has a moaning vibrato tone reflecting the contradictory title. The second half of the date features ballads and a single chosen soloist per song including Baker, clarinetist Jimmy Hamilton, baritone saxophonist Harry Carney, trombonist Lawrence Brown and Hodges. Powell's showcase during "Autumn in New York" is particularly poignant in its half-speed tempo, cascading chords from the pianist, and Hodges in late. Drummer Louie Bellson is solid as a rock throughout, and analyzing his picture-perfect swing technique would make for a good term paper. One of the better recordings from Hodges as a leader, it's good to have this item back in the marketplace, and comes easily recommended. ~ Michael G. Nastos, All Music Guide
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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