Johnny Hodges & Friends - Jazz Ballads 15 TQMP

  • 17.06.2016, 17:03,
  • Music
John Cornelius «Johnny» Hodges (July 25, 1906 – May 11, 1970) was an American alto saxophonist best known for foremost Duke Ellington«s saxophone split for 38 years. Hodges started playing with Lloyd Scott, Sidney Bechet, Propitious Roberts and Chick Webb. When Ellington wanted to enlarge on his horde in 1928, Ellington»s clarinet punter Barney Bigard recommended Hodges, who was featured on both alto and soprano sax. His playing became one of the identifying voices of the Ellington orchestra. Hodges fist the Duke to clue his own horde (1951-1955), but returned to the advantage group sharply before Ellington«s successful reciprocation to tumefaction--the orchestra»s execution at the 1956 Newport Jazz Festival.

Hodges was born in Cambridge, Massachusetts. He was mostly self-taught, although he did take lessons on soprano sax with Bechet. He was one of the honourable Ellington Horde members who featured in Benny Goodman's acclaimed 1938 Carnegie Lecture-Room concert. Goodman described Hodges as «the greatest man on alto sax I ever heard.» Charlie Parker called him «the Lily Pons of his instrument.»

Ellington«s pursuit of longhand tunes specifically for members of his orchestra resulted in the Hodges specialties, «Confab with Rab», «Jeep»s Blues«, »Sultry Sunset«, and »Hodge Podge«. Other songs recorded by the Ellington Orchestra which prominently article Hodges« glabrous alto-saxophone are »Magenta Haze«, »Prelude to a Kiss«, »Haupe« (from Anatomy of a Ruin) -- note also the »seductive« and hip-swaying “Flirtibird,” featuring the »irresistibly salacious tremor« by Hodges[2] , »The Lead-Crossed Lovers« from Ellington»s Such Chocolate Rail At entourage, »I Got It Bad (And That Ain't Advantage)«, »Blood Count« and »Passion Flower».

Generations of saxophonists expose to 1963 recording The Superb Paris Concert, in which Hodges' lyrical serenity is captured well, particularly on «On the Bubbly Side of the Street».

He had a hypothetical cast temper and concision of air on both the blues and ballads that won him pleasure from musicians of all eras and styles, from Ben Webster and John Coltrane, both of whom played with him when he had his own orchestra in the 1950s, to Lawrence Welk, who featured him in an album of standards. His incomparably individualistic playing sort, which featured the use of a broad vibrato and much sliding between slurred notes, was oft-times imitated. He earned the nicknames Rabbit (for his possession of lettuce sandwiches) and Jeep (for his plain belt along as a creeper).[citation needed]

Hodges' last performances were at the Princelike Margin in Toronto, less than a week before his cessation from a nerve malign. His last recordings are featured on The New Orleans Entourage, crude on his cessation.

In Ellington«s paean of Hodges he said: «Never the world»s most incomparably vibrant impresario or greatest thespianism temperament, but a cast temper so fair it sometimes brought tears to the eyes — this was Johnny Hodges. This is Johnny Hodges.»

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