Hodges was apparently aware of this effect, leaving the Ellington orchestra in the 1950's, to be replaced by the stellar alto man, Willie Smith, formerly the lead alto star of the Jimmy Lunceford Orchestra. This situation somehow benefitted neither Ellington or Hodges, with the Ellington orchestra losing a certain luster despite Mr. Smith's excellence, and with major stardom just beyond Mr. Hodges' reach.
Luckily for the listener the recordings Mr. Hodges left behind as a leader, while arguably eluding stardom for the artist at the time, are nonpareil examples of relaxed swing, subtle inflection and perfect phrasing, peerless tone and seemingly effortless technique. More luck for the listener, Mr. Hodges later rejoined the Ellington fold, returning a signature sound to the orchestra's unique palette for many years after.
It has been reported that the Ellington orchestra worked nearly 365 days a year. When asked about this grueling schedule Mr. Ellington said something to the effect that he would settle for nothing less than the finest artists for his orchestra. What with the necessarily high salaries accorded an orchestra of virtuosos, the band had to work often in order to survive. Certainly no one in the Ellington orchestra more exemplified Mr. Ellington's highest standards than Johhny Hodges.
On the Sunny Side of the Street
Johnny Hodges Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And I had nothing but shadows
Then one morning you passed
And I brightened at last
Now I greet the day and complete the day
With the sun in my heart
All my worry blew away
When you taught me how to say
Grab your coat and get your hat
Leave your worry on the doorstep
Just direct your feet
To the sunny side of the street
Can't you hear a pitter-pat?
And that happy tune is your step
Life can be so sweet
On the sunny side of the street
I used to walk in the shade
With those blues on parade
But I'm not afraid
This Rover crossed over
If I never have a cent
I'd be rich as Rockefeller
Gold dust at my feet
On the sunny side of the street
Grab your street
On the Sunny Side of the Street by Johnny Hodges is a classic jazz song that speaks to the transformative power of love. The opening lines convey a sense of isolation and darkness, as the singer walks and talks with no one and exists only in shadows. However, this all changes when they encounter a significant other, referred to as "you," who brings light into their life. The singer becomes filled with joy and love, and the sunny side of the street becomes the place where they want to be. The lyrics encourage listeners to leave their worries behind and join the singer on the sunny side of the street where life is sweet and happy.
The song is an uplifting piece of music that uses metaphors to describe a positive outlook on life. The "sunny side of the street" is not only a physical location but also a state of mind. It represents a place where troubles dissipate, and happiness abounds. The song speaks of the power of positive thinking and reminds us that by changing our perspective, we can change our circumstances.
Line by Line Meaning
Walked with no one and talked with no one
I was alone and had no one to turn to
And I had nothing but shadows
My life was dark and lonely
Then one morning you passed
You came into my life unexpectedly
And I brightened at last
You brought light and joy to my life
Now I greet the day and complete the day
You make my days start and end on happy notes
With the sun in my heart
I am filled with warmth and happiness
All my worry blew away
You helped me forget my worries
When you taught me how to say
You taught me to be optimistic and positive
Grab your coat and get your hat
Let's go outside
Leave your worry on the doorstep
Forget your troubles
Just direct your feet
Let's walk towards happiness
To the sunny side of the street
Towards a brighter future
Can't you hear a pitter-pat?
Can't you feel your heart beating?
And that happy tune is your step
You have a spring in your step
Life can be so sweet
Life can be full of happiness
On the sunny side of the street
When you have a positive outlook
I used to walk in the shade
I used to be unhappy and negative
With those blues on parade
With my problems always on display
But I'm not afraid
But now I am brave and confident
This Rover crossed over
I left my old life behind
If I never have a cent
Even if I have nothing
I'd be rich as Rockefeller
I feel rich and lucky to have love in my life
Gold dust at my feet
My life is full of treasures
On the sunny side of the street
Thanks to a positive outlook
Lyrics © Reservoir Media Management, Inc., Warner Chappell Music, Inc.
Written by: Dorothy Fields, Jimmy McHugh
Lyrics Licensed & Provided by LyricFind
@wyndhleodumegwu253
Johnny is herein very smooth and polished.
His tonguing is swift and sharp.
He himself, Willie Smith and Benny Carter seemed to have had a similar style.
Cannot be too sure, but I think that Benny Carter was the most senior, followed by Johnny Hodges and by Willie Smith, possibly the youngest.
I adore and admire Willie Smith's playing.
Think he was with Harry James's, then with Duke Ellington or Count Basie for a brief period; he returned to - - - either Duke's or Basie's; I cannot be too certain of the exact Band - Duke's or Basie's.
I am over fascinated at Johnny's playing of "Fantastic That's You" - smooth, sensitive and romantic, if I may.
Thanks for post!
@gloriaanaruma1279
Obrigada pela postagem desta belíssima canção que traz otimismo e alegria ao coração. Gratidão pela postagem!
@rndytb2012
Excelente.O saxofone jazzístico em traje de gala.Nota 10.
@paulbariohay3213
merveilleuse interprétation d'un immense classique du Jazz !!!!!!!!
@gabrielleauguste5946
Très élégant , comme interprétation,très stylé.Bravo 🎷🙋🎷🎷🎶🎶👏👏👏🐦🐦😉💞💞💛🌟💎💥
@halweston3036
best sax man of all time ever he was brilliant true genious
@wyndhleodumegwu253
Johnny is herein very smooth and polished.
His tonguing is swift and sharp.
He himself, Willie Smith and Benny Carter seemed to have had a similar style.
Cannot be too sure, but I think that Benny Carter was the most senior, followed by Johnny Hodges and by Willie Smith, possibly the youngest.
I adore and admire Willie Smith's playing.
Think he was with Harry James's, then with Duke Ellington or Count Basie for a brief period; he returned to - - - either Duke's or Basie's; I cannot be too certain of the exact Band - Duke's or Basie's.
I am over fascinated at Johnny's playing of "Fantastic That's You" - smooth, sensitive and romantic, if I may.
Thanks for post!
@mrjimmienoone2130
Willie Smith started in Jimmie Lunceford's band, and he helped to make that band great. Listen to Lunceford's "Blues in the Night" or - even better - his "Uptown Blues". Willie's incredible intro into Lionel Hampton's 'Stardust' take of 1947 (with Charlie Shavers, Corky Corcoran, Barney Kessel...) is an absolute show-stopper. I couldn't tell any influence leading to Willie's style, except that his explosive expressivity reminds me of clarinetist Johnny Dodds. -
Benny Carter was great on fast tunes, he was less of a balladeer on alto (he played better ballads on trumpet). He could have been influenced by the light clarinet touch of Albert Nicholas or Jimmie Noone. -
Hodges' style is clearly based on Sidney Bechet's, with whom he played for a few months in the Ellington band of the 20ies (no records made during this time, unfortunately). This can be seen not only on Hodges' soprano sax records but also in his alto style.
@filipdinevmusic
What a king...
@samanthahancock8952
I just looked this up because of a book I'm reading called All The Answers and a girl has to play this for her grandpa. Also uploaded on my birthday! XD
@ryanro9562
same here