JOHNNY HODGES more of NORGRAN 1009 deep groove JAZZ LP

$

86

ARTIST: JOHNNY HODGES AND HIS ORCHESTRA     

TITLE: MORE OF...

LABEL: NORGRAN MG N-1009 1st press yellow/black label

COUNTRY OF ORIGIN: USA

YEAR: 1954

COVER CONDITION: VG++ very nice. Fully intact edges and spine, with some inevitable wear. Small pencil writing in top right corner (on rear)- may be removable. Overall a GREAT COPY.

VINYL CONDITION:  VG++ again, just great. Nice gloss, with a few light marks/scuffs. No scratches or big problems.

DETAILS: WOW! This is the 1st press of this rare LP. The labels are beautiful and of course DEEP GROOVE. Black text/yellow background with a drawing of a chap playing trumpet. The record itself is ULTRA HEAVY! Probably 200 gram. Overall, an amazing copy of this classic and rare LP. I've never seen a copy of this even close to this condition. Don't hesitate to bid if you want a nice one, because another may not show up! Good luck.

Supervised by Norman Granz. The players on this LP: Harry Carney, Lawrence Brown, Louis Bellson, Jimmy Hamilton, Shorty Baker, & a young John Coltrane on tenor (listed as Johnny Coltrane).

Possessor of the most beautiful tone ever heard in jazz, altoist Johnny Hodges formed his style early on and had little reason to change it through the decades. Although he could stomp with the best swing players and was masterful on the blues, Hodges' luscious playing on ballads has never been topped. He played drums and piano early on before switching to soprano sax when he was 14. Hodges was taught and inspired by Sidney Bechet, although he soon used alto as his main ax; he would regretfully drop soprano altogether after 1940. His early experiences included playing with Lloyd Scott, Chick Webb, Luckey Roberts, and Willie "The Lion" Smith (1924), and he also had the opportunity to work with Bechet. However, Johnny Hodges' real career began in 1928 when he joined Duke Ellington's orchestra. He quickly became one of the most important solo stars in the band and a real pacesetter on alto; Benny Carter was his only close competition in the 1930s. Hodges was featured on a countless number of performances with Ellington and also had many chances to lead recording dates with Ellington's sidemen. Whether it was "Things Ain't What They Used to Be," "Come Sunday," or "Passion Flower," Hodges was an indispensable member of Ellington's orchestra in the 1930s and '40s. It was therefore a shock, in 1951, when he decided to leave Duke Ellington and lead a band of his own. Hodges had a quick hit in "Castle Rock" (which ironically showcased Al Sears' tenor and had no real contribution by the altoist), but his combo ended up struggling and breaking up in 1955. Hodges' return to Duke Ellington was a joyous occasion and he never really left again. In the 1960s, Hodges teamed up with organist Wild Bill Davis on some sessions, leading to Davis joining Ellington for a time in 1969. Johnny Hodges, whose unchanging style always managed to sound fresh, was still with Duke Ellington when he suddenly died in 1970.

Sessions: NYC, February 28, 1951

Radio Recorders, Hollywood, CA, July 2, 1954

Radio Recorders, Hollywood, CA, August 5, 1954

SIDE 1 - 19 minute Ballad Medley (beautiful)

SIDE 2 - On the Sunny Side of the Street

Warm Valley

Madam Butterfly

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