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Johnny Hodges

Johnny Hodges

born on 25/7/1906 in Cambridge, MA, United States

died on 12/5/1970 in New York City, NY, United States

Johnny Hodges

From Wikipedia, the free encyclopedia.

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, except the period between 1932 and 1946 when Otto Hardwick generally played first chair. Hodges was also featured on soprano saxophone, but refused to play soprano after 1946, when he was given the lead chair.[1] He is considered one of the definitive alto saxophone players of the big band era (alongside Benny Carter).[2]

Hodges started playing 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.


Early life

Hodges was born in Cambridge, Massachusetts, to John H. Hodges and Katie Swan Hodges, both originally from Virginia.[2] Soon afterwards, the family moved to Hammond Street in Boston, where he grew up with baritone saxophonist Harry Carney, and saxophonists Charlie Holmes and Howard E. Johnson.[2] 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 eight dollars 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. In fact, Carney called him Rabbit because of his rabbit-like nibbling on lettuce and tomato sandwiches.[2]

When Hodges was 14, he saw Sidney Bechet play in Jimmy Cooper's Black and White Revue in a Boston burlesque hall.[2] Hodges' sister got to know Bechet, which gave him the inspiration to introduce himself and play "My Honey's Lovin Arms" for Bechet.[2] Bechet was impressed with his skill and encouraged him to keep on playing. Hodges built a name for himself in the Boston area before moving to New York in 1924.[2]

Duke Ellington

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."[3] Charlie Parker called him "the Lily Pons of his instrument."[4]

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' smooth alto saxophone sound are "Magenta Haze", "Prelude to a Kiss", "Haupe" (from Anatomy of a Murder) – note also the "seductive" and hip-swaying "Flirtibird", featuring the "irresistibly salacious tremor" by Hodges,[5] "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".

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[6] 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."[7]


In the 1940s, Hodges played a Conn 6M (recognizable by its underslung 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 which was notable for its unusual key-mechanisms (providing various alternative fingerings) and tone-hole placement, which gave superior intonation. Fewer than 2,000 were ever made. Hodges' Vito saxophone was silver-plated and extensively engraved on the bell, bow, body and key-cups of the instrument.[8]


Hodges' 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 had a wife, Edith Cue, and two children: John Hodges Jr. and Lorna Majata.[9]

The loss of Hodges' 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."[10]


  • 1946: Passion Flower (RCA) with Willie Cook, Roy Eldridge, Quentin Jackson, Russell Procope, Ben Webster, Sam Woodyard
  • 1951: Caravan (Prestige) with Taft Jordan, Harold Baker, Juan Tizol, Duke Ellington, Billy Strayhorn, Oscar Pettiford, Sonny Greer
  • 1951-52: Castle Rock (Norgran)
  • 1952: In a Tender Mood (Norgran)
  • 1952-54: The Blues (Norgran)
  • 1951-54: More of Johnny Hodges (Norgran)
  • 1951-54: Memories of Ellington (Norgran) also released as In a Mellow Tone
  • 1954: Used to Be Duke (Norgran)
  • 1952–55: Dance Bash (Norgran) also released as Perdido
  • 1955: Creamy (Norgran)
  • 1956: Ellingtonia '56 (Norgran)
  • 1956: Duke's in Bed (Verve)
  • 1957: The Big Sound (Verve)
  • 1958: Blues-a-Plenty (Verve)
  • 1958: Not So Dukish (Verve)
  • 1959: Johnny Hodges and His Strings Play the Prettiest Gershwin (Verve)
  • 1959: Back to Back: Duke Ellington and Johnny Hodges Play the Blues (Verve) with Duke Ellington
  • 1959: Side by Side (Verve) with Duke Ellington
  • 1960: A Smooth One (Verve)
  • 1960: Gerry Mulligan Meets Johnny Hodges (Verve) with Gerry Mulligan
  • 1961: Blue Hodge (Verve)
  • 1961: Johnny Hodges with Billy Strayhorn and the Orchestra (Verve)
  • 1961: Johnny Hodges at Sportpalast Berlin (Pablo) with Ray Nance, Lawrence Brown, Al Williams
  • 1963: Buenos Aires Blues (Johnny Hodges Quintet with Lalo Schifrin on piano)
  • 1963: Sandy's Gone (Verve)
  • 1963: Mess of Blues (Verve) with Wild Bill Davis
  • 1964: Everybody Knows Johnny Hodges (Impulse!)
  • 1964: Blue Rabbit (Verve) with Wild Bill Davis
  • 1965: Con-Soul & Sax (RCA Victor) with Wild Bill Davis
  • 1965: Joe's Blues (Verve) with Wild Bill Davis
  • 1965: Wings & Things (Verve) with Wild Bill Davis
  • 1965: Inspired Abandon (Impulse!) with Lawrence Brown
  • 1966: Stride Right (Verve) with Earl Hines
  • 1966: Blue Pyramid (Verve) with Wild Bill Davis
  • 1966: Wild Bill Davis & Johnny Hodges in Atlantic City (RCA Victor) with Wild Bill Davis
  • 1966: Blue Notes (Verve)
  • 1967: Triple Play (RCA Victor)
  • 1967: Don't Sleep in the Subway (Verve)
  • 1967: Swing's Our Thing (Verve) with Earl Hines
  • 1968: Rippin' & Runnin' (Verve)
  • 1970: 3 Shades of Blue (Flying Dutchman) with Leon Thomas and Oliver Nelson

As sideman

With Duke Ellington

  • All American in Jazz (Columbia, 1962)
  • All Star Road Band Volume 2 (Doctor Jazz, 1964 [1985])

with Coleman Hawkins

  • Hawkins! Eldridge! Hodges! Alive! At the Village Gate! (Verve, 1962)

with Joya Sherrill

  • Joya Sherrill Sings Duke (20th Century Fox, 1965)

with Billy Strayhorn

  • Cue for Saxophone (Felsted, 1959)

with Billy Taylor

  • Taylor Made Jazz (Argo, 1959)

With Clark Terry

  • Duke with a Difference (Riverside, 1957)


  1. ^ Yanow, Scott. "Johnny Hodges Biography". AllMusic. All Media Network. Retrieved 8 April 2016. 
  2. ^ a b c d e f g h i Tumpak, John R. (2011). "Johnny Hodges: Sensual Musical Beauty". Memory Lane (172): 41–42. ISSN 0266-8033. 
  3. ^ Goodman, Benny; Kolodin, Irving (1939). The Kingdom of Swing. Stackpole Sons. p. 231. ASIN B000878B3S. 
  4. ^ Morton, John Fass (2008). Backstory in Blue: Ellington at Newport '56. Rutgers University Press. p. 31. ISBN 978-081354-2829. 
  5. ^ Stryker, Mark (January 20, 2009). "Ellington's score still celebrated". Detroit Free Press. Archived from the original on February 12, 2009. Retrieved February 23, 2013. 
  6. ^ "100 Jazz Profiles". BBC Radio 3. Retrieved September 29, 2014. 
  7. ^ Panken, Ted (18 April 1990). "In Conversation with Johnny Griffin". Archived from the original on 18 March 2010. 
  8. ^ "Hodges Vito Also". Doctor Sax. Retrieved 8 April 2016. 
  9. ^ "Saxophonist Johnny Hodges Leaves $86,000 Estate To His Widow And Children". JET. December 28, 1972. Retrieved March 28, 2018. 
  10. ^ Ellington, Duke (1973). Music Is My Mistress. New York: Da Capo. p. 119. ISBN 0-306-80033-0. 

External links

This page was last modified 07.08.2018 09:41:13

This article uses material from the article Johnny Hodges from the free encyclopedia Wikipedia and it is licensed under the GNU Free Documentation License.