Top 50 Jazz Blog

Top 50 Jazz Blog
Showing posts with label johnny hodges. Show all posts
Showing posts with label johnny hodges. Show all posts

Thursday, October 9, 2025

Interracial Jazz Recording (#48) Wilson, Holiday and Barbour

This Teddy Wilson-Billie Holiday session features white musicians Tom Mace on clarinet and Dave Barbour on guitar. Dave Barbour shows up on a lot of 1930's sessions then joins Benny Goodman's band in 1942, where he meets and marries singer Peggy Lee. The tunes they wrote together include "It's A Good Day" and “I Don’t Know Enough About You.” Tom Mace recorded often on sax, clarinet and, occasionally on oboe. 

Dave Barbour

Billie Holiday

Tom Mace


"Spreadin’ Rhythm Around" is the most interesting song from this set. The lyrics reference swing, but the song is a little bit retro, as the rhythm section is more a 2/4 than a 4/4 swing feeling. Barbour kicks on the intro and Mace, Clarke and the inimitable Hodges have nice solos. Lady, as always, does the job




Teddy Wilson and His Orchestra: Richard Clarke, t / Tom Mace, cl / Johnny Hodges, as/ Teddy Wilson, p / Dave Barbour, g / Grachan Moncur, sb / Billie Holiday, v. New York, December 3, 1935.

  • These ‘N’ That ‘N’ Those– vBH0- Br 7577, 02118, A-500627;
  • Sugar Plum- Br 7577, A-81076, A-500627, Voc S-23, Lucky 60124;
  • You Let Me Down– vBH- Br 7581, A-500628, Dec J-2;
  • Spreadin’ Rhythm Around – vBH: Br 7581, 02141, A-500628

Friday, September 29, 2017

Intonation: Good Enough For Jazz?

There's an ancient trope musicians share while they're tuning up. After a few minutes of slides and mouthpieces being manipulated to try and agree on a Bflat, someone says "Ok-good enough for jazz."

How much a listener is distracted by intonation in jazz is personal, but it's clear that in the hierarchy of jazz values, personal expression trumps intonation. In fact, a lot of great players have existed in a kind of a tuning nether-region. 
I don't mean "bending" notes, which is an obvious device. But, is the musician purposely playing out of tune, doesn't notice it, or is he or she hearing the music in another way; possibly more as in a non-tempered, just-intonation framework?

This varies from instrument to instrument.

Bass players will be pissed off, but I find their intonation often dubious. Walking-ok, but once the solos start and they're freed from the shackles of playing important chord tones, it's a different story. Can't really talk about pianists, of course, as they do what they can with what they're given. As far as trumpet players- look at pictures of classical trumpet players and you see they have
 
fingers in both the first and third valve slides, in order to make adjustments. Not so, jazz players, who are often out of tune, especially when they use mutes. I hear trombonists adjusting well, especially in the upper register, when the slide is least extended. Mutes are an issue for them, too.

Really, it's about sax players-and mostly about alto players.


There's a school of alto players to which applying the usual standards of playing sharp or flat just doesn't make sense.


Here's where some of them fall to me:


Cannonball Adderly: bright tone, pleasantly sharp.

Gary Bartz: pretty much in the center
Benny Carter: liked to push it up and down, but settled at home
Johnny Hodges: all over the place, but he knew where he was
Ornette Coleman: an intonation enigma; where will he be?
Lou Donaldson: moderately bright tone, but, surprisingly, sometimes a shade under pitch(!)
Eric Dolphy: often far away from "in tune" on the sharp end.
Charlie Parker: His tone changed (almost) everyone's tone to the edgier bright sound that has dominated since that time. I think that people must have heard him as playing sharp, which a lot of the time he was, but less sharp than his tone would lead you to think.
Jackie McLean: He's the guy that inspired this post; pushes sharp to the extreme.

Where do you stand on this question?

Monday, March 14, 2016

Alto Sax Roots Program

Tab Smith
The Duplex Mystery Hour of 3.10.17 on WZBC featured important alto players from the 20's and 30's: Trumbauer, Redman, Procope, Dorsey, Hodges, Carter, the Jones, Jefferson, Brown. The last part of the show includes early recordings of Charlie Parker with Jay McShann.

LISTEN HERE

PLAYLIST

Frank Trumbauer (C Melody sax) & Bix Beiderbecke "Trumbology" from "Trumbology" 1927 Okeh 

"Variety Stomp" Fletcher Henderson Orchestra: Victor, 1927 Fletcher Henderson -Piano, Arranger, DirectorJoe Smith, Russell Smith - trumpet (?) Some sources cite Tommy Ladnier on Trumpet, Benny Morton, Jimmy Harrison - Trombone Buster Bailey, Don Redman - Clarinet, Alto Coleman Hawkins - Clarinet, Tenor Charlie Dixon - Banjo June Cole - Brass Bass Kaiser Marshall - Drums"Victor 20944-BNew York, April 27, 1927

"Beebe" Jimmy Dorsey Clarinet & Sax Solo, Mannie Klein Leo McConville (tp),Tommy Dorsey (tb), Paul Mason (ts),Alfie Evans (as) Arthur Schutt {p}, Eddie Lang (g) Hank Stern (b), Brunswick New York 13 June 1929 

"Sweet Chariot" The Harlem Footwarmers - New York, 30.10. 1930-Alto Saxophone - Johnny Hodges; Arranged By - Duke Ellington; Banjo - Fred Guy; Baritone Saxophone - Harry Carney; Clarinet - Barney Bigard; Drums - Sonny Greer; Leader -Duke Ellington; Piano - Duke Ellington; Soprano Saxophone - Harry Carney; Soprano Saxophone - Johnny Hodges; Tenor Saxophone - Barney Bigard; Trombone - Joe "Tricky Sam" Nanton; Trumpet - Arthur Whetsol; Trumpet - Cootie Williams; Trumpet - Freddy Jenkins;

"Radio Rhythm" The Savannah Syncopators-1931 Rex Stewart-c/Russell Smith-Bobby Stark-t/ Claude Jones-Benny Morton-tb/John Kirby-t ba/Russell Procope-cl-as/Edgar Sampson-as/Coleman Hawkins-ts-cl/Clarence Holiday-g/Walter Johnson-d/Nat Leslie-arr.

"Chant Of The Weed" Don Redman & Orchestra -1931-Brunswick-Don Redman - alto sax, vocals Leonard Davis, Bill Coleman, Henry 'Red' Allen - trumpet Claude Jones, Fred Robinson, Benny Morton - trombone Edward Engle,  Rupert Cole - alto sax, clarinet Robert Carroll - tenor sax Horace Henderson - piano, arranger (Fletcher Henderson's brother) Talcott Reeves - banjo, guitar Bob Ysaguirre - bass Manzie Johnson - violin

"Savoy Strut" Johnny Hodges - (1933)-Johnny Hodges (A.Sax) and his Orch. Cootie Williams(tp), Lawrence Brown(tb), Harry Carney(bs), Duke Ellington(p), Billy Taylor(b), Sonny Greer(dm) recorded 21 March, 1933 Columbia

"Royal Garden Blues," John Kirby Sextet 1937 The John Kirby Sextet -Charlie Shavers (trumpet); Buster Bailey (clarinet); Russell Procope (alto sax); Billy Kyle (piano); John Kirby (bass); O'Neil Spencer (drums).

"Squabblin" Walter Page's Blue Devils from "Sweet and Low Blues"  James Simpson, Hot Lips Page (tp) Dan Minor (tb) Buster Smith (cl,as) Ted Manning (as) Reuben Roddy (ts) Charlie Washington (p) Reuben Lynch or Thomas Owens (g) Walter Page (tu-1,b- 1930 Vocalion 

"Down South Camp Meeting" and "Limehouse Blues" Fletcher Henderson - -Brunswick N.Y.C. 12.09.34-Russell Smith Irving Randolph Henry Red Allen (tp) Claude Jones Keg Johnson (tb) Buster Bailey (cl) Russell Procope Hilton Jefferson (cl as) Ben Webster (ts) Fletcher Henderson (p) Horace Lucie (g) Elmer James (b) Walter Johnson (d)

"Sophisticated Lady" Duke Ellington & His Orchestra: 1933 on Brunswick. Freddy Jenkins, Arthur Whetsel, Cootie Williams, t; Lawrence Brown, Joe Nanton, tb; Juan Tizol, vtb; Barney Bigard, cl, ts; Johnny Hodges, as, ss; Otto Hardwick, as, cl, bsx; Harry Carney, bs, cl, as; Duke Ellington, p; Fred Guy, g; Wellman Braud, b; Sonny Greer, d.

"I Gotta Right to Sing the Blues" Billie Holiday, Frankie Newton tp; Tab Smith as & ss; Kenneth Hollon, Stanley Payne ts; Sonny White p; Jimmy McLin g; John Williams b; Eddie Dougherty ds; Billie Holiday vc; from The Commodore Master Takes  1939 

"‪In a Mellotone" Alto Saxophone,Johnny Hodges,Piano: Duke Ellington, Trumpet: Wallace Jones, Cootie Williams,Cornet: Rex Stewart, Trombone: Joe Nanton, Lawrence Brown, Juan Tizol Clarinet, Tenor Saxophone: Barney Bigard, Alto Saxophone: Otto Hardwick Tenor Sax: Ben Webster, Alto Sax, Baritone Sax, Clarinet: Harry Carney,Guitar: Fred Guy, Bass: Jimmie Blanton, Drums: Sonny Greer‬ on Victor 

"Blue Skies"  The John Kirby Sextet 1937) -Charlie Shavers (trumpet); Buster Bailey (clarinet); Russell Procope (alto sax); Billy Kyle (piano); John Kirby (bass); O'Neil Spencer (drums).

"I Wish I Were Twins" by Henry Allen and his Orchestra, 1934-Solos by Buster Bailey-clarinet, Hilton Jefferson-alto sax, and Henry "Red" Allen on trumpet and vocal. on Melotone 

"Rhythm Is Our Business" -Jimmie Lunceford (Willie Smith, vocal), Jimmie Lunceford - director, Eddie Tompkins, Tommy Stevenson, William "Sleepy" Sy Oliver - trumpets, Henry Wells, Russell Bowles-Trombones, Willie Smith, Earl Carruthers-clarinet, alto sax, baritone sax, Joe Thomas-clarinet, tenor sax, Edwin Wilcox-piano, Al Norris-guitar, Moses Allen-tuba, Jimmy Crawford-drums on Decca 

Jimmie Lunceford "Jazznocracy" same personnel

"Delhia" Pete Brown also Jimmie Gordon & his Vip Vop Band-Decca (1939)-Jimmie Gordon:Vocals Frankie Newton:Trumpet Pete Brown:Alto Sax Sam Price:Piano Poss. Zutty Singleton:Drums

"Sleep" Benny Carter and His Orchestra from "Melancholy Benny" (Jazz, 1939) Frankie Newton & Cafe Society Orchestra "Jitters"  (Jazz, 1939) on Vocalion 

"Keep A-Knockin'(But You Can't Come In" Louis Jordan And His Tympany Five--Decca 1939 Courtney Williams or Eddie Roane or Aaron Izenhall (trumpet), Lem Johnson or Josh Jackson or Eddie Johnson (tenor saxophone), Clarence Johnson or Arnold Thomas or "Wild Bill" Davis or Bill Doggett (piano), Charlie Drayton or Al Morgan or Jesse "Po" Simpkins or Dallas Bartley (bass), and Walter Martin or Eddie Byrd or Chris Columbus (drums).

 "Frankie's Jump"  Frankie Newton & Cafe Society Orchestra, Frank Newton, trumpet,.T. Smith, S. Payne & K. Hollen, reeds. K. Kirby, piano., U. Livingstone, guitar. J. Williams, string-bass. E. Dougherty, drums.1939 on Vocalion 

" I got it bad" Air Check from Savoy Ballroom -Jay McShann & Charlie Parker, Al Hibbler-vocal

"Cherokee" Jay McShann featuring Charlie Parker

" Hootie Blues" Jay Mc Shann - (1941) -Buddy Anderson, Harold Bruce, Orville Minor (trumpet) Joe Taswell Baird (trombone) John Jackson, Charlie Parker (alto saxophone) Harold Ferguson, Bob Mabane (tenor saxophone) Jay McShann (piano) Gene Ramey (bass) Gus Johnson (drums) Dallas, TX, April 30, 1941

"Jumpin The Blues" by Jay McShann same personnel 1941 Decca

Sunday, February 15, 2015

8 Cats Who Make it Look Easy

If you turn off the sound and just look at them, you'd never guess the intensity of the playing. How can they keep their bodies so relaxed and generate such energy?

Wes Montgomery. Not a care, brother.


Charlie Parker. Yes, he's dubbing, but that's how he looked when he played.


Freddie Hubbard. The trumpet is too hard to really make it look easy, but how hard he blows isn't reflected in how he looks.


Errol Garner. Elfin.


Big Sid Catlett. Big man dances with ease.


Johnny Hodges. Intensity in the eyes, but no tension in his body.


Art Tatum.Falling off a log (perched on a 100-story skyscraper)


Lester Young. Just. Cool.