Johnny Hodges was never the world's most highly animated showman or greatest stage personality, but he had a tone so beautiful it can make a grown man cry.
Man that hornsection, incredible tight, the Duke was a captain who knew how to sail his ship man, and that Hodges solo simply devine man, what a timing
Hodges played with incredible style--and confidence. I've read that he did not need to warm up with a few notes--just started cold. Saw the band perform live twice, in 1956 and 1957. At the former, I took my LP of Ellington and had him, Hodges, Carney and Nance autograph it. In a special frame now it hangs on the wall of my study.
Can't argue about Hodges swinging. Tremendous. None better. Listen to Hodges on the album Back to Back, Duke Ellington and Johnny Hodges Play the Blues, a sextet with Harry Edison on trumpet. It was originally issued as an LP but was later combined with Side by Side, a follow-up LP and combined on CD. Magnificent Blues playing by Hodges and Edison, and more of Duke solos than usual showing his really distinctive style that obviously influenced Thelonius Monk's style.
Mr. Hodges sounds like first band leader- was 15 when got hired. A band member had to drive me to the job. This gentleman would not give me charts. Instead, he encouraged me to look at his music. Fantastic experience.
This is great! I've been following only for a short while, but I've loved the Johnny Hodges transcription. I'm really hoping to center my phrasing and tone around Hodges and Lester Young, but try to add a little spice from Cannonball. I just want to find my style, and even if it is a big ask, I just want my music to sound beautiful.
Who plays like this these days anymore? Johnny Hodges was a true master of swing. How he could bend those notes and make Duke embody swing like nobody ever has (check 1:04), pure gold. But, for real... who plays like this these days? It seems people have followed into the steps of Bird and Coltrane all the way, but heroes of the saxophone like Hodges (and Desmond) with the sweeter kind of approaches seem to have way less traction , or is that just me? Surely correct me if I'm wrong 😄. I'd love your view on that, drop them in the comments down! And as always, if you want to help the channel grow, "liking" the video is the easiest way to do just that and you might also want to Subscribe if you haven't yet. We've also written a couple of Ebooks with breakdown/knowledge collected through our hundreds of transcriptions, if you want to check that out, we just moved to a new platform: sharpeleven.podia.com/ It's still partly under construction, but there are a ton of free transcription pdf's from our early days. For the more recent transcriptions of the last 2 years, check out our Patreon! /Jorre
Jorre...lots of players play like they're SEARCHING for the "right" notes...people like Hodges already FOUND them - every note he played was the "right" one. He played with the sweetest sound, a lights out swing feel and was in total command of the instrument. That's my take...but hey didn't Coltrane say Hodges was "the world’s greatest saxophone player"?
Hey Jorre, another great transcription. I think in some ways it's easier (not "easy"!) to follow the lead of Bird or Coltrane because there are clear melodic concepts they're employing that can be taught. It's another thing to copy *how* the notes are played. Don't get me wrong, with Bird or Coltrane, their genius was that they played complex ideas with dynamite phrasing. So even if you didn't know what was going on, it still just sounded so cool... This Hodges solo is fantastic but there's nothing outwardly complex melodically. But to play this solo and make it swing like he does is no easy feat on any instrument. It's hard to teach this or have a sense of improvement as you work on it, so it often falls to the wayside in favor of working on more concrete concepts, even though it's really the most important part of playing music. Who cares if you're playing complex lines if in the end they're poorly phrased and sound terrible. This is why even though I'm a guitarist, Michael Brecker is one of my most favorite musicians - which is how I found your channel! His playing was always accessible regardless of how complex it was - he didn't play on tons of pop tunes for no reason :) By the same token, have you ever tried to play Louis Armstrong's solos? It was one of the most difficult things I've done, and opened my eyes to the importance of phrasing and time. I talk about this all the time with my students!
You’re definitely right on with that. I’m a younger person who grew up on the real oldies first (Parker was the most modern person I listened to for a while, for reference!), and I always got vibed by other people for why I would find any value in that style of playing at all. I later moved on to Coltrane and beyond, and really, every style has something unique and beautiful about it that the others can’t do without. But the oldies! They were the inspiration for the tranes and Breckers and those who came later. Glad you are posting this kind of stuff.
@@JeffJacobsonMusic That's a very good way of describing it, and I think you are spot on Jeff! It's indeed conceptually more concrete to analyse complex melodic ideas and study that, as opposed to "how to swing hard" with a few notes. I do think that there are people who explored the spirit (besides the complex harmonies) of Coltrane, as you can see with the generation Brecker/ Liebman/ Lovano. But the soft and gentle approach of saxophone playing "spirit" really has been left much more to the side I feel. Antonio Hart is a great player that comes to mind on todays scene, but its a very, very short list. Kinda fun also that you dig Michael Brecker, who was a saxophonist that emulated a lot of electric guitarists. But he certainly didn't sound really like a guitarist in the end, I think it was u beautiful inspiration taken to a new kind of saxophone playing. I feel like there is still much undiscovered ground in more overlaps like that. When I've practiced a few of Timothy's Holdsworth solo's, it blows my mind how the concepts are so much out of the ballpark. And I know Holdsworth is out of any guitarists ballpark as well, but the same with playing through Chick Corea or even Chet Baker on saxophone.
I think the 44th line might be an A instead of a B but I could be wrong. Thank you for this awesome transcription, it was some great language for me to learn.
This is a rare gem of Ellington's. It's a track that really highlights Johnny Hodges' unique tone and style. However, I've noticed that there a couple of Bb's in there that should be A naturals (but it still works).
@@pabloanonlijo That one is missing a glissando, cause I think it's a Bb fingering where he bends that pretty low (yeah, about an A). But somehow it dropped out of my notation
I would not dare tot say that somebody swings harder than Hodges. Nonetheless here is Ben Webster with Oscar Petreson and friends (please come for me in the comment section!): th-cam.com/video/q5IaMdhVBFo/w-d-xo.html
Beautiful american music, i really love it, just love it, "it's just music, it's playing clean and pretty notes"...Charlie Parker said...
Johnny Hodges was never the world's most highly animated showman or greatest stage personality, but he had a tone so beautiful it can make a grown man cry.
When i unexpectedly hear him swing, I gasp.
My dad took me backstage at a couple Duke Ellington concerts in the 60s. Always ended up hanging out with Johnny Hodges.
that’s very cool
Man that hornsection, incredible tight, the Duke was a captain who knew how to sail his ship man, and that Hodges solo simply devine man, what a timing
For real
@@bradygandy1031
All the guys who just press knobs nowadays can sure learn a lot from these veterans, who could really play👍
Hodges played with incredible style--and confidence.
I've read that he did not need to warm up with a few notes--just started cold.
Saw the band perform live twice, in 1956 and 1957.
At the former, I took my LP of Ellington and had him, Hodges, Carney and Nance autograph it.
In a special frame now it hangs on the wall of my study.
Worth 1,000 x more than the autographs of Johnnie Ray, Tommy Steele, and Donald Peers.
That is an awesome piece to have! Enjoying it everyday!!!!
Beautiful, man
@@grahamlyons8522 The signed album is titled "Duke Ellington" --numbered CL 558.
And it will stay in the family.
Brother, that is PRICELESS!!!!!💯💯💯
“We love you, we love you madly”
- Duke Ellington
That bend at 1:11 gave me chills
Love this. Johnny is probably my favourite big band lead alto.
Can't argue about Hodges swinging. Tremendous. None better. Listen to Hodges on the album Back to Back, Duke Ellington and Johnny Hodges Play the Blues, a sextet with Harry Edison on trumpet. It was originally issued as an LP but was later combined with Side by Side, a follow-up LP and combined on CD. Magnificent Blues playing by Hodges and Edison, and more of Duke solos than usual showing his really distinctive style that obviously influenced Thelonius Monk's style.
This is such a gift. I have absolutely LOVED this solo for years.
Yesss more Johnny Hodges please. I'm trying to apply some of his licks/principles to trombone for my sweeter solos
It sounds like something corrupted is growing rapidly, but it looks beautiful and unorthodox.
Mr. Hodges sounds like first band leader- was 15 when got hired. A band member had to drive me to the job. This gentleman would not give me charts. Instead, he encouraged me to look at his music. Fantastic experience.
This is great! I've been following only for a short while, but I've loved the Johnny Hodges transcription. I'm really hoping to center my phrasing and tone around Hodges and Lester Young, but try to add a little spice from Cannonball. I just want to find my style, and even if it is a big ask, I just want my music to sound beautiful.
That,s a noble strive man, always have something in your life where Art takes over and it will reward your passion and hard work.
Been hearing this song on repeat for the past few days, and now you transcribe it. What a coincidence!
i love how you can just hear the sidney bechet influences all in johnny’s sound
Muy Bella Música Americana. Gracias por Éste Regalo. Me Quito el Sombrero y mis Respetos.
Those 'suits' in the back standing up were bopping on the beats!
Who plays like this these days anymore? Johnny Hodges was a true master of swing. How he could bend those notes and make Duke embody swing like nobody ever has (check 1:04), pure gold. But, for real... who plays like this these days? It seems people have followed into the steps of Bird and Coltrane all the way, but heroes of the saxophone like Hodges (and Desmond) with the sweeter kind of approaches seem to have way less traction , or is that just me? Surely correct me if I'm wrong 😄. I'd love your view on that, drop them in the comments down!
And as always, if you want to help the channel grow, "liking" the video is the easiest way to do just that and you might also want to Subscribe if you haven't yet. We've also written a couple of Ebooks with breakdown/knowledge collected through our hundreds of transcriptions, if you want to check that out, we just moved to a new platform: sharpeleven.podia.com/
It's still partly under construction, but there are a ton of free transcription pdf's from our early days. For the more recent transcriptions of the last 2 years, check out our Patreon!
/Jorre
Jorre...lots of players play like they're SEARCHING for the "right" notes...people like Hodges already FOUND them - every note he played was the "right" one. He played with the sweetest sound, a lights out swing feel and was in total command of the instrument. That's my take...but hey didn't Coltrane say Hodges was "the world’s greatest saxophone player"?
Hey Jorre, another great transcription. I think in some ways it's easier (not "easy"!) to follow the lead of Bird or Coltrane because there are clear melodic concepts they're employing that can be taught. It's another thing to copy *how* the notes are played. Don't get me wrong, with Bird or Coltrane, their genius was that they played complex ideas with dynamite phrasing. So even if you didn't know what was going on, it still just sounded so cool... This Hodges solo is fantastic but there's nothing outwardly complex melodically. But to play this solo and make it swing like he does is no easy feat on any instrument. It's hard to teach this or have a sense of improvement as you work on it, so it often falls to the wayside in favor of working on more concrete concepts, even though it's really the most important part of playing music. Who cares if you're playing complex lines if in the end they're poorly phrased and sound terrible. This is why even though I'm a guitarist, Michael Brecker is one of my most favorite musicians - which is how I found your channel! His playing was always accessible regardless of how complex it was - he didn't play on tons of pop tunes for no reason :) By the same token, have you ever tried to play Louis Armstrong's solos? It was one of the most difficult things I've done, and opened my eyes to the importance of phrasing and time. I talk about this all the time with my students!
i transcribed one of his versions of all of me as well as sunnyside of the street last year. so much nuance to his playing.
You’re definitely right on with that. I’m a younger person who grew up on the real oldies first (Parker was the most modern person I listened to for a while, for reference!), and I always got vibed by other people for why I would find any value in that style of playing at all. I later moved on to Coltrane and beyond, and really, every style has something unique and beautiful about it that the others can’t do without. But the oldies! They were the inspiration for the tranes and Breckers and those who came later. Glad you are posting this kind of stuff.
@@JeffJacobsonMusic That's a very good way of describing it, and I think you are spot on Jeff! It's indeed conceptually more concrete to analyse complex melodic ideas and study that, as opposed to "how to swing hard" with a few notes. I do think that there are people who explored the spirit (besides the complex harmonies) of Coltrane, as you can see with the generation Brecker/ Liebman/ Lovano. But the soft and gentle approach of saxophone playing "spirit" really has been left much more to the side I feel. Antonio Hart is a great player that comes to mind on todays scene, but its a very, very short list.
Kinda fun also that you dig Michael Brecker, who was a saxophonist that emulated a lot of electric guitarists. But he certainly didn't sound really like a guitarist in the end, I think it was u beautiful inspiration taken to a new kind of saxophone playing. I feel like there is still much undiscovered ground in more overlaps like that. When I've practiced a few of Timothy's Holdsworth solo's, it blows my mind how the concepts are so much out of the ballpark. And I know Holdsworth is out of any guitarists ballpark as well, but the same with playing through Chick Corea or even Chet Baker on saxophone.
Thanks for sharing this beautiful piece of jazz music history 🙏 🎶
Woooooooooooooowwww🎉🎉🎉🎉
Pure genius !
Crossover of jazz and Coach Greg? The algorithm is crushing it. 😂 Great video, man!
this is very nice, thanks for sharing!
One of my favorite solos of all time. Long live Hodges.
Qué divinos!
YES - thanks for this one Jorre :D
It's funny how he kinda looks like Duke Ellington
I think the 44th line might be an A instead of a B but I could be wrong. Thank you for this awesome transcription, it was some great language for me to learn.
This is a rare gem of Ellington's. It's a track that really highlights Johnny Hodges' unique tone and style. However, I've noticed that there a couple of Bb's in there that should be A naturals (but it still works).
Finesse!
Wow sound awesome. What brand alto saxophone his playing
Wow, awesome transcription and awesome music! That footage that goes along with it is incredible too! How and/or where did you find this?
Hey, it's from a documentary about Duke I believe. This video is right up on TH-cam, if you look for "Duke Ellington Rondolet"
😍😍😍
Ive been trying to find the full recording of this.
If you’re still looking for it, the album it’s on is “Duke Ellington: The Private Collection, Volume Eight Studio Sessions, 1957, 1965, 1966, 1967”
I would say Lester Young could swing just as hard especially on the cut Oh, lady be good
Wow! BANG! And I thought it was only the Basie band that REALLY swung!
how did you get this clear recording??
Combined the video with the released album audio
I thought he was Cleveland from family guy in the thumbnail haha🤣
I can hear the title in Greg Doucette
😂😂😂 🙌 wait until I start doing video's in his outfit
I think at 0:40 those are supposed to be F#s but they are notated as Fs, just wanted to let you know
Yes they absolutely are! They should have been obvious but somehow missed those, thanks for the update!
@@SharpElevenMusic At 1:25 I listen A instead Bb
@@pabloanonlijo That one is missing a glissando, cause I think it's a Bb fingering where he bends that pretty low (yeah, about an A). But somehow it dropped out of my notation
Louis Armstrong...
I would not dare tot say that somebody swings harder than Hodges. Nonetheless here is Ben Webster with Oscar Petreson and friends (please come for me in the comment section!): th-cam.com/video/q5IaMdhVBFo/w-d-xo.html
Lol harder than last time
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