Johnny Hodges Albums (36)
'Duke's in Bed'
Release Date 1/18/2005
Tracks 9
Label Universal Japan
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What The Critics Say
In jazz circles and among his immediate peers, Johnny Hodges was referred to as "Mr. Silvertone." And one great jazz story shows the high regard that other players had for his style: A sax player goes to his bandleader and asks for the night off. When the bandleader asks why, the sax player says, "I want to go see Johnny Hodges and try to hear how he gets that sound." The bandleader stuffs a 20 in the sax player's jacket and says, "You're going to hear the right man." Hodges' lines caressed the notes, and he could play in a totally authoritative fashion without resorting to a lot of upper-register squeakings or faux tenor honkings. He was always 110 percent in the pocket, the epitome of true swing. Even within the mighty Duke Ellington Orchestra, a well-oiled team with superb players, Hodges stood out as something special. The Live in Atlantic City reissue is part of RCA's celebration of Ellington's 100th birthday. It brings back a 1966 recording of Hodges sitting in with Wild Bill Davis' quartet in a small Atlantic City jazz bistro. The results are refreshing, catching Hodges in a relaxed setting. Longtime playing pals, Hodges had been sitting in with Davis' group every time Ellington came to town. The record is just about as casually swinging as you could imagine it being, the soloing all coming from a relaxed but buoyant atmosphere. Davis shows today's youngsters, the ones who have a fascination with all things swinging and Hammond B-3-influenced, where it all started. His tone ebbs and flows like a separate pulse in tandem to the music; it's Organ 101. Lawrence Brown's trombone work is exquisite and bluesy as all get out on the Hodges original "Taffy," and quartet regular Bob Brown contributes nice support on tenor and flute throughout. The drumming chores are pushed along nicely by Bobby Durham, while Dickie Thompson (who wrote "13 Women," the flip side of "Rock Around the Clock") plays some bluesy guitar riffs in between the spot-on Freddie Green-styled comping, shining brightly on Hodges' "Rockville"; six and a half minutes of the band locked in to a gentle but relentless groove with inspired soloing out of everybody. This is a top-notch session of top-notch musicians just enjoying one another's company. It's jazz that puts a smile on your face. ~ Cub Koda, All Music Guide
'Masters of Jazz, Vol. 9'
Release Date 12/14/1994
Tracks 10
Label Storyville
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What The Critics Say
Here is a CD that is highly recommended for swing collectors. Altoist Johnny Hodges and tenor-saxophonist Ben Webster team up for a sextet set from 1960, a club appearance that was released for the first time on this set. Their six performances (all are basic Hodges originals) find the pair of veteran swing stylists in prime form. The remainder of the program (three standards plus Hodges' "Good Queen Bess") is played by a septet dominated by Ellington musicians including the leader/altoist, baritonist Harry Carney, trumpeter Ray Nance and trombonist Lawrence Brown. Excellent music that still has not dated. ~ Scott Yanow, All Music Guide
What The Critics Say
Altoist Johnny Hodges is heard in three different settings on this reissue CD. Such top swing stars as trumpeters Ray Nance, Cat Anderson and Roy Eldridge, trombonists Buster Cooper, Lawrence Brown and Benny Powell, tenors Paul Gonsalves and Jimmy Hamilton, baritonist Harry Carney, pianists Hank Jones and Jimmy Jones (the latter two sometimes together), guitarists Tiny Grimes, Les Spann and Billy Butler, bassists Milt Hinton, Aaron Bell and Joe Benjamin and drummers Gus Johnson, Rufus Jones and Oliver Jackson are heard in nonets with the great altoist. Despite the many changes in personnel, the music is pretty consistent, with basic swinging originals, blues and ballads all heard in equal proportion. As usual, Johnny Hodges ends up as the main star. ~ Scott Yanow, All Music Guide
What The Critics Say
Altoist Johnny Hodges and pianist Earl Hines co-led this summit swing meeting. The septet (which also includes trumpeter Cat Anderson, trombonist Buster Cooper, Jimmy Hamilton on clarinet and tenor, bassist Jerry Castleman, and drummer Sam Woodyard) surprisingly does not include any Duke Ellington/Billy Strayhorn songs (considering that all of the musicians except Hines were with Duke's band at the time), and has just two standards among the ten numbers. The jumping tunes are given concise performances (six songs are under three minutes long and none are longer than 4:10), but the musicians take advantage of every second they have on this rather brief album. Since this LP has not yet been reissued on CD (although it is probably just a matter of time), this is a notable obscurity from some of jazz's all-time greats. ~ Scott Yanow, All Music Guide
'Don't Sleep in the Subway'
Release Date 1/1/1967
Tracks 9
Label Verve
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What The Critics Say
The orchestrations are uneven, but Johnny Hodges is uniformly sharp. ~ Ron Wynn, All Music Guide
What The Critics Say
Unlike Johnny Hodges' vast majority of small group recordings records made for Verve during the 1960s, Blue Notes is a big-band affair and frequent collaborator Wild Bill Davis is absent. Instead, the veteran alto saxophonist is backed by an all-star group with arrangements by conductor Jimmy Jones. Hodges' gorgeous tone and effortless ability to swing are the cornerstones of the album, especially in a stunning, very slow performance of "I Can't Believe That You're in Love With Me" and the jaunty original by the leader, "L.B. Blues." One of the more unusual tracks, the funky "Rent City," adds Buddy Lucas on harmonica. The supporting cast includes fellow Ellington veteran Jimmy Hamilton, Hank Jones, Frank Wess, and Ernie Royal. Tracking down a copy of this long unavailable LP by Hodges will take some effort. ~ Ken Dryden, All Music Guide
What The Critics Say
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 with Lawrence Welk's Orchestra'
Release Date 1/1/1965
Tracks 12
Label Dot
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What The Critics Say
This was one of the oddest matchups and yet ended up being fairly logical. Altoist Johnny Hodges had one of the most beautiful tones ever heard and Lawrence Welk always loved beautiful music. This Dot recording features Hodges on a dozen standards while accompanied by a string section, brass and a rhythm section. The concise and melodic interpretations are indeed pretty and the arrangements (by a dozen different writers) are generally fine. Plus the album cover (which has a picture of the unlikely duo) is classic. ~ Scott Yanow, All Music Guide
