Hubbry Logo
Johnny HodgesJohnny HodgesMain
Open search
Johnny Hodges
Community hub
Johnny Hodges
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Johnny Hodges
Johnny Hodges
Johnny Hodges
View on Wikipedia
from Wikipedia

Key Information

John Cornelius Hodges (July 25, 1907 – May 11, 1970) was an American alto saxophonist, best known for solo work with Duke Ellington's big band. He played lead alto in the saxophone section for many years. Hodges was also featured on soprano saxophone, but refused to play soprano after 1940.[1] Along with Benny Carter, Hodges is considered to be one of the definitive alto saxophone players of the big band era.[2]

After beginning his career as a teenager in Boston, Hodges began to travel to New York and played with Lloyd Scott, Sidney Bechet, Luckey Roberts and Chick Webb. When Ellington wanted to expand his band in 1928, Ellington's clarinet player Barney Bigard recommended Hodges. His playing became one of the identifying voices of the Ellington orchestra. From 1951 to 1955, Hodges left the Duke to lead his own band, but returned shortly before Ellington's triumphant return to prominence – the orchestra's performance at the 1956 Newport Jazz Festival.

Biography

[edit]

Early life

[edit]

John Cornelius Hodges was born in the Cambridgeport neighborhood of Cambridge, Massachusetts, to John H. Hodges and Katie Swan Hodges, both originally from Virginia.[2] After moving for a short period of time to North Cambridge,[3] the family moved to Hammond Street in the South End of Boston, where he grew up with saxophonists Harry Carney (who would also become a long-term member of Duke Ellington’s big band), Charlie Holmes and Howard E. Johnson. His first instruments were drums and piano. While his mother was a skilled piano player, Hodges was mostly self-taught.[2]

Once he became good enough, he played the piano at dances in private homes for $8 an evening.[2] He had taken up the soprano saxophone by his teens. It was around this time that Hodges developed the nickname "Rabbit", which some people believe arose from his ability to win 100-yard dashes and outrun truant officers, while others, including Carney, said he was called by that name because of his rabbit-like nibbling on lettuce and tomato sandwiches.[2][3]

When Hodges was 14, he went with his eldest sister to see Sidney Bechet play in Jimmy Cooper's Black and White Revue in a Boston burlesque hall.[2] Hodges's eldest sister introduced him to Bechet, who asked him to play something on the soprano saxophone he had brought with him. Hodges played "My Honey's Lovin' Arms" for Bechet, who was impressed with his skill and encouraged him to keep on playing and would also give Hodges formal saxophone lessons. Hodges built a name for himself in the Boston area before moving to New York City in 1924.[2]

Duke Ellington

[edit]

Hodges joined Duke Ellington's orchestra in November 1928. He was one of the prominent Ellington Band members who featured in Benny Goodman's 1938 Carnegie Hall concert. Goodman described Hodges as "by far the greatest man on alto sax that I ever heard."[4] Charlie Parker called him "the Lily Pons of his instrument."[5] John Coltrane considered Hodges his first model on the saxophone, even calling him “the world's greatest saxophone player.”[6]

In performance: Hodges with Ellington, Frankfurt, Germany, February 6, 1965.

Ellington's practice of writing tunes specifically for members of his orchestra resulted in the Hodges specialties, "Confab with Rab", "Jeep's Blues", "Sultry Sunset", and "Hodge Podge". Other songs recorded by the Ellington Orchestra which prominently feature Hodges's smooth alto saxophone sound are "Magenta Haze", "Prelude to a Kiss", "Haupe" (from Anatomy of a Murder) – also notable are the "seductive" and hip-swaying "Flirtibird", featuring the "irresistibly salacious tremor" by Hodges,[7] "The Star-Crossed Lovers" from Ellington's Such Sweet Thunder suite, "I Got It Bad (And That Ain't Good)", "Blood Count" and "Passion Flower".[3]

He had a pure tone and economy of melody on both the blues and ballads that won him admiration from musicians of all eras and styles, from Ben Webster and John Coltrane, who both played with him when he had his own orchestra in the 1950s, to Lawrence Welk, who featured him in an album of standards. His highly individualistic playing style, which featured the use of a wide vibrato and much sliding between slurred notes, was frequently imitated. As evidenced by the Ellington compositions named after him, he earned the nicknames Jeep[8] and Rabbit – according to Johnny Griffin because "he looked like a rabbit, no expression on his face while he's playing all this beautiful music."[9]

Saxophones

[edit]

In the 1940s, Hodges played a Conn 6M (recognizable by its octave-key mechanism being on the underside of the neck) and later on a Buescher 400 (recognizable by its V-shaped bell-brace) alto saxophone. By the end of his career in the late 1960s, Hodges was playing a Vito LeBlanc Rationale alto (serial number 2551A), an instrument with unusual key-mechanisms (providing various alternative fingerings) and tone-hole placement, which gave superior intonation. Fewer than 2,000 were ever made. Hodges's Vito saxophone was silver-plated and extensively engraved on the bell, bow, body and key-cups of the instrument.[10]

Death

[edit]

Hodges's last performances were at the Imperial Room in Toronto, less than a week before his May 11, 1970, death from a heart attack, suffered during a visit to the office of a dental surgeon. His last recordings are featured on the New Orleans Suite, which was only half-finished when he died. He was married twice; he had a daughter by his first wife, Bertha Pettiford, and a son (John C. Hodges II) and a daughter (Lorna Lee) by his second wife, Edith Cue.[11]

The loss of Hodges's sound prompted Ellington, upon learning of the musician's death from a heart attack, to lament to JET magazine: "The band will never sound the same without Johnny." In Ellington's eulogy of Hodges, he said: "Never the world's most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyes—this was Johnny Hodges. This is Johnny Hodges."[12]

Discography

[edit]

As leader or co-leader

[edit]

As sideman

[edit]
See also: Duke Ellington discography
Hodges was not a member of Ellington's Orchestra before 1928, or during 1951–55, or after May 11, 1970, when Hodges died. Duke Ellington's earliest recordings date from 1924 and he died on May 24, 1974. The two men's discographies thus match almost exactly, bar exceptions listed above and in this section.

with Lawrence Brown

  • Inspired Abandon (Impulse!, 1965) – billed as Lawrence Brown's All-Stars with Johnny Hodges

with Coleman Hawkins

with Joya Sherrill

with Billy Strayhorn

with Billy Taylor

With Clark Terry

References

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

Johnny Hodges

View on Grokipedia
from Grokipedia
Johnny Hodges (July 25, 1907 – May 11, 1970) was an American jazz alto saxophonist renowned for his lyrical tone and improvisational mastery, most notably as the lead alto soloist in Duke Ellington's orchestra from 1928 until his death. Born Cornelius Hodges in , he grew up in a musical environment after his family moved to , where he was influenced by neighborhood musicians including future Ellington colleague . Self-taught initially on and , Hodges acquired a soprano saxophone at age 14 and received mentorship from , transitioning to the that became his signature instrument. Hodges's professional career began in the mid-1920s in New York City, where he briefly played with the Chick Webb Orchestra in 1927 before joining Ellington's ensemble the following year, a partnership that defined much of his legacy. During his tenure with Ellington, he contributed to iconic recordings such as "Warm Valley" and "Come Sunday," showcasing his ability to blend swing, blues, and melodic sophistication. In 1951, Hodges temporarily left Ellington to lead his own small groups, achieving commercial success with hits like "Castle Rock" and the collaborative album Duke Ellington and Johnny Hodges Play the Blues upon his return in 1955. Widely regarded as one of the finest saxophonists in , Hodges was voted the top alto player multiple times by DownBeat readers and critics, as well as Metronome polls, for his distinctive , technical precision, and emotional depth. His style influenced generations of musicians, including and , and he occasionally performed with figures like and even recorded with . Hodges died of a heart attack in at age 62, leaving a discography exceeding 200 recordings that continue to exemplify the elegance of and small combo .

Biography

Early life

Cornelius Hodges, known professionally as , was born on July 25, 1907, in the , at 137 Putnam Avenue. He was the youngest of four children in a working-class family; his parents, John H. Hodges, a porter and waiter, and Hodges, a and amateur pianist, had emigrated from . The family lived in a racially mixed, music-filled community that fostered Hodges' early interest in the arts. As a child, Hodges relocated with his family first to North Cambridge around 1920 and then to Boston's South End in 1922, settling at 32 Hammond Street in an area nicknamed the "Saxophonist's Ghetto" due to its concentration of local musicians. Exposed to music through his mother's playing and family gatherings where relatives performed for enjoyment, Hodges began experimenting with instruments early on. He received piano lessons from his mother and played drums using household items like kitchen pots, reflecting the modest means of his household. At age 14 in , Hodges switched to the after being captivated by Sidney Bechet's performance during a show in ; he persuaded his mother to purchase the instrument from a store window, viewing it as a beautiful necessity despite the financial strain. Largely self-taught, he practiced in secret, emulating Bechet's style by studying his records, such as those with Clarence Williams' Blue Five, and later receiving informal lessons from Bechet himself after an introduction by his sister Claretta. During his teenage years, Hodges immersed himself in Boston's vibrant scene, frequenting venues in and performing at private parties while developing a passion for New Orleans-style through local influences and live shows. This period honed his foundational skills before he ventured to New York at age 17.

Family and personal life

Prior to marriage, Hodges had a relationship with dancer Frances Vivian Jones, resulting in a daughter, Rosa Mae Hodges. Johnny Hodges married his first wife, Bertha Pettiford, on July 29, 1927, in , New York, where the couple settled during his early professional years in the city's vibrant scene. Bertha worked as a hostess at the and occasionally accompanied Hodges on tours, such as one to in 1932. Their marriage lasted approximately ten years, ending around 1937 as they gradually drifted apart, during which time they had a daughter. In the 1940s, Hodges entered his second marriage to Edith "Cue" Fitzgerald, a dancer in the chorus, on January 10, 1944, in , with the couple renewing their vows in a Catholic ceremony at St. Paul's Church in New York on July 26, 1968. This union produced a daughter, Lornar Lee "Lorna" Hodges, born in 1942 shortly before their wedding, and a son, John C. Hodges II, born in 1947. pursued dancing, performing at the , while John briefly played with Duke Ellington's in the mid-1960s before his untimely death in 1984 at age 36. Hodges maintained a notably private existence outside of music, earning a reputation as a reclusive figure who shunned interviews and publicity. Contemporaries like trumpeter Rex Stewart described him as taciturn and unapproachable, while he often ended rare conversations with journalists abruptly, emphasizing his intense focus on performance over personal exposure. Despite rumors of illiteracy stemming from his reticence and limited formal education, Hodges demonstrated proficient writing skills, producing beautiful cursive and block-letter handwriting for autographs, personal notes, and managing his own affairs independently, such as jotting reminders like "get suit out of cleaners" on a musical lead sheet. In his later years, Hodges grappled with health struggles, including weight issues that affected his mobility, though he remained dedicated to his craft.

Career

Association with Duke Ellington

Johnny Hodges joined 's orchestra in May 1928 at the age of 21, recommended by clarinetist Barney Bigard, and made his debut at the in . Initially playing , he contributed to his first recording session on June 25, 1928, featuring a 10-bar solo on "Yellow Dog " and a 16-bar solo on "Tishomingo ." He soon incorporated as his primary instrument while occasionally playing and in the early years, before focusing exclusively on by the mid-1940s. As lead alto saxophonist, Hodges emerged as Ellington's primary soloist from 1928 to 1951, defining much of the band's signature sound through his lyrical phrasing and rich tone. He featured prominently on early hits like the 1928 duet with trumpeter Bubber Miley on "The Mooche," and later on "In a Sentimental Mood" (1935), where his melodic improvisation added emotional depth. In the 1940s, his solos graced iconic tracks such as "Warm Valley" (1940, composed by Ellington), a 16-bar feature that showcased his warm vibrato; "Day Dream" (1940, by Billy Strayhorn with lyrics by John Latouche), spanning 48 bars; and "Passion Flower" (1941, arranged by Strayhorn), highlighting his ability to convey tenderness. Other notable contributions included "Things Ain't What They Used to Be" (1942) and "Don't Get Around Much Anymore" (1940s versions), where he won acclaim in DownBeat and Metronome polls as a top alto player. Hodges' creative partnership with Ellington was marked by mutual respect, with the crafting arrangements tailored to his expressive style, often emphasizing Hodges' ability to blend technical precision with emotional nuance. , Ellington's longtime collaborator, similarly composed pieces like "Passion Flower" and "Day Dream" to suit Hodges' and phrasing, fostering a dynamic where Hodges' solos became to the orchestra's extended works. From 1937, Hodges led small studio groups drawn from the Ellington band, recording Ellington-penned tunes such as "Jeep's Blues" and "The Jeep Is Jumpin'," which further highlighted his improvisational leadership within the ensemble. During the 1930s, as Ellington's popularity surged through residencies and nationwide tours, Hodges solidified his role, participating in the band's first European tour in 1933, which included performances in and that boosted their international profile. The orchestra's wartime years in the saw Hodges contributing to morale-boosting tours across the U.S. and abroad, including a 1939 European swing with stops in , amid the band's innovative concerts like the 1943 premiere of . , through the late , Hodges drove the band's evolution toward more sophisticated harmonies and rhythms, as heard in tracks like "In a Mellotone" (1940) and "Magenta Haze" (1946). In March 1951, after over two decades as a cornerstone of the , Hodges departed to pursue greater , forming his own small combo to explore beyond Ellington's framework. This move reflected his desire for artistic autonomy, though his Ellington-era work had indelibly shaped .

Solo career

In 1951, after more than two decades with Ellington's , Johnny Hodges departed to form his own small combo, seeking greater creative freedom and more opportunities for personal expression in a less structured environment. Influenced by impresario , Hodges assembled a septet featuring alumni from Ellington's band, including trombonist Lawrence Brown, drummer , and tenor saxophonist Al Sears, along with trumpeter Emmett Berry, pianist Leroy Lovett, and bassist Lloyd Trotman. This group recorded for Granz's and Norgran labels, emphasizing Hodges' preference for intimate small-group settings over the demands of leadership. The combo achieved notable commercial success early on with the rhythm-and-blues-inflected single "Castle Rock," released in 1951 and becoming a minor hit that showcased ' riff-based composition and driving ensemble energy, though Hodges himself took no solo on the track. This led to the album Castle Rock (1951), Hodges' debut as a leader, which blended swing, , and early R&B elements and was later reissued on . Over the 1951–1955 period, Hodges toured extensively, performing in nightclubs and at dances across the , while continuing to record for Verve; these sessions, including material from his small group dates, were compiled in the 1958 release The Jeep Is Jumpin', highlighting his fluid lines in relaxed, swinging contexts. Another key album from this era, Caravan (1955), further demonstrated his command of standards and ballads in a combo format. Despite these artistic and modest commercial gains, Hodges faced significant challenges as a , including financial instability from inconsistent bookings and the logistical burdens of managing personnel, which clashed with his reserved personality and aversion to administrative duties. He reportedly preferred the collaborative ease of small ensembles, where he could focus on rather than , leading to frustrations that prompted his return to Ellington in 1955. During this independent phase, Hodges also explored collaborations with prominent jazz figures outside his core group, including recordings with tenor saxophonist ; additionally, he briefly joined sessions with emerging talents like in 1954. A notable offshoot was a declined offer in the early 1950s from Lawrence Welk for a steady position in his orchestra, which Hodges rejected in favor of jazz's improvisational demands. Later, in 1959—following his Ellington reunion but billed as co-leaders—Hodges recorded the acclaimed Back to Back album with Ellington, a small-group session that underscored his enduring solo voice through intimate duets and ensemble interplay.

Musical style

Technique and tone

Johnny Hodges was renowned for his signature warm, sensual tone on the , which featured a wide, rapid and a breathy quality that critics often described as pure and lyrical. This sound production emphasized emotional depth over technical flash, creating a mesmerizing effect that conveyed intimacy and vulnerability in his playing. British poet and critic captured its essence, noting it was "so bland, so clear, so voluptuously voiced with (gliding from note to note) that it is hard to believe it comes out of a mere saxophone." Hodges mastered and techniques, employing seamless scoops and slides between notes to achieve smooth, gliding transitions that heightened the expressive unique to his style. These methods allowed him to infuse melodies with a vocal-like fluidity, particularly evident in ballads where he prioritized slow tempos and melodic ornamentation over rapid . His phrasing relied on strong breath control for dynamic shifts and soft decrescendos, enabling sustained, hushed passages that underscored intuition through diatonic balances and subtle non-diatonic accents. Technically proficient to a fault, Hodges possessed flawless execution that freed him to concentrate on expression rather than speed or complexity, as evidenced by his precise leaps and agile note fragments in up-tempo pieces. Clarinetist praised this mastery, calling Hodges "by far the greatest man on alto sax that I ever heard." His style evolved from the 1920s, when he drew on Sidney Bechet's influence for a broad, rapid and articulation in early recordings like "The Mooche," to a more refined, by the mid-1930s during his Ellington years, marked by robust tone and seamless phrasing in ballads such as "I Got It Bad." This maturation highlighted his preference for breathy, controlled expression, as showcased in solos like "Warm Valley."

Influences and legacy

Johnny Hodges' early musical development was profoundly shaped by the soprano saxophone playing of , whom he encountered as a teenager in . Hodges received lessons from Bechet and even played in his band, absorbing the clarinetist's New Orleans phrasing and warm, expressive tone that influenced his own approach to the . Additional early influences included Chicago-style jazz, which Hodges experienced through records, radio broadcasts, and jam sessions during his formative years in the Boston-New York music scene. This style contributed to his swing feel and technical precision, as heard in later recordings like "In a Mellotone." He also honed his skills in local bands, notably Chick Webb's orchestra in the mid-1920s, where Webb's tight ensemble playing and mentorship provided Hodges with crucial performance experience and a recommendation to join Duke Ellington's group. Hodges' legacy as a saxophonist endures through his pure, lyrical tone, which described as irreplaceable, stating in his eulogy that it was "so beautiful it sometimes brought tears to the eyes" and could not be replicated. Ellington further emphasized Hodges' unique sound as essential to the band's identity, calling him a whose absence left an indelible void. His tone and phrasing earned widespread admiration from contemporaries, including , who likened Hodges to "the of his instrument" for its operatic purity, and , who proclaimed him "by far the greatest man on alto sax that I ever heard." regarded Hodges as his primary model and the "greatest saxophonist alive," citing him as a foundational influence during his own development. Hodges' style extended its reach to tenor saxophonists like , whose smooth, sensual approach on the larger horn drew directly from Hodges' lyricism, and to subsequent generations of alto players who emulated his emotional depth. He played a pivotal role in elevating interpretation within , transforming ensemble settings into platforms for intimate, vocal-like expression that prioritized warmth and over virtuosic speed. Posthumously, Hodges received recognition through inductions into the Big Band and Jazz Hall of Fame in 1990 and the Jazz Hall of Fame in 1970, honoring his contributions to the genre. His recordings and techniques continue to be revived and studied in modern jazz education, serving as exemplars of tonal mastery and phrasing in saxophone .

Instruments

Preferred saxophones

Johnny Hodges began his professional career playing the upon joining Ellington's orchestra in 1928, but transitioned to the as his primary instrument by around 1930, establishing himself as the band's lead alto player. Throughout much of his career, particularly in the , Hodges favored the Conn 6M , an American-made model from the transitional era known for its robust construction and versatile tone that complemented his expressive style. He continued with this instrument for several years before switching to Buescher models in the mid-1940s. In his mid-career, Hodges adopted the Buescher Aristocrat "Big B" , followed by the Buescher 400, both of which he used extensively during his time with Ellington and in solo projects; the 400, introduced in the late 1950s, featured a V-shaped bell brace and provided a consistent projection suited to settings. By the late , toward the end of his career, Hodges played a custom Vito LeBlanc Rationale , serial number 2551A, a model produced around 1967 that incorporated an ergonomic left-hand table design for improved playability during extended performances. Hodges demonstrated a strong preference for American-made saxophones with standard key mechanisms and setups, consistently choosing brands like Conn and Buescher that aligned with his straightforward approach, while avoiding overly experimental mouthpieces or modifications. Later in his career, instruments like the Vito LeBlanc came via manufacturer endorsements and gifts, capitalizing on his prominence in .

Equipment and modifications

Johnny Hodges employed a Brilhart mouthpiece on his , a choice shared by several prominent jazz saxophonists of his era and suited to his warm, lyrical tone. This setup featured a larger tip opening, which facilitated extensive pitch bending and glissandi characteristic of his playing, as evident in recordings like "I Got It Bad" from 1952. His notes the importance he placed on the mouthpiece, describing how he used it "to keep the sounds coming out beautiful and true." He preferred minimal alterations to maintain a feel. As an acoustic-focused performer in and small ensemble settings, Hodges relied on standard setups for recordings, such as those used in Ellington's sessions, without notable amplifiers or electronic enhancements. In his later years, Hodges maintained his instruments through regular visits to technicians to address wear from extensive touring, ensuring consistent performance reliability.

Later years and death

Return to Ellington

After facing challenges leading his own group from 1951 to 1955, alto saxophonist Johnny Hodges rejoined Duke Ellington's orchestra in the fall of that year. This reconciliation revitalized Hodges' career and aligned with Ellington's resurgence, highlighted by the band's acclaimed performance at the , where Hodges contributed to the orchestra's renewed prominence. As a respected , Hodges reintegrated seamlessly, bringing stability to the section alongside players like Paul Gonsalves, with whom he frequently collaborated on recordings and performances. Hodges' contributions during this period enriched Ellington's evolving repertoire, particularly through his signature alto solos on ballads and suites. On the 1956 album Duke Ellington Presents..., he delivered a sensuous feature on "Day Dream," showcasing his velvety tone amid the band's intimate arrangements. In the Shakespeare-inspired Such Sweet Thunder (1957), Hodges provided lyrical alto lines that complemented the suite's dramatic themes, enhancing its conceptual depth. His playing reached a poignant culmination in the New Orleans Suite (1970), where he offered blues-inflected solos on tracks like "Blues for New Orleans," marking some of his final studio work with Ellington. Amid Ellington's experimental explorations in extended compositions during the and , Hodges maintained a focus on emotive ballads, interpreting standards with unparalleled warmth and precision. A prime example is his iconic solo on "I Got It Bad (and That Ain't Good)," a piece he elevated through live and recorded performances that captured the orchestra's sophisticated blend of swing and introspection. The reformed band, with Hodges as a cornerstone, embarked on rigorous global tours that solidified Ellington's international stature, including U.S. State Department-sponsored journeys in the 1960s to regions like the , , and . These travels featured Hodges' solos in diverse settings, from concert halls in to festivals in Bombay, blending American jazz with local audiences. Performances continued actively into 1970, with notable appearances at Toronto's Imperial Room, where Hodges' presence underscored the orchestra's enduring vitality.

Death and immediate aftermath

Johnny Hodges died on May 11, 1970, at the age of 62, from a heart attack suffered during a routine dental procedure in . His passing occurred just days after his final live performances with the Orchestra at the Imperial Room in , and amid recording sessions for Ellington's New Orleans Suite, which featured Hodges' last studio contributions. Duke Ellington regarded Hodges' death as a profound personal and musical loss, stating shortly after that the band "will never sound the same" without him. At Hodges' private funeral service in New York, Ellington delivered a praising his longtime collaborator's unparalleled tone: "Never the world's most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to my eyes—this was Johnny Hodges." Despite his general aversion to funerals, Ellington attended to console Hodges' widow and family. Hodges was interred at in , New York. In the immediate aftermath, the Ellington Orchestra pressed on with temporary substitutes, including multi-instrumentalist Norris Turney on , but Hodges' absence signaled a significant turning point for the ensemble's signature sound.

Discography

As leader or co-leader

Johnny Hodges' early forays into leadership came during his 1951–1955 hiatus from Ellington's orchestra, where he formed his own small group and recorded for Norman Granz's and Norgran labels, evolving from guest appearances on sessions to his breakout Castle Rock (1951, Clef Records), which highlighted his signature warm tone on ballads and uptempo swingers in an intimate setting. This period established Hodges as a viable , emphasizing small-group with sidemen like Al Sears on and Leroy Lovett on , capturing his fluid phrasing and blues-inflected improvisations. By mid-decade, he recorded small-group sessions on Clef/Norgran featuring all-star ensembles that blended Hodges' leads with contributions from Ellington alumni on standards, underscoring his enduring ties to the Ellington sound even as a leader. Upon rejoining Ellington in 1955, Hodges continued prolific leadership output primarily through in the late 1950s and 1960s, producing small-group sessions that prioritized lyrical ballads and relaxed grooves, with notable examples including Blues A-Plenty (1958, ). This was followed by Side by Side (1958, ), another co-lead collaboration with Ellington that paired Hodges' velvety against the pianist's harmonic sophistication on tunes like "Stompy Jones," earning acclaim for its effortless swing and emotional depth. Back to Back (1959, ), also co-led with Ellington, further exemplified their -oriented chemistry through tracks such as "Wabash Blues," reinforcing Hodges' role in elevating small-combo with orchestral pedigree. In 1960, Blues Summit (), co-led with tenor saxophonist , pitted Hodges' intimate style against Hawkins' robust tone on extended explorations, marking a pivotal sax summit that highlighted contrasting and approaches in a format. Hodges' 1960s leadership matured with standalone efforts like Everybody Knows Johnny Hodges (1960, ), a ballad-centric album that solidified his reputation for romantic, vibrato-rich interpretations of standards such as "Day Dream," backed by a including Sam Jones on bass. Stride Right (1961, ), co-led with Earl "Fatha" Hines, fused Hodges' melodic lines with Hines' stride piano on swinging numbers like the title track, demonstrating his adaptability in duo and trio contexts. Similarly, The New Johnny Hodges Album (1961, ) captured fresh small-group material with arrangements by , emphasizing Hodges' pure tone on originals and evergreens, further showcasing his command of ry. Later examples include The Natural Johnny Hodges Sound (1963, ) and Hodges Afore Night (1966, ), continuing his focus on intimate settings. Over his career, Hodges released approximately 50 s as leader or co-leader, predominantly small-group outings that privileged his unparalleled phrasing and sensibility, influencing generations of saxophonists through their emotional directness and technical poise.

As sideman

Johnny Hodges served as a prominent throughout his career, most notably with Duke Ellington's orchestra, where he contributed to hundreds of recordings from 1928 until his death in 1970. Joining Ellington at age 21, Hodges became one of the band's defining voices, appearing on seminal albums such as (1951), which featured re-recordings of classics like "Mood Indigo" highlighting his lyrical phrasing. His work on Ellington Uptown (1952), arranged by and conducted by , showcased Hodges in extended solos on tracks like "Perdido," blending big-band energy with intimate improvisation. Later, on the tribute album And His Mother Called Him Bill (1968), dedicated to Strayhorn, Hodges delivered emotive performances on pieces like "Snibor," underscoring his emotional depth in ensemble settings. Beyond Ellington, Hodges participated in early sessions with other leaders, including Chick Webb in 1937, where he played alto saxophone on tracks like "My Honey's Lovin' Arms" with the Gotham Stompers, a group blending Ellington and Webb personnel. In the 1920s, he collaborated with Sidney Bechet in small groups, such as Willie "The Lion" Smith's Rhythm Club quartet around 1924, absorbing Bechet's soprano saxophone techniques during informal New York sessions that influenced his own vibrato and tone. In the 1930s, Hodges guested on Teddy Wilson-led dates, contributing alto to swing-era combos on recordings like "Sugar Plum" (1935), where his solos added a velvety contrast to the pianist's elegant swing. Hodges's sideman appearances extended into vocal jazz, including 1930s sessions with Billie Holiday under Wilson's direction, such as "I Cried for You" (1936), where his warm alto complemented her phrasing on early hits that helped launch her career. By the 1940s and 1950s, he joined forces with fellow Ellingtonian Lawrence Brown on small-group outings, notably the Clef/Norgran recordings from 1952–1954, featuring trombone-alto dialogues on standards like "Body and Soul," and later Inspired Abandon (1965), emphasizing their longstanding rapport in relaxed, blues-inflected ensembles. Among his standout contributions as a , Hodges's solo on "Things Ain't What They Used to Be" (1941) with Ellington's orchestra introduced Mercer Ellington's composition, his sinuous lines becoming a signature feature performed nightly for decades. Live recordings like The Great Concert (1963) captured Hodges in peak form during European tours, with memorable solos on "All of Me" and "Suite Thursday," highlighting his command in big-band contexts at Paris's Olympia Theatre. His final effort appeared on Ellington's New Orleans Suite (1970), commissioned for the New Orleans Jazz Festival, where Hodges's poignant on "Blues for New Orleans"—recorded just weeks before his death—served as a valediction to his four-decade tenure with the band. Overall, Hodges amassed over 200 credits across big bands and combos, prioritizing features that elevated ensemble through his signature warmth and precision.

References

  1. https://syncopatedtimes.com/johnny-hodges-profiles-in-jazz/
  2. https://www.jazzhistorydatabase.com/neja/johnny-hodges.php
  3. https://www.udiscovermusic.com/stories/elegy-for-johnny-hodges/
  4. https://cambridgeblackhistoryproject.org/project/johnny-hodges/
  5. https://www.mmone.org/johnny-hodges/
  6. https://www.jerryjazzmusician.com/great-encounters-when-johnny-hodges-met-sidney-bechet/
  7. https://conchapman.wordpress.com/2025/09/03/let-us-now-praise-cue-mrs-johnny-hodges/
  8. https://ancestors.familysearch.org/en/2W9B-X3N/john-cornelius-hodges-1907-1970
  9. https://www.jerryjazzmusician.com/interview-with-con-chapman-author-of-rabbits-blues-the-life-and-music-of-johnny-hodges/
  10. https://libres.uncg.edu/ir/uncg/f/Hill_uncg_0154D_13208.pdf
  11. https://academic.oup.com/book/32425/chapter/268741831
  12. http://www.jazzarcheology.com/artists/johnny_hodges.pdf
  13. https://www.allaboutjazz.com/musicians/johnny-hodges
  14. https://www.psaudio.com/blogs/copper/johnny-hodges-sax-player-for-duke-ellington-and-beyond
  15. https://www.jazzstandards.com/compositions-2/daydream.htm
  16. https://jazzprofiles.blogspot.com/2023/08/rabbits-blues-life-and-music-of-johnny.html
  17. http://oldtimeblues.net/2016/04/29/brunswick-6265-duke-ellington-and-his-famous-orchestra-1932/
  18. https://academic.oup.com/book/32425/chapter/268742426
  19. https://www.allmusic.com/album/back-to-back-duke-ellington-and-johnny-hodges-play-the-blues-mw0000666550
  20. https://downbeat.com/archives/detail/downbeat-hall-of-fame
  21. http://felixssaxophonecorner.blogspot.com/2015/12/johnny-hodges-appreciation.html
  22. https://wbssmedia.com/artists/detail/1679
  23. https://bassic-sax.info/Pete/makesandmodelslist/le-rationnel-semi-rationnel-srb-leblanc-system/
  24. https://www.shwoodwind.co.uk/Reviews/Saxes/Alto/vito_35.htm
  25. https://www.saxontheweb.net/threads/johnny-hodges-sax.101416/
  26. https://saxmundstykker.dk/Brilhart_mouthpieces.html
  27. https://www.saxophone.org/forum/thread/id/5123/name/What%2Bmouthpiece%2Band%2Bbrand%2Bsax%2Bdid%2BJohnny%2BHodges%2Bplay
  28. https://adp.library.ucsb.edu/names/103184
  29. https://whoisthemonk.wordpress.com/2010/11/23/johnny-hodges-the-complete-verve-johnny-hodges-small-group-sessions-1956-1961-2000/
  30. https://indianapublicmedia.org/nightlights/atrain-paul-gonsalves-195763.php
  31. https://www.allmusic.com/artist/johnny-hodges-mn0000526407
  32. https://thejazztome.info/duke-ellington-duke-ellington-presents/
  33. https://www.discogs.com/release/13687180-Duke-Ellington-And-His-Orchestra-Such-Sweet-Thunder
  34. https://www.discogs.com/release/2658017-Duke-Ellington-New-Orleans-Suite
  35. https://www.ejazzlines.com/blues-for-new-orleans-suite-duke-ellington-orchestra
  36. https://www.classicjazzstandards.com/songs/i-got-it-bad-and-that-ain-t-good/
  37. https://www.facebook.com/DukeEllingtonLatino/videos/duke-ellington-and-his-orchestra-i-got-it-bad-and-that-aint-good-1958soloist-joh/474095854610754/
  38. https://americanhistory.si.edu/explore/stories/5-my-favorite-things-our-duke-ellington-collection
  39. https://www.si.edu/object/archives/sova-nmah-ac-0301
  40. https://www.youtube.com/watch?v=j2PHiNA1ziw
  41. https://www.jazzattackswings.com/post/jazz-greats-johnny-hodges
  42. https://www.nytimes.com/1970/05/12/archives/johnny-hodges-jazz-soloist-63-alto-saxophone-player-in-ellington.html
  43. https://www.wwoz.org/blog/2624
  44. https://www.newyorker.com/magazine/1970/06/27/a-day-with-the-duke
  45. https://conchapman.wordpress.com/2022/05/11/the-last-days-of-johnny-hodges/
  46. https://www.findagrave.com/memorial/4727/johnny-hodges
  47. https://syncopatedtimes.com/the-story-of-duke-ellington-part-5-1961-1974/
  48. https://www.paulgonsalves.com/articles/OtherArticles/OtherArticles/turney.html
  49. https://www.allmusic.com/album/caravan-with-the-duke-ellington-all-stars-and-the-billy-strayhorn-all-stars-mw0000732678
  50. https://www.allmusic.com/album/side-by-side-mw0000191768
  51. https://www.allmusic.com/album/blues-summit-mw0001889429
  52. https://www.allmusic.com/album/everybody-knows-johnny-hodges-mw0000613710
  53. https://www.allmusic.com/album/stride-right-mw0000471353
  54. https://www.allmusic.com/artist/johnny-hodges-mn0000526407/discography
  55. https://www.allmusic.com/album/masterpieces-1926-1949-mw0000014553
  56. https://www.allmusic.com/album/ellington-uptown-mw0000187980
  57. https://www.allmusic.com/album/and-his-mother-called-him-bill-mw0000193222
  58. https://www.discogs.com/release/8862592-Chick-Webb-His-Best-Recordings-1929-1939
  59. https://lewisporter.substack.com/p/johnny-hodges-on-sax-and-clarinet
  60. https://www.jazzwise.com/review/johnny-hodges-the-clef-and-norgran-albums-1952-4
  61. https://www.jazzstandards.com/compositions-0/thingsaintwhattheyusedtobe.htm
  62. https://www.discogs.com/artist/258460-Johnny-Hodges
Add your contribution
Related Hubs
User Avatar
No comments yet.