Con Chapman
Oxford University Press
New York: Oxford University Press: 232 pages
Nearly fifty years after he passed away, we finally have a full biography of Johnny Hodges. Hodges was arguably the premier alto saxophonist before Charlie Parker. Perhaps it was his close association with Duke Ellington that underscored the absence of a full biography. After all, his musical career was so intertwined with that of Ellington. Also, he was a taciturn person who sought to keep his private life private and was also a person of few words. With this background, we can appreciate Con Chapman's efforts to detail Hodges' life and music.
Chapman has written a straightforward account of the great saxophonists life and his music as he straightens out some facts about his life. In the Prologue, he notes that the first name by which he is known does not appear on his birth certificate and his given name does not appear on his death certificate. While his birth year is cited as 1906, his birth certificate shows he was born in 1907, and he provides several cases where wrong information is given about him. Other misconceptions are corrected here as well as telling Hodges story.
Chapman first examines Hodges roots, tracing his parents back to Virginia before they moved to the Boston area. His family was a musical one, but his attraction to the saxophone was because he found this one soprano saxophone in a store window "looked so pretty." He details Hodges education on the saxophone that included a few lessons from teachers and other players. Sidney Bechet was a significant influence whom he met when Bechet was in a show in Boston. Also, he learned from listening to records, and he gained experience playing with local artists in Boston as well as travel to New York.
In New York, he scuffled playing in dance clubs and jam sessions, before playing with Bechet at a club the New Orleans artist-owned. Eventually, Willie 'The Lion' Smith took over the band, and at some point, he joined Chick Webb's band, which became established at the new Savoy Ballroom. At some point, Otto Hardwick, who played alto, soprano and baritone saxophones with Duke, was injured in a taxicab accident and Ellington sought Hodges to replace him. Ellington has twice before asked Hodges but was rebuffed, but it was Webb who convinced Hodges this time, telling him it would be better for him in the long-time. So began an association that would last, with one significant interruption, until Hodge's death.
A good portion of the book, of course, is concerned with Hodges' time with Duke. This includes discussing some of the recordings, and live performances Hodges had while with the Duke. There is also discussion of small group recordings Hodges made with members of the Ellington Orchestra, and with non-Ellington small groups including accompanying vocalists such as Billie Holiday and Mildred Bailey. There is also the relationship he had with Billy Strayhorn and other members of the Orchestra including his fellow Bostonian, Harry Carney, and tenor saxophonist Ben Webster who was influenced by Hodges sound and approach to ballads, blues and more.
Chapman explains the factors causing Hodges to leave Ellington Orchestra, going out on as a leader and featured star performing and recording. Chapman details Hodges participation with Jazz at the Philharmonic and an association with Lawrence Welk. Chapman also notes the circumstances leading to Hodges return to the Ellington orchestra with whom he would remain with for the rest of his life. There are also chapters devoted to Hodges' very distinctive 'Tone,' his rivalry with other alto saxophonists, especially Benny Carter, "The Blues" which was always a significant part of his sound and repertoire, and finally a consideration of Johnny Hodges' legacy in Jazz.
In discussing Hodges music, Chapman does not employ technical musical examples in discussing Hodges playing, but his descriptions help bring his music to life in words as best as one can. A biography of Johnny Hodges has been long overdue and Chapman, not merely has filled a hole in the jazz literature, but provided a thoroughly researched, literate, and engaging biography. In addition to telling Johnny Hodges story, it details Hodges legacy and accomplishments as one of the most influential saxophonists in the history of Jazz. I note that my advance copy did not include photos or an index. These will be in the actual published book.
I received my copy from a publicist. Tomorrow I will post a short Johnny Hodges playlist.
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