The paths of Johnny Hodges (John Cornelius "Johnny" Hodges, nicknames: "Rab… Read Full Bio ↴The paths of Johnny Hodges (John Cornelius "Johnny" Hodges, nicknames: "Rabbit", "Jeep". b. July 25, 1907, in Cambridge, Massachusetts, d. May 11, 1970) and Duke Ellington are eternally intertwined. While Hodges is now universally acknowledged as one of the seminal alto saxophonists in jazz he was, at times, overlooked as an artist in his own right; somehow hidden in the penumbra of The Duke Ellington Orchestra, for which Mr. Hodges was the lead alto player for many decades (doubling on soprano saxophone in the '30's and '40's as well).
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.
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.
The Ballad Medley: But Not for Me
Johnny Hodges Lyrics
Old man sunshine listen you
Never tell me dreams come true
Just try it and I'll start a riot
Beatrice Fairfax don't you dare
Ever tell me he will care
I'm certain it's the final curtain
I never want to hear from any cheerful Pollyannas
Who tell you fate supplies a mate
It's all bananas
They're writing songs of love but not for me
A lucky star's above but not for me
With love to lead the way I've found more clouds of gray
Than any Russian play could guarantee
I was a fool to fall and get that way
Hi-ho, alas, and also lack-a-day
Although I can't dismiss the memory of his kiss
I guess he's not for me
I was a fool to fall and get that way
Hi-ho, alas, and also lack-a-day
Although I can't dismiss the memory of his kiss
Never tell me dreams come true
Just try it and I'll start a riot
Beatrice Fairfax don't you dare
Ever tell me he will care
I'm certain it's the final curtain
I never want to hear from any cheerful Pollyannas
Who tell you fate supplies a mate
It's all bananas
A lucky star's above but not for me
With love to lead the way I've found more clouds of gray
Than any Russian play could guarantee
I was a fool to fall and get that way
Hi-ho, alas, and also lack-a-day
Although I can't dismiss the memory of his kiss
I guess he's not for me
I was a fool to fall and get that way
Hi-ho, alas, and also lack-a-day
Although I can't dismiss the memory of his kiss
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Capitol CMG Publishing, Downtown Music Publishing, Songtrust Ave, Warner Chappell Music, Inc.
Written by: George Gershwin, Ira Gershwin
Lyrics Licensed & Provided by LyricFind
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Martin Miller
FYI:
Baritone Saxophone – Harry Carney
Bass – Jimmy Woode
Cover – David Stone Martin
Drums – Sonny Greer
Alto Saxophone – Johnny Hodges
Tenor Saxophone, Clarinet – Jimmy Hamilton
Trombone – Lawrence Brown
Trumpet – Clark Terry
The Johnny Hodges signature ballad "Passion Flower" follows "Polka Dots & Moonbeams" in this medley.
Sergio Ignacio Labbe
Ben Webster, Coleman Hawkings are my favorites and now I have an other one; Johnny Hodges. I didn´t know him., a virtuoso !
c m b
billy strayhorn on piano
Joseph Maynor, Development Work, Intellect Mastery
This might be the most beautiful music I've ever heard. Johnny Hodges is such an incredible stylist.