Les cloches de l’église du village de Saltash chantent, quand le petit John s’approche par la rivière, sur le bateau de son père. Cette scène est évoquée soixante ans plus tard par le grand Surman, clarinettiste et saxophoniste anglais, artiste emblématique du label munichois. Pour ce septième op... Johnny Hodges
Partager
Langue disponible : anglais
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 YanowArtistes similaires
Les albums
220
albums triés par Prix : du plus cher au moins cher
CD69,99 €
Jazz - Paru le 1 janvier 2011 | Verve Reissues
CD34,97 €
Jazz - Paru le 9 novembre 2010 | Classic Music International
CD19,99 €
Jazz - Paru le 12 décembre 2006 | Fremeaux Heritage
CD19,98 €
Jazz - Paru le 15 septembre 2009 | Burning Fire
CD14,99 €
Jazz - Paru le 19 avril 2010 | Classic Music International
CD13,49 €
Jazz - Paru le 23 mai 2014 | NK32 Records
CD14,49 €
Jazz - Paru le 13 juin 1995 | RCA Bluebird
CD14,49 €
Jazz - Paru le 24 septembre 2010 | Legacy Recordings
CD10,99 €
Jazz - Paru le 9 août 2017 | Blue Velvet
![Johnny Hodges Blues-a-Plenty (feat. Ben Webster) [Bonus Track Version]](https://static.qobuz.com/images/covers/19/36/0888002673619_100.jpg)
CD9,99 €
Jazz - Paru le 15 juin 2013 | Jazz Musts
HI-RES14,99 €
CD9,99 €
Jazz - Paru le 4 janvier 2019 | Jube Legends
Hi-Res
![Johnny Hodges Not so Dukish (feat. Ben Webster) [Bonus Track Version]](https://static.qobuz.com/images/covers/02/36/0888002673602_100.jpg)
CD9,99 €
Jazz - Paru le 15 juin 2013 | Jazz Musts
CD9,99 €
Jazz - Paru le 1 janvier 2005 | Lone Hill Jazz
CD9,99 €
Jazz - Paru le 1 février 2019 | Intense Media GmbH
L'interprète
Johnny Hodges dans le magazine
-
John Surman Saltash Bells
Les cloches de l’église du village de Saltash chantent, quand le petit John s’approche par la rivière, sur le bateau de son père. Cette scène est évoquée soixante ans plus tard par le grand Surman, clarinettiste et saxophoniste anglais, artiste emblématique du label munichois. Pour ce septième op...