DUKE ELLINGTON AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 881 (1996) FLAC (tracks+.cue), lossless

The 29th in Classics' reissuance of Duke Ellington's recordings as a leader (which unfortunately skips most alternate takes) features his orchestra shortly after the recording ban of 1942-44 had finally ended. In addition to several vocal numbers for Joya Sherrill (including the hit "I'm Beginning to See the Light"), Al Hibbler and Kay Davis, there are features for trombonist Lawrence Brown ("Blue Cellophane") and altoist Johnny Hodges ("Mood to Be Wooed"), the original four-part studio version of "Black, Brown and Beige" (which totals 18 minutes), a four-song session headed by drummer Sonny Greer that features altoist Otto Hardwick, trumpeter Taft Jordan and clarinetist Barney Bigard (despite what it says in the liner notes, the pianist is the obscure Duke Brooks and not Duke Ellington) and the early V-disc version of "The Perfume Suite." Excellent music from an underrated edition of the Duke Ellington Orchestra. Scott Yanow   Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1945 | The Classics Chronological Series – 915 (1996) FLAC (tracks+.cue), lossless

After starting off with a few valuable V-disc performances (including 13 minutes of the "Black, Brown and Beige" suite), this CD features some of Duke Ellington's studio recordings of April-May 1945. Although this particular band was not rated as high as their 1939-1942 counterpart, they still ranked near the top of their field. Among the gems are "The Kissing Bug," "Harlem Air Shaft," quite a few fine remakes (this version of "It Don't Mean a Thing" with singers Al Hibbler, Joya Sherrill, Kay Davis, and Marie Ellington is a classic), and a pair of unusual numbers. "Tonight I Shall Sleep" has trombonist Tommy Dorsey guesting with Duke Ellington's orchestra, while on "The Minor Goes Muggin'," Ellington sits in with Dorsey's band. Overall, there is a lot of rather interesting music to be heard on this CD from this underrated version of the Ellington big band. Scott Yanow   Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1945, Vol. 2 | The Classics Chronological Series – 951 (1997) FLAC (tracks+.cue), lossless

Duke Ellington's orchestra in 1945 was riding quite high, with annual Carnegie Hall concerts, constant performing and recording, and appearances on many radio broadcasts. This disc features both studio recordings and a few V-Discs taken from radio shows. The latter are most notable for including the extended two-part "Frankie and Johnny" and the 12-and-a-half-minute "New World A-Comin'," while the studio recordings are highlighted by "Jumpin' Room Only" and three of the four parts of "Perfume Suite." With such soloists as Tricky Sam Nanton, Lawrence Brown, Al Sears, Johnny Hodges, Harry Carney, and four trumpeters, Ellington's big band remained at the top of its field as World War II came to an end. Scott Yanow  Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1946 | The Classics Chronological Series – 1015 (1998) FLAC (tracks+.cue), lossless

For the casual listener, "best of" collections are a good way to explore Duke Ellington's legacy. But if you're a serious collector or a completist, it's important to be aware of Classics, a French label that put out more than 30 CDs of the Duke's work in the 1990s. Regrettably, Classics generally skipped alternate takes; but even so, it was nice to see a label reissuing Ellington's master takes chronologically. This rewarding CD focuses on Ellington's recordings of 1946, when his orchestra boasted such heavyweights as trumpeter Cat Anderson, alto saxophonist Johnny Hodges, tenor saxman Al Sears, baritone saxman Harry Carney, trombonist Lawrence Brown, and drummer Sonny Greer. It was in 1946 that the Duke recorded his last two sessions for RCA Victor, and this CD spotlights those two sessions before offering two pieces from an October 23 session for Musicraft ("Magenta Haze" and "Diminuendo in Blue") and several V-disc recordings from a November 23 concert at Carnegie Hall in New York, where Ellington's orchestra performed "The Golden Cress" and "Sultry Sunset" as well as the interesting, four-part "Deep South Suite." The suite's fourth part is the well-known "Happy Go Lucky Local," an infectious blues track that became the basis for Jimmy Forrest's 1951 smash "Night Train" (which was speeded up and covered by the Godfather of Soul James Brown in the early 1960s). Most of the material on 1946 is instrumental, although Ellington features singer Marion Cox on pleasing arrangements of "St. Louis Blues" and "Lover Man," and fares equally well with singer Kay Davis on "I Don't Stand a Ghost of a Chance With You." While 1946 falls short of essential, the selections are definitely rewarding and prove that the late 1940s was a creatively successful, if underrated, period for the Duke. Alex Henderson     Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1946-1947 | The Classics Chronological Series – 1051 (1999) FLAC (tracks+.cue), lossless

This installment of the Classics label document of the Duke Ellington story highlights recordings for the Musicraft label in November and December 1946, four V-discs recorded in New York on May 10, 1947, and the first sessions for Columbia in August and September 1947. Considering the financial challenges of keeping a large ensemble performing in the late '40s (which would have an almost devastating effect in the early '50s,) Ellington not only managed to continue creating intriguing music but he maintained a legendary horn section. These dates feature Ray Nance, Taft Jordan, Shorty Baker, Cat Anderson, Jimmy Hamilton, Johnny Hodges, Russell Procope, Tyree Glenn, Wilbur De Paris, Al Sears, and Harry Carney. Six vocal pieces are also included: one each from Kay Davis and Chester Crumpler, two featuring Al Hibbler, and Ray Nance clowns around on "Tulip or Turnip" and "Women (They'll Get You). Al Campbell   Tracklist + Credits :

DUKE ELLINGTON AND HIS ORCHESTRA – 1947-1948 | The Classics Chronological Series – 1119 (2000) FLAC (tracks+.cue), lossless

 With the exception of "The Tattooed Bride," an extensive work from Duke Ellington's 1948 Carnegie Hall concert that was originally released on V-Disc, all of the music on this CD is taken from November-December 1947. Ellington was quite busy in the recording studios during this period (as were many bands), since it was known that a recording strike would most likely be taking place the following year. In addition to fine remakes of "Do Nothin' Till You Hear From Me" and "Don't Get Around Much Anymore," and an atmospheric vehicle for Kay Davis' voice on "On a Turquoise Cloud," the year-end work included the memorable six-part "Liberian Suite" (one of Ellington's best extended pieces) and his nearly atonal piano exploration on the intriguing "The Clothed Woman." While much of this music is available elsewhere, the performances are of high quality and well worth acquiring one way or another. Scott Yanow   Tracklist + Credits :

LIONEL HAMPTON AND HIS ORCHESTRA – 1942-1944 | The Chronogical Classics – 803 (1995) FLAC (tracks+.cue), lossless

The Lionel Hampton Big Band made it big during the period covered by this CD. "Flying Home," which Hampton had recorded at least twice earlier with combos, became a sensation thanks to Illinois Jacquet's honking tenor (which largely launched R&B) and the excitement generated by Hampton and his band (including the screaming trumpet section). This disc covers most of the war years, has a few V-discs (including the hit version of "Flying Home" and a two-part remake), and such numbers as "Loose Wig," "Hamp's Boogie-Woogie," "Overtime," and "Tempo's Boogie." Jacquet was actually with Hampton for a relatively brief period of time, but Arnett Cobb proved to be a perfect replacement. Also quite notable in the band is pianist Milt Buckner (whose block chords became influential) and such high-note trumpeters as Ernie Royal, Cat Anderson, and Snooky Young. Scott Yanow
Tracklist + Credits :

REX STEWART – 1934-1946 | The Classics Chronological Series – 931 (1997) FLAC (tracks+.cue), lossless

On January 9, 1935, Rex Stewart made his first records with Duke Ellington. Clearly, Duke was already a very strong presence in the young cornetist's musical life. "Stingaree," recorded on December 12, 1934, by Rex Stewart & His Orchestra, sounds more than a bit like "Stompy Jones," recorded by Duke Ellington & His Orchestra on January 9, 1934. "Baby, Ain't You Satisfied" was the flip side of "Stingaree," issued on a 78-rpm Vocalion record bearing the serial number 2800. This is the kind of information that the Classics Chronological reissue series provides in its discographies, by the way. You can savor the gradual evolution of an artist's career while poring over recording data and neat little lists of personnel. One name that stands out from the "Stingaree" session is reedman Rudy Powell, who was distinguishing himself in the company of Fats Waller during this same time period. Powell's verbal expostulations during "Satisfied" are as funky and funny as those gruff outbursts usually spoken by Waller or Louis Armstrong. These two numbers are the perfect curtain-raiser for an unusually diverse musical profile. Many of Stewart's best and most often reissued recordings were made under the auspices of Irving Mills and Duke Ellington. Here at last is a collection that expands the lens to include music well outside of that familiar ground. Rex Stewart's Big Seven made four sides on behalf of the Hot Record Society in the summer of 1940. Stewart led his Big Eight on a Keynote date in June of 1944. A slightly reconstituted Big Eight slapped down three contemporary-sounding tracks for Capitol in January 1945. Another octet, now billed as Stewart's "Orchestra," made four records for Parlophone in July 1945. Finally, there is the wild and woolly Mercury session of February 8, 1946. Seldom has an essential segment of Rex Stewart's career been so carefully represented on one disc. The Hot Record Society session glows with the rhythmically magical combination of Wellman Braud and Davey Tough. A slow drag entitled "Solid Rock" is exceptionally passionate and blue. The Keynote sides, especially "Zaza" and "Swamp Mist," are marvelous pieces of chamber jazz, graced with the minds of pianist Johnny Guarnieri and the great Harry Carney, who brought along his bass clarinet. Great changes in style took place within the span of time represented by this CD. A particularly good year for the appearance of young whips who seemed always to be looking ahead, like Earl Bostic and Al Sears, was 1945. There is a smoky tenor sax solo by Stafford "Pazuzza" Simon on "That's Rhythm." A 1946 remake of the famous Ellington/Stewart collaboration "Boy Meets Horn," a funky "Jug Blues," and the outrageous "B.O. Blues" demonstrate Stewart's increasingly eccentric approach to artistic expression and musical entertainment. arwulf arwulf  
Tracklist + Credits :

ELLA FITZGERALD – 1945-1947 | The Classics Chronological Series – 998 (1998) FLAC (tracks+.cue), lossless

Welcome to a richly rewarding segment of the all too often overlooked plateau that lies between Ella Fitzgerald's recordings with Chick Webb's orchestra during the second half of the 1930s and her triumphant reign as one of the world's most popular jazz singers during the 1950s, '60s, and '70s. The recordings she made between February 26, 1945, and March 1, 1947, illustrate this woman's amazing versatility as she teamed up with an extraordinarily variegated range of vocalists and instrumentalists. Her pleasant collaborations with the Ink Spots and the Delta Rhythm Boys and a few titles with big-band accompaniment serve as appetizers for "Stone Cold Dead in the Market (He Had It Coming)," a disturbingly funny calypso number featuring Louis Jordan & His Tympany 5. Here Ella and Louis put across a performance even more outrageous than Sarah Vaughan's eccentric West Indian suicide song "De Gas Pipe She's Leaking, Joe." While Jordan's band grinds out spicy Caribbean dance music, Ella proudly explains how, fed up with being physically abused, she beat her husband to death with various kitchen utensils. Jordan, who calmly states that he's singing his portion of the duet while stretched out inanimate in the shopping district, admits that he was an abusive drunkard who often beat his wife. This incredibly humorous sendup of the horribly tragic and all too common specter of domestic violence leading to homicide is sustained largely by the female vocalist, who repeatedly describes her husband-killing technique, defiantly exclaims "he had it coming," and even communes with the spirit of Bessie Smith by insisting that she'd do it again even "if I was to die in the electric chair." This interesting compilation also contains a pair of duets with Louis Armstrong, some pleasant performances backed by bands led by pianists Billy Kyle and Eddie Heywood, and some really wild V-Disc collaborations with drummer and scat singer Buddy Rich. Never a dull moment! arwulf arwulf  
Tracklist + Credits :

ANDY KIRK AND HIS CLOUDS OF JOY – 1940-1942 | The Classics Chronological Series – 681 (1993) FLAC (tracks+.cue), lossless

The Andy Kirk Orchestra was going through some major changes during the period covered by this CD. Tenor star Dick Wilson died prematurely; pop singer Pha Terrell had left; pianist and chief arranger Mary Lou Williams departed in early 1942 (Ken Kersey was her replacement on piano); and such interesting younger players as trumpeters Harold "Shorty" Baker and Howard McGhee and Al Sears on tenor gave the group a slightly different sound. Actually, the music on this CD (late-period swing) is consistently on a higher level than on most of the previous CDs in the Classics series. Highlights include "The Count," "Hey Lawdy Mama," "Boogie Woogie Cocktail" (featuring Kersey) and Howard McGhee's recording debut on the exciting "McGhee Special." Scott Yanow
Tracklist :
1    Midnight Stroll 3:19
 Sammy Lowe
Vocals – June Richmond
2    Little Miss    3:12
 Ned Washington
3    The Count    3:09
 Tom Gordon
4    Twelfth Street Rag    2:55
 Euday L. Bowman
5    (Ev'rything Happened) When I Saw You 3:06
 Mueller Johnson
Vocals – Henry Wells
6    If I Feel This Way Tomorrow (Then It's Love) 2:59
Vocals – Henry Wells
7    Or Have I 2:50
 Sam H. Stept
Vocals – Henry Wells
8    Cuban Boogie Woogie 2:19
Lake / La Vere
Vocals – June Richmond
9    A Dream Dropped In 3:05
 Marty Symes
Vocals – Henry Wells
10    Is It A Sin (My Loving You?) 3:04
 Marcus Carcus
Vocals – Henry Wells
11    Ring Dem Bells    2:49
 Duke Ellington / Irving Mills
12    Big Time Crip 2:58
 Wells / Mary Lou Williams
Vocals – Orchestra
13    47th Street Jive 3:11
 Roosevelt Sykes
Vocals – June Richmond
14    I'm Misunderstood 3:20
Grouya
Vocals – Henry Wells
15    No Answer 2:47
Wood / Hoffman / Siegler
Vocals – Henry Wells
16    Hey Lawdy Mama (Meet Me In The Bottom) 2:56
Easton
Vocals – June Richmond
17    Boogie Woogie Cocktail 2:46
Arranged By – Kenny Kersey
18    Ride On, Ride On 2:25
Tolbert
Vocals – June Richmond
19    McGhee Special 2:58
Arranged By – Howard McGhee
20    Worried Life Blues (Someday Baby) 2:27
 Henry Nemo
Vocals – Floyd Smith
21    Take It And Git 3:13
Chapman / Chapman / Green / Marshall
Vocals – Orchestra
22    Hip Hip Hooray 2:58
Nemo / Ebbins
Vocals – June Richmond
23    Unlucky Blues 2:50
Feather / Feather
Vocals – June Richmond
Credits :    
Alto Saxophone – Ben Smith (tracks: 16 to 23), Earl Miller (tracks: 12 to 15)
Bass – Booker Collins
Clarinet, Alto Saxophone – Rudy Powell (tracks: 1 to 11)
Clarinet, Alto Saxophone, Baritone Saxophone – John Harrington
Clarinet, Tenor Saxophone – Dick Wilson (tracks: 1 to 15), Edward Inge
Directed By – Andy Kirk
Drums – Ben Thigpen
Guitar, Electric Guitar – Floyd Smith
Piano – Kenny Kersey (tracks: 16 to 23), Mary Lou Williams (tracks: 1 to 15)
Tenor Saxophone – Al Sears (tracks: 16 to 23)
Trombone – Henry Wells (tracks: 1 to 15), Milton Robinson (tracks: 16 to 23), Ted Donnelly
Trumpet – Clarence Trice (tracks: 1 to 15), Harold Baker (tracks: 1 to 15), Harry Lawson, Howard McGhee (tracks: 16 to 23), Johnny Burris (tracks: 16 to 23) 

JOHNNY HODGES AN HIS ORCHESTRA - 1945-1950 {CC, 1189} (2001) FLAC (tracks+.cue), lossless

John Cornelius Hodges began working with Duke Ellington in 1928 and soon became one of the prime voices in the Ellington orchestra. Hodges began leading his own recording ensembles -- actually scaled-down versions of Duke's band -- in 1937. Occasionally sitting in with other leaders like Lionel Hampton, Hodges also led groups of his own, including a quartet at New York's Apollo Club during the summer of 1948 and five of the six bands heard on this first volume of his complete recordings in chronological order. (All records issued under Hodges' name prior to 1947 have been included in the massive Classics chronology of Duke Ellington.) Sandy Williams' Big Eight was one of many ensembles recording for the Hot Record Society -- and one of the very best of them. "Mountain Air" and "After Hours on Dream Street" are slow, smooth, languid, and lovely, with Hodges playing pretty for the people. "Sumpin' Jumpin' Round Here" is a smart strut with a hint of Latin American rhythm built into its caboose. Harry Carney, who fortunately appears on fully half of the recordings reissued here, does some friendly nudging with his horn on this pleasantly stimulating dance tune. "Chili con Carney" is a light bounce honoring the baritone saxophonist without granting him any more solo space than a couple of brief breaks. The next four selections appeared on the small and ephemeral Wax label in 1947. Carney is roundly featured on Jerome Kern's moody existential opus "Why Was I Born?," and Hodges softly interprets Walter Donaldson's "You're Driving Me Crazy" in what must be one of the slowest and most gentle versions of this song ever recorded. "Key Largo" carries a whiff of the Caribbean in its dulcet tones and lapping rhythm. Billy Strayhorn's "Triple Play" is marvelously cool mood music, elegantly rendered by a quintet with the composer at the piano. When Hodges recorded for the Mercer and Sunrise labels, he included longtime Ellington trombonist Lawrence Brown, Chick Webb's star trumpeter Taft Jordan, up-and-coming tenor saxophonist Al Sears, and a rhythm section of Billy Strayhorn, Oscar Pettiford, and trombonist Wilbur DeParis sitting in on the drums! Each performance is a delight. "A Flower Is a Lovesome Thing" is the classic Strayhorn/Hodges still life. "Longhorn Blues" and "Faraway Blues" both feel like close cousins to "Jeep's Blues." On the second Mercer session Harry Carney replaces Brown, Harold "Shorty" Baker is the trumpeter, and Sonny Greer does wonderful things with the drums. Anyone who wants to hear Strayhorn cook a little on the piano should check out the groove track "Searsy's Blues," which is somewhat of an advanced approach to a boogie. Its tempo reappears exactly on "Let the Zoomers Drool" -- a "zoomer" being hip vernacular for a mooch. Years later, Dave Frishberg liked "A Little Taste" so much that he composed some of his funniest lyrics based on its nonchalant contours. This satisfying CD ends with the first of Hodges' Parisian sessions from 1950, with Raymond Fol sitting in with a pack of Ellingtonians when Duke declined to participate for contractual reasons. These tracks are notable for the presence of trombone ace Quentin "Butter" Jackson and voluntary expatriate tenor saxophonist Don Byas, who blows a splintering run during the crackling strut "We Fooled You." arwulf arwulf
Tracklist :
1     Mountain Air 3'02
Cat Anderson / Tab Smith
2     Sumpin' Jumpin' Round Here 3'00
Brick Fleagle   
3     After Hours on Dream Street 3'20
Brick Fleagle   
4     Chili con Carney 2'38
Harry Carney   
5     Key Largo 2'37
Benny Carter / Lou Carter / Karl Suessdorf / Leah Worth
6     You're Driving Me Crazy 2'53
Walter Donaldson   
7     Why Was I Born? 3'12
Oscar Hammerstein II / Jerome Kern   
8     Triple Play 2'42
Billy Strayhorn   
9     Who Struck John? 2'51
Duke Ellington / Johnny Hodges   
10     It Shouldn't Happen to a Dream 3'03
Duke Ellington / Don George / Johnny Hodges   
11     June's Jumpin' 2'48
Johnny Hodges   
12     Violet Blue 3'05
Billy Strayhorn   
13     A Flower Is a Lovesome Thing 2'53
Billy Strayhorn
14     Frisky 4'48
Duke Ellington / Johnny Hodges
15     Longhorn Blues 2'50
Duke Ellington / Johnny Hodges
16     Far Away Blues 2'53
Duke Ellington / Johnny Hodges
17     Searsy's Blues 2'44
Duke Ellington / Johnny Hodges
18     A Little Taste 3'08
Cannonball Adderley / Duke Ellington / Johnny Hodges
19     Let the Zoomers Drool 3'00
Duke Ellington / Johnny Hodges
20     Charlotte Russe 3'08
Johnny Hodges   
21     St. Germain-des-Prés Blues 3'22
Don Byas
22     Good to the Last Drop 3'13
Gene Page
23     Only Wish I Knew 3'06
Don Byas / Raymond Fol
24     We Fooled You 2'46
Harold Baker / Johnny Hodges

JOHNNY HODGES AND HIS ORCHESTRA - 1950-1951 (2002) The Classics Chronological Series – 1248 | FLAC (tracks), lossless

Johnny Hodges' 1950 Parisian Vogue recordings -- augmented here with four sides waxed in Copenhagen for the Danish Tono label -- form a prologue to the records Hodges would make with Norman Granz from 1951-1955. The band heard on the first five tracks was essentially a condensed Ellington group with Don Byas sitting in and Raymond Fol at the piano. "Last Leg Blues" is a saucy, loping exercise in two parts that incorporates at one point a lick from "Tuxedo Junction." This is a good example of what seems at first like an almost too simple musical idea bearing incredible fruit, Jimmy Hamilton's clarinet and Hodges' alto working it up handsomely into an impressive exploration of the blues. Composed by Hamilton, the feisty, bop-like "Nix It, Mix It" is one of the most exciting tracks included here. "Time on My Hands" feels like an oasis of lyrical familiarity among so many relatively uncomplicated melodies designed for jamming rather than reflection. Hamilton, Byas, and Hodges communicate wonderfully during this gorgeous ballad. Three of the four Danish recordings feature vocalist Chubby Kemp, whose slightly nasal voice sounds like Anita Love or maybe even Little Esther Phillips if she'd sung jazz. "Tea for Two" is a pleasant surprise, with Hamilton's clarinet sending up bubbles over Quentin "Butter" Jackson's mellifluous trombone during the opening. Hodges and Hamilton both deliver spirited solos and the antiquated Vincent Youmans confection grows into something intricate, ornate, and exhilarating. Back in Paris with the band scaled down to a sextet, Hodges led his men through a stunning rendition of Juan Tizol's "Perdido," eased them into "Mood Indigo," "Sweet Lorraine," and the 19th century melody "In the Shade of the Old Apple Tree," here rendered into a smooth, cool exercise in swing. "Rendez-Vous at the Hot Club" moves briskly and swings hard. With the session of January 15, 1951, Hodges was back on American soil, initiating a collaborative relationship with producer Norman Granz that would continue through 1955 and occasionally rekindle over the years. According to Stanley Dance, "You Blew Out the Flame in My Heart" was given the erroneous title "Rabbit's Blues" in an early recording ledger, and the misnomer continues to resurface in discographies to this very day. Over the next five years, Hodges would record an enormous amount of material for the Mercury, Clef, and Norgran labels, often relying upon tenor saxophonist Al Sears to help steer the operation as the music evolved into relative modernity while rooted in strong elements of blues, ballads, and swing. arwulf arwulf

Tracklist :
1     Jump, That's All 3'38
Harold Baker
2     Last Legs Blues, Pt. 1 3'09
Johnny Hodges
3     Last Legs Blues, Pt. 2 3'02
Johnny Hodges
4     Nix It, Mix It 3'22
Jimmy Hamilton
5     Time on My Hands 3'22
Harold Adamson / Mack Gordon / Vincent Youmans
6     Run About 3'07
Johnny Hodges    
7     Wishing and Waiting 3'27
Johnny Hodges    
8     Get That Geet 3'22
Johnny Hodges    
9     That's Grand 3'28
Johnny Hodges    
10     Skip It 3'21
Johnny Hodges    
11     Mellow Mood 3:18     
Flandrake /     Williams
12     How I Wish I Was Around 3:29     
 Flandrake  
13     I Met a Guy 3:09     
Connors / Flandrake  
14     Tea for Two 3'18
Irving Caesar / Vincent Youmans
15     Perdido 3'06
Ervin Drake / Hans Lengsfelder / Juan Tizol
16     In the Shade of the Old Apple Tree 3'42
Egbert VanAlstyne / Harry Williams    
17     Mood Indigo 3'47
Barney Bigard / Duke Ellington / Irving Mills
18     Sweet Lorraine 3'11
Clifford R. Burwell / Mitchell Parish
19     Rendez-Vous at the Hot Club 3'05
Traditional
20     Hop, Skip and Jump 2'29
Duke Ellington
21     Rabbit's Blues (You Blew Out the Flame in My Heart) 3'37
Johnny Hodges
22     Something to Pat Your Foot To 2'55
Al Sears
23     Blue Fantasia 3'13
Johnny Hodges
24     My Reward 3'09
Duke Ellington

JOHNNY HODGES AN HIS ORCHESTRA - 1951-1952 {CC, 1389} (2005) FLAC (tracks), lossless

Between January 1951 and August 1955, alto saxophonist Johnny Hodges took an extended vacation from Duke Ellington and led his own ensembles in a remarkably fruitful series of recording sessions produced by Norman Granz. Volume three in the Classics Johnny Hodges chronology opens with four outstanding tracks cut on February 28, 1951. Since Hodges was still drawing a salary from Ellington during the session that took place on January 15, these are the first recordings he made as an independent artist after severing the professional umbilicus that had tethered him to Duke's orchestra since the late '20s. Johnny Hodges was one of Ellington's cardinal voices, and musically, they more or less grew up together; even when technically separated, both men continued to make music that reflected a glowing spectrum of shared sensibilities. Most of the Hodges/Granz bands were peppered with Ellingtonians, and several are in evidence here; trombonist Lawrence Brown, drummer Sonny Greer, Billy Strayhorn sitting in at the piano on "Globe Trotter" and tenor man Al Sears serving as "musical director" and booking agent. The session of March 3, 1951 opened with "Castle Rock," Searsy's gutsy self-portrait in R&B that made it onto entertainment industry charts and into jukeboxes for a little while as a "hit." The rest of these recordings were fated to exist as they do today -- as excellent music suspended in an amorphous category stamped with the word "jazz"; marginalized by a mainstream pop culture obsessed with star vocalists, specious spectacle and anything pasted over with the meaningless word "new." These recordings made by a series of septets under the leadership of Johnny Hodges in New York and San Francisco during 1951 and 1952, feature (in addition to the artists already mentioned) such able practitioners as trumpeter Emmett Berry, saxophonist Flip Phillips, bassist Red Callender, drummer J.C. Heard and Ellington vocalist Al Hibbler -- and these timeless performances still await wider recognition. arwulf arwulf
Tracklist :
1     Good Queen Bass 3:05     
Johnny Hodges
2     Jeep's Blues 2:59
Ellington, Hodges
3     Solitude 2:56
Eddie DeLange / Duke Ellington / Irving Mills
4     The Jeep Is Jumping 2:50
Ellington, Hodges    
5     Castle Rock 2:53
Al Sears    
6     Sophisticated Lady 3:11
Duke Ellington / Irving Mills / Mitchell Parish
7     Globe Trotter 3:05
Hodges
8     Gentle Breeze 3:16
Sears    
9     Sideways 3:04
Lovett    
10     A Pound of Blues 3:11
Lovett    
11     Wham 3:04
Hodges    
12     Who's Excited 3:05
Mercer / Hodges
13     Sweeping the Blues Away 3:19
Ellington, Hodges    
14     Day Dream 3:21
Ellington, Latouche, Strayhorn
15     Standing Room Only  2:50
Hodges
16     Below the Azores 3:06
Lovett
17     Tenderly 3:21
Walter Gross / Jack Lawrence
18     Sweet Georgia Brown 6:01
Ben Bernie / Kenneth Casey / Maceo Pinkard
19     Duke's Blues 6:09
Hodges    
20     Tea for Two 3:02
Irving Caesar / Vincent Youmans
21     This Is My Night to Love 3:04
Ford
22     What I'm Gotchere 3:23
The Cue
Credits :
Billy Strayhorn  Piano
Lloyd Trotman  Bass
Anatol Schenker  Liner Notes
Barney Richmond  Bass
Lawrence D. Brown  Trombone
Sonny Greer  Drums
Emmett Berry  Trumpet
Red Callender  Bass
J.C. Heard  Drums
Leroy Lovett  Piano, Celeste
Al Hibbler  Violin, Vocals
Johnny Hodges  Sax (Alto)
Flip Phillips  Sax (Tenor)
Al Sears  Sax (Tenor)