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Derrick Hodge
Derrick Hodge
Derrick Hodge
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Key Information

Derrick Hodge (born July 5, 1979) is an American record producer, musical director, bandleader, and bass guitarist. A two-time Grammy Award recipient, Hodge was named a Sundance Composer Fellow and received a Motif Award — one of world's highest honors for Child Advocacy. His bass performance Common's album Be has been recognized as one of top 20 basslines in hip-hop.

As a performer, Hodge has founded and played in bands and groups as diverse and as influential as R+R=Now, the Robert Glasper Experiment and The Blue Note All Stars, as a producer he has collaborated with Quincy Jones, Don Was and Common, and as a Musical Director, he has worked with artists such as Yasiin Bey, Nas, and notably held the position with Maxwell from 2009 to 2019.

Career

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Growing up just outside Philadelphia, Hodge’s talent was quickly recognized by members of the city's neo soul movement, and while still in college, he became the bass player and Musical Director for artists including Jill Scott, Maxwell, Floetry, James Posyer and Musiq Soulchild. Simultaneously he was forging a career in jazz circles with other musicians including Terence Blanchard, Donald Byrd, Mulgrew Miller and Bootsie Barnes.

As a Blue Note Recording Artist Hodge has released three critically acclaimed solo projects: Live Today (2013), The Second (2016), and Color Of Noize (2020)

In 2014, Hodge became the first Black composer to compose Hip Hop for the National Symphony Orchestra when he acted as Orchestral Arranger and Music Director for the iconic event “20th anniversary celebration of Illmatic which saw Nas perform the album with the National Symphony Orchestra, conducted by Steven Reineke. The event - which was named by FENDER as one of the top moments in Hip Hop history - was also the first time Hip Hop was ever performed by the National Symphony Orchestra and at the Kennedy Center.

Later career (2011–present)

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Hodge was signed to Blue Note Records after meeting record producer and Blue Note president Don Was in September 2011. On August 6, 2013, his solo album, Live Today, was released with guest appearances by Common ("Live Today"), vocalist Alan Hampton ("Holding Onto You"), Robert Glasper ("Live Today"), Chris Dave, Mark Colenburg, Travis Sayles, Keyon Harrold, and Aaron Parks. He has also worked with Floetry, Osvaldo Golijov, Anthony Hamilton, Gerald Levert, Donnie McClurkin, James Moore, Mos Def, Musiq Soulchild, Q-Tip, Jill Scott, Timbaland, and Kanye West. He has toured and recorded with Clark Terry, Mulgrew Miller, Terell Stafford, and Terence Blanchard.[1]

He appeared on Flow[2] and A Tale of God's Will (A Requiem for Katrina) (2007), which were nominated for four Grammy Awards, winning one for Best Large Jazz Ensemble Album. He also appeared on rapper Common's albums Be and Finding Forever, which won a Grammy Award. Hodge was musical director for R&B singer Maxwell from 2009 to 2013, and was featured as bassist on Maxwell's BLACKsummers'night, which peaked at No. 1 on the Billboard 200 and Billboard Top R&B/Hip-Hop Albums as well as winning a Grammy Award for Best R&B Album in 2010. Hodge won a Grammy Award for Best R&B Album in 2013 with the Robert Glasper Experiment for Black Radio and in 2023 with Black Radio 3.

Hodge was a contributing composer for the musical score of When the Levees Broke: A Requiem in Four Acts, an HBO documentary produced by Spike Lee, aired in August 2006, as well as choral arranger for the ending credits of Miracle at St. Anna also directed by Lee. He was sole composer of the score for the documentary film Faubourg Treme: The Untold Story of Black New Orleans[3] directed by Dawn Logsdon, written by Lolis Eric Elie and released in 2008. Other film credits include music composer for The Recruiter directed by Edet Belzberg, The Black Candle directed by M. K. Asante Jr., as well as scores for director and playwright David E. Talbert. "Infinite Reflections" was commissioned by the Chicago Symphony Orchestra and arranged for small brass ensemble

Discography

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As leader

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  • Live Today (Blue Note, 2013)
  • The Second (Blue Note, 2016)
  • Color of Noize (Blue Note, 2020)

As group

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Blue Note All Stars

  • Our Point of View (Blue Note, 2017)[2CD]

As sideman

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Derrick Hodge

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Derrick Hodge (born July 5, 1979) is an American , , musical director, , and record producer based in , . Renowned for his proficiency on both electric and upright bass, as well as his genre-blending approach that fuses , hip-hop, R&B, and orchestral elements, Hodge began playing guitar before switching to bass in elementary school and has since contributed to iconic albums including the on Common's Be (2005). A two-time Grammy Award winner, Hodge earned recognition for Best Traditional R&B Performance on "Jesus Children" at the , among other contributions to projects like those with the Experiment and . His solo discography on includes Live Today (2013), The Second (2016), and Color of Noize (2021), showcasing his compositional depth and production skills. Hodge has also composed for documentaries, directed music for the , and made history as the first Black composer to orchestrate hip-hop for the , including arrangements of Nas's performed at the Kennedy Center in and later with symphony ensembles.

Early Life and Education

Childhood and Musical Beginnings

Derrick Hodge was born on July 5, 1979, in , , and raised in the nearby suburb of Willingboro, . At age seven, he began studying , drawing initial inspiration from the bassist in the choir at West Philadelphia's Beulah Baptist Church. A year later, demonstrating early resourcefulness, Hodge switched to electric bass to qualify for his elementary school's and , where he honed foundational skills through regular ensemble participation. His mother's role as an initial music and director provided direct familial support, fostering a home environment conducive to practice and exploration. Hodge combined structured instruction with personal dedication, building technical proficiency on electric bass amid Philadelphia's vibrant local music ecosystem, which offered indirect exposure to and neo-soul through and church settings. This period marked the onset of his self-directed pursuit of instrumental mastery, prioritizing performance opportunities over passive learning. By junior high, such initiative positioned him for advanced ensembles, laying groundwork for later regional engagements without reliance on formal external programs.

Formal Education and Early Influences

Hodge attended Temple University's Esther Boyer College of Music on the recommendation of his , earning a in Music with emphasis on composition and performance. His curriculum integrated training via the university's and Small Ensemble, directed by trumpeter Terell Stafford, with classical foundations through membership in the Symphony Orchestra, fostering exposure to orchestral techniques alongside improvisational skills. Hodge supplemented this with private lessons on upright and electric bass from instructor Vince Fay, whose pedagogical approach—emphasizing precision and adaptability—shaped his core methodology and remains a model for Hodge's playing. Concurrently, collaborations with jazz veterans, including tenor saxophonist Bootsie Barnes and trumpeter Terrell Stafford, refined his intonation and electric bass groove through rigorous gigging, bridging self-taught adaptations from electric to acoustic techniques—initially developed by mimicking sections amid limited upright instruction. These engagements, spanning ensembles and nascent neo-soul sessions, highlighted stylistic versatility while instilling discipline; Barnes's endorsement to Mulgrew underscored Hodge's emerging proficiency, prompting recognition of prospects extending beyond local circuits and motivating persistent self-advancement during his studies.

Professional Career

Early Collaborations in Philadelphia

In , Derrick Hodge initiated his professional engagements during his studies at , performing with local jazz ensembles and recording sessions that emphasized practical gigging experience. He collaborated with established Philly jazz figures, including tenor saxophonist Bootsie Barnes and trumpeter Terell Stafford, through live performances that allowed him to refine his technique on electric and upright bass across small group settings. These interactions extended to the Jazz Band, directed by , where Hodge contributed as a , building foundational ensemble skills amid Philadelphia's vibrant local scene. Concurrently, he provided session work for neo-soul and R&B artists rooted in the city, such as Jill Scott, , , and , demonstrating early adaptability between and groove-oriented production roles. Such pre-relocation collaborations, primarily in the late and early , fostered Hodge's versatility by necessitating shifts between instruments and genres—from gospel-infused church influences to hip-hop-adjacent tracks—prioritizing on-stage repetition and adaptation over theoretical training. This empirical progression through Philadelphia's club and studio circuits laid the groundwork for his technical proficiency, evident in the seamless integration of bass lines that supported diverse lead voices without overshadowing ensemble dynamics.

Breakthrough in New York and Major Recordings

In the mid-2000s, Hodge contributed the bassline to rapper Common's album Be (2005), produced by Kanye West, a performance subsequently recognized as one of the top 20 basslines in hip-hop history. This collaboration marked a significant crossover into hip-hop, showcasing Hodge's ability to blend jazz technique with rhythmic grooves central to the genre, as the album debuted at number two on the Billboard 200 chart. Hodge's work with trumpeter Terence Blanchard during this period further solidified his role in New York's jazz ecosystem, including bass performances on Blanchard's Flow (2005) and contributions to the score for Spike Lee's HBO documentary When the Levees Broke: A Requiem in Four Acts (2006), where he provided musical cues addressing the Hurricane Katrina aftermath. These projects expanded Hodge's scope into film scoring, integrating orchestral elements with improvisational jazz for narrative-driven soundtracks. By the late 2010s, Hodge's production credits included co-producing pianist Justin Kauflin's Coming Home (2018) with at , featuring original compositions that fused standards with contemporary arrangements and guest appearances from artists like . This effort highlighted his growing influence in mentoring emerging talents and bridging with broader production techniques.

Solo Leadership and Album Releases

Derrick Hodge's debut as a leader came with the album Live Today, released on August 6, 2013, by . The recording emphasized his compositional voice through a blend of acoustic bass lines and arrangements, drawing from his experiences in live settings to create structured yet fluid melodic frameworks. His follow-up, The Second, arrived on August 26, 2016, also via , shifting toward a predominantly solo format that highlighted Hodge's direct control over production and performance. This approach allowed for intimate exploration of bass techniques and progressions without dependencies, underscoring his innovation in self-contained recording processes. The Second was succeeded by Color of Noize on June 26, 2020, under , which expanded into a full-band configuration to fuse with hip-hop rhythms and electronic elements. Hodge's bandleading here prioritized organic sonic textures achieved through layered and conceptual sequencing, reflecting his method of curating diverse influences into cohesive narratives. The Color of Noize project persisted into 2024 with live events, including a performance at Blue Note New York on June 5 and a tour encompassing dates such as October 25 at . These iterations demonstrated Hodge's ongoing commitment to evolving the series as a platform for immersive, multi-style presentations under his direction.

Orchestral Arrangements and Genre Fusion Projects

In 2014, Hodge achieved a milestone as the first Black composer to arrange hip-hop for the , serving as orchestral arranger and for the 20th anniversary celebration of Nas's Illmatic at the Kennedy Center Honors, where he adapted tracks like "The World Is Yours" for full symphonic performance. This project marked an early technical feat in translating hip-hop's rhythmic and sampled elements into classical , preserving the genre's street-rooted intensity while integrating symphonic strings, brass, and percussion for expanded harmonic depth. Hodge extended this fusion to major award shows, arranging and conducting Nas's performance at the 2022 Grammy Awards, which featured orchestral backings for selections from Illmatic and later works, and directing the orchestra for the 94th Academy Awards, blending hip-hop influences with cinematic scores. These efforts demonstrated his precision in scoring hip-hop beats—often derived from drum machines and loops—onto live ensembles, requiring meticulous notation of grooves and timbres to maintain authenticity amid classical instrumentation. In June 2025, Hodge conducted the Color of Noize Orchestra for Wizkid's debut on June 22, adapting and hip-hop-infused tracks into orchestral arrangements that elevated the Nigerian artist's global hits with symphonic swells and layered dynamics. His broader symphonic hip-hop initiatives, including first-time string arrangements for the at and collaborations with the , have causally advanced fusion by imposing classical rigor—such as and principles—on hip-hop's improvisational origins, resulting in performances that hybridize urban narratives with concert hall formality.

Musical Style and Innovations

Technical Approach to Bass and Composition

Hodge exhibits proficiency on both electric and , adapting techniques across instruments while practicing each separately to preserve distinct tonal authenticity. On , he prioritizes economical shifting for enhanced positional awareness and fluidity, influenced by masters like Edgar Meyer and , alongside tone production that avoids forceful attacks in favor of nuanced resonance akin to Ray Brown and . This versatility enables precise execution in genre-shifting contexts, where he translates upright-informed shifts to electric fretboards for seamless navigation, drawing from electric specialists like and . His electric bass work emphasizes lyrical phrasing over virtuosic flash, employing gear such as the Callowhill 6-string and V with minimal amplification—using setups without heavy EQ—to yield direct, uncolored sound. In composition, Hodge initiates pieces spontaneously at , capturing initial ideas via voice memos before allowing organic development through band collaboration, eschewing rigid arrangements for interpretive freedom that builds emotional texture. He composes without prior bass rehearsal, focusing on intent and universality to evoke intimacy, where performers react in the moment to foster raw, personalized resonance rather than overworked precision. This process trusts first-take spontaneity, as in efforts yielding unedited, honest vibes through minimal intervention. Productionally, Hodge integrates live acoustic elements with subtle electronics, recording in confined spaces like home studios to prioritize clarity and organic fidelity over experimental novelty. He often handles multiple instruments himself for cohesive intimacy, co-producing with figures like to safeguard hybrid integrity while capturing unvarnished band energy in single sessions. Such methods ensure bass lines retain singing, vocal-like qualities, supporting textural depth without diluting causal directness in the final sonic landscape.

Genre Blending and Influences

Derrick Hodge's musical style exemplifies a synthesis of traditions with hip-hop rhythms, harmonies, and classical structures, creating layered compositions that preserve the structural integrity of each element rather than forcing eclectic overlays. His approach draws from the improvisational depth of lines, the percussive drive of hip-hop beats, and the orchestral expansiveness of classical forms, resulting in works where hip-hop's narrative propulsion is elevated through symphonic arrangements without eroding its rhythmic core. This integration stems from Hodge's immersion in Philly's diverse scene, where 's harmonic complexity intersects with urban and street sounds, yielding a sound that prioritizes causal musical evolution—harmonic tension resolving through bass-driven grooves—over contrived novelty. Influences on Hodge include local Philadelphia veterans such as producer of , whose keyboard work shaped Hodge's early recordings, alongside gospel figures like Thaddeus Tribbett and the broader Philly R&B ecosystem involving artists like Jill Scott and . These mentors instilled a foundation in melodic storytelling and bass-centric propulsion, blending church-derived call-and-response patterns with the sampled loops of hip-hop production. Hodge also cites exposure to Philadelphia radio's R&B and emerging hip-hop as formative, fostering a palette that extends to classical appreciation for and , evident in his deliberate layering of acoustic bass timbres against electronic textures. Unlike mainstream fusion trends that often prioritize superficial mash-ups for market appeal, Hodge's method emphasizes disciplined harmonic and rhythmic fidelity, as seen in his organic compositional processes that retain jazz's improvisational while adapting hip-hop's loop-based repetition into symphonic contexts. This restraint counters claims of dilution by demonstrating empirical cohesion: bass lines serve as gravitational centers, anchoring disparate influences into unified narratives that evolve from Philly's jazz-soul heritage rather than dissolving into stylistic . Sources close to Hodge's note this as a deliberate evolution, rooted in first-hand collaborations that test integrations through live performance viability.

Discography and Contributions

As Leader and Composer

Hodge's primary releases as bandleader center on three studio albums issued by , each showcasing his multifaceted role as bassist, , and producer integrating , hip-hop, and electronic elements. His debut, Live Today, released on August 6, 2013, features 14 tracks with contributions from guest vocalist Common on the title track and keyboardist on selections like "," alongside Hodge on bass, keyboards, and drums, emphasizing live instrumentation and rhythmic grooves derived from hip-hop beats. The follow-up, The Second, arrived on August 26, 2016, comprising 12 tracks where Hodge handled bass, guitars, keyboards, and programming, supported by collaborators including vocalist and drummer on pieces such as "Bowie," which incorporates ambient textures and rock influences. Color of Noize, Hodge's third leader effort, was released on June 26, 2020, spanning 11 tracks recorded with a live ensemble including trumpeter and saxophonist , highlighting bass-driven compositions like the title track that fuse electric bass lines with orchestral swells and hip-hop sampling. As a , Hodge has directed orchestral adaptations of hip-hop repertoire, notably arranging and conducting the symphonic rendition of Nas's for its 20th anniversary performance with the at the Kennedy Center on June 18, 2014, marking him as the first Black to create hip-hop arrangements for the ensemble. He extended this approach as arranger for Common's hip-hop symphony projects, blending rap lyrics with full orchestral scoring, as performed with the in 2022.

As Sideman and Collaborator

Hodge began his career in Philadelphia's neo-soul scene while studying at , recording bass lines for artists such as Jill Scott, , and , which helped anchor their early albums blending , R&B, and hip-hop elements. He also performed with local veterans including saxophonist Bootsie Barnes, contributing to live ensembles that bridged traditional with emerging fusion styles. Transitioning to New York, Hodge joined trumpeter Terence Blanchard's quintet in 2005, providing acoustic and electric bass on the album Flow, which earned a Grammy nomination for Best Jazz Instrumental Album, and on the soundtrack for Spike Lee's Inside Man (2006), where his lines supported Blanchard's filmic compositions. He continued with Blanchard on A Tale of God's Will (A Requiem for Katrina) (2007), contributing bass and production to tracks commemorating victims, and on Choices (2009), featuring his interplay with pianist Fabian Almazan and drummer . These collaborations extended to film scores, including choral arrangements for Miracle at St. Anna (2008) and cues for Lee's documentary When the Levees Broke (2006). In hip-hop, Hodge supplied the prominent bass line for Common's track "Be" on the 2005 album Be, produced by , which propelled the record to commercial success and critical acclaim as a introspective return to roots rap. He followed with bass and production on Common's (2007), aiding its chart-topping performance, and extended similar support to (formerly Mos Def) and other artists. Hodge's arranging work broadened into orchestral realms, orchestrating Nas's Illmatic for performance with the National Symphony Orchestra at the Kennedy Center on May 21, 2014, adapting 1994 hip-hop tracks for symphonic instrumentation to enhance their narrative depth. This approach continued in recent collaborations, including arrangements for Wizkid's Hollywood Bowl concert with orchestra in June 2025, Jeezy's "Go Crazy" remix featuring the Color of Noize Orchestra in 2024, and Common's performances with the Houston Symphony. These efforts fused hip-hop with classical ensembles, supporting artists' live expansions into concert halls.

Recognition and Impact

Awards and Milestones

Hodge contributed to two Grammy Award-winning albums as a member of the Experiment: Black Radio, which received the award for Best R&B Album at the on February 10, 2013, and , which won the same category at the on February 4, 2024. These victories occurred in a competitive field dominated by genre-blending R&B projects, reflecting Hodge's bass work and arrangements amid broader industry recognition for Glasper's . In 2014, Hodge achieved a milestone as the first Black composer to arrange hip-hop for the , serving as orchestral arranger and music director for a symphonic performance of Nas's 20th anniversary concert at the Kennedy Center, marking a pioneering fusion of rap with classical instrumentation. Hodge has received the Motif Award, recognized as one of the nation's highest honors in child advocacy, aligning with his personal commitment to community support through initiatives. He was also named a Composer Fellow, supporting his work in film scoring and interdisciplinary projects.

Cultural and Musical Influence

Hodge's orchestral arrangements for hip-hop artists have facilitated the integration of urban genres into symphonic contexts, expanding their reach to audiences traditionally associated with . As the first Black composer to arrange hip-hop for the in 2014, he orchestrated works featuring artists like and Mos Def, preserving rhythmic and lyrical core elements while adapting them to string sections and full ensembles. This approach, extended to venues such as and the , has demonstrated hip-hop's compatibility with classical instrumentation, evidenced by performances that drew diverse crowds without altering foundational beats or narratives. Through production and collaborative roles, Hodge has influenced subsequent generations of musicians by emphasizing cross-genre accessibility over institutional exclusivity. He co-produced pianist Justin Kauflin's 2018 album Coming Home alongside Quincy Jones, guiding the blind jazz artist in blending modal improvisation with contemporary production techniques, which resulted in a release that garnered critical attention for its innovative sound. Such involvement counters gatekeeping in jazz and classical spheres by prioritizing practical skill-sharing, as seen in Hodge's broader output mentoring via hands-on arrangements that encourage emerging talents to fuse idioms like neo-soul and orchestral writing. Hodge's recent orchestral conductions affirm his enduring cross-cultural impact, with projects like leading the Color of Noize Orchestra for Wizkid's June 22, 2025, debut, where tracks were elevated through live symphonic backing, attracting over 17,000 attendees and highlighting scalable genre fusion in major venues. Similarly, his September 10, 2025, conduction of Black Movie Soundtrack V at the incorporated hip-hop and soul elements into film scores, reinforcing of sustained relevance through sold-out events and chart-influencing productions rather than isolated acclaim.

References

  1. https://www.allmusic.com/artist/derrick-hodge-mn0000177026
  2. https://www.discogs.com/artist/326975-Derrick-Hodge
  3. https://www.bluenote.com/artist/derrick-hodge/
  4. https://www.grammy.com/news/meet-derrick-hodge-hip-hop-classical-orchestra-conductor-nas-interview
  5. https://www.grammy.com/artists/derrick-hodge/13501
  6. https://derrickhodge.com/about/
  7. https://www.forbes.com/sites/imeekpo/2024/06/28/how-derrick-hodge-brings-hip-hop-classics-to-life-with-symphonies/
  8. https://www.bluenote.com/spotlight/derrick-hodge-lives-for-today/
  9. https://www.allaboutjazz.com/musicians/derrick-hodge/
  10. https://www.allaboutjazz.com/derrick-hodge-raw-unabashed-honesty-derrick-hodge-by-danmichael-reyes
  11. https://www.zoneout.com/derrick-hodge-what-is-the-colour-of-noize/
  12. https://doublebasshq.com/uncovering-the-genius-of-derrick-hodge/
  13. https://www.popmatters.com/174715-derrick-hodge-live-today-2495730000.html
  14. https://jazztimes.com/features/profiles/derrick-hodge-monterey-jazz-festival/
  15. https://www.allaboutjazz.com/musicians/derrick-hodge
  16. https://downbeat.com/news/detail/derrick-hodge-meanings-in-music
  17. https://www.youtube.com/watch?v=pkIs5HGSKps
  18. https://www.amazon.com/Live-Today-Derrick-Hodge/dp/B00CXQL8EQ
  19. https://downbeat.com/archives/artist/derrick-hodge
  20. https://www.bluenote.com/spotlight/derrick-hodge-color-of-noize/
  21. https://www.bluenote.com/derrick-hodge-returns-with-a-new-band-concept-album-color-of-noize-out-june-26/
  22. https://store.bluenote.com/products/derrick-hodge-color-of-noize
  23. https://www.youtube.com/watch?v=6BN_vI6nAt0
  24. https://www.southarts.org/events/derrick-hodge-and-color-noize-2024-10-25
  25. https://www.facebook.com/OfficialDerrickHodge/posts/color-of-noize-2024-recapthank-you-to-every-color-of-noize-musician-and-creative/1126008718911899/
  26. https://derrickhodge.com/arrangements-conducting/
  27. https://www.kcrw.com/events/derrick-hodge
  28. https://www.hollywoodbowl.com/events/performances/3584/2025-06-22/wizkid-with-color-of-noize-orchestra
  29. https://lasentinel.net/derrick-hodge-brings-orchestral-power-to-wizkids-hollywood-bowl-debut.html
  30. https://andscape.com/features/hip-hop-symphony-orchestras/
  31. https://www.notreble.com/buzz/2016/09/15/the-second-an-interview-with-derrick-hodge/
  32. https://www.forbes.com/sites/garysuarez/2020/06/22/derrick-hodge-talks-letting-go-trusting-the-process-and-working-with-jazz-greats/
  33. https://nextbop.com/blog/derrickhodgethesecond
  34. https://www.allaboutjazz.com/derrick-hodge-in-the-moment-derrick-hodge
  35. https://glidemagazine.com/244794/bassist-shapeshifter-derrick-hodge-leads-newly-formed-band-on-soulful-color-of-noize-album-review/
  36. https://www.discogs.com/release/4804628-Derrick-Hodge-Live-Today
  37. https://www.bluenote.com/derrick-hodge-returns-with-the-second/
  38. https://www.discogs.com/release/9996876-Derrick-Hodge-The-Second
  39. https://derrickhodge.com/album/color-of-noize/
  40. https://www.allmusic.com/album/color-of-noize-mw0003380590
  41. https://www.aso.org/artists/detail/derrick-hodge
  42. https://houstonsymphony.org/hip-hop-symphony-a-sonic-masterpiece/
  43. https://derrickhodge.com/album-artist/terence-blanchard/
  44. https://www.terenceblanchard.com/album/choices/
  45. https://www.instagram.com/reel/C4V9fE5PvBQ/?hl=en
  46. https://yoshis.com/events/buy-tickets/derrick-hodge-1/detail
  47. https://www.broadwayworld.com/bwwmusic/article/Justin-Kauflin-Announces-New-Album-COMING-HOME-Produced-By-Quincy-Jones-and-Derrick-Hodge-20180817
  48. https://www.laphil.com/musicdb/artists/7487/derrick-hodge
  49. https://www.facebook.com/groups/bassplayerz/posts/9615910368471961/
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