JOHNNY HODGES & BEN WEBSTER - Complete 1954 to 1961 Small Group Studio Sessions
Phono 870255
CD One
Tracks 1 to 11
Blues A Plenty
Johnny Hodges ( alto ) Ben Webster ( tnr ) Roy Eldridge ( tpt ) Vic Dickenson ( tmb ) Billy Stray horn
( pno ) Jimmy Woode ( bass ) Sam Woodyard ( drs )
Eldridge, Dickenson $ Webster out on tracks 1, 3, 6, 8 & 10
Recorded New York, 5 April 1958
Tracks 12 to 16
From The Smooth One
Johnny Hodges ( alto ) Ben Webster ( tnr ) Shorty Baker ( tpt ) Quentin Jackson ( tmb ) John Sanders
( tmb )Jimmy Hamilton ( clt ) Les Spann ( gtr ) Jimmy Jones ( pno ) Ray Brown ( bass ) Jo Jones ( drs )
Recorded New York, 8 April 1959
CD Two
Tracks 1 to 8
Not So Dukish
Johnny Hodges ( alto ) Ben Webster ( tnr ) Roy Eldridge ( tpt ) Ray Nance ( tpt ) Lawrence Brown
( tmb ) Jimmy Hamilton ( clt ) Billy Strayhorn ( pno ) Jimmy Woode ( bass ) Sam Woodyard ( drs )
Hamilton out on tracks3, 4, 6 & 8 Nance out on tracks 4 & 8 Eldridge out on tracks 7 & 8 Brown & Webster out on track 8
Recorded New York, 10 September 1958
Tracks 9 to 17
From The Smooth One
Johnny Hodges ( alto ) Ben Webster ( tnr ) Shorty Baker ( tpt ) Quentin Jackson ( tmb ) John Sanders
( tmb ) Jimmy Hamilton ( clt ) Les Spann ( gtr ) Jimmy Jones ( pno ) Ray Brown ( bass ) Jo Jones
( drs )
Recorded New York, 7 April 1959
Tracks 14 to 16
Johnny Hodges ( alto ) Ben Webster ( tnr ) Emmett Berry ( tpt ) Lawrence Brown ( tmb ) Leroy Lovett
( pno ) Lloyd Trotman ( bass 0 Osie Johnson ( drs )
RecordedNew York, 9 April 1954
CD Three
Tracks 1 to 12
The Jazz Cellar Sessions
Johnny Hodges ( alto ) Ben Webster ( tnr ) Herb Ellis ( gtr ) Lou Levy ( pno ) Wilfred Middlebrooks
( bass ) Gus Johnson ( drs )
Recorded at the Jazz Cellar, San Francisco, 22 November 1960
Tracks 13 to 17
Johnny Hodges ( alto ) Ben Webster ( tnr ) Ray Nance ( tpt ) Lawrence Brown ( tmb ) Emil Richards
( vibes ) Russ Freeman ( pno ) Joe Môndragon ( bass ) Mel Lewis ( drs ) Jimmy Hamilton ( arr )
Recorded Los Angeles, 31 January 1961
CD Four
Tracks 1 to 9
Side By Side
Johnny Hodges ( alto ) Ben Webster ( tnr ) Roy Eldridge ( tpt ) on tracks ( 3 & 5 to 9 ) Lawrence Brown ( tmb ) Billy Strayhorn ( pno ) Wendell Marshall ( bass ) Jo Jones ( drs )
Recorded New York , 14 August 1958
On tracks 1, 2 & 4 omit Ben Webster add Duke Ellington ( pno ) Harry Edison ( tpt ) Les Spann ( gtr ) Al Hall ( bass ) Jo Jones ( drs )
Recorded New York, 26 February 1959
Bonus tracks
Tracks 10 to 13
Johnny Hodges ( alto ) Ben Webster ( tnr ) Emmett Berry ( tpt ) Lawrence Brown ( tmb Leroy Lovett
( pno ) Red Callender ( bass 0 J.C. Heard ( drs ) Al Hibbler ( vocal ) on “This Love Of Mine”
Recorded Los Angeles, 27 July 1957
Tracks 14 t o 17
Johnny Hodges ( alto ) Ben Webster ( tnr ) Rudy Williams ( tnr ) Emmett Berry ( tpt ) LawreOce Brown ( tmb ) Ted Brannon ( pno ) Barney Richmond ( bass ) Al Walker ( drs )
Recorded New York, 11 December 1952
The one fact that stands out on these four CDs is the Duke Ellington connection not only are the two featured soloists, Johnny Hodges and Ben Webster Ellington band members at some time in their careers but many of the musicians who appear as sidemen also have played with Ellington. Duke Ellington himself appears on three tracks and his co writer and arranger is present on many.
Johnny Hodges first joined the Ellington orchestra in 1928 and stayed until 1948 when he left having been offered a residency at the Appollo Bar in New York and during this period also had his own big band and a number of small groups but realising he was not cut out to be a leader with its various headaches he rejoined Ellington in 1955 and remained until his demise in 1970.
Ben Webster was a member of the 1940 Ellington orchestra along with bassist Jimmy Blanton and although it was short lived it became known as the Webster / Blanton band and Webster was heavily featured as a soloist.
The first eleven tracks on CD ane are the complete album “Blue A Plenty” and includes two alternative takes with studio chat. Five tracks have Roy Eldridge and Vic Dickenson added two the frontline and are all Johnny Hodges originals which have the usual Hodge’s bounce. Eldridge keeps his natural exuberance under control and his solo on “Cool Your Motor” is a beauty. Vic Dickenson solos are pithy and to the point and make a nice contrast to Eldridge’s contributions.
The balance of the tracks are Just Hodges with the rhythm section and his most romantic in ballad mode and Billy Strayhorns backing on piano and in his solos is a joy. Johnny Hodges is so consistent he tends to get taken for granted but who else can play like a dream at all times?
The rest of the tracks on CD One are from the album and all the front line players are or have been members of the Ellington band and fit right into this type of music. Guitarist Les Spann adds zest to the stellar rhythm section with the solid bass laid down by Ray Brown on bass. Jimmy Hamilton always provides that extra lift to any group and doesn’t fail on this occasion. Both “My Melancholy Baby” and “Lotus Blossom” by Billy Strayhorn are outstanding tracks and contribute to making this a fine session.
The first eight tracks on CD Two are the complete “Not So Dukish” album and have a complete Ellington line up and kicks off with a sprightly “M.H.R.” jointly composed by Hodges and Billy Strayhorn there are good solos from all the front line players and Roy Eldridge manages to keep himself in check without going over the top.
The title tune “Not So Dukish” is an easy paced number and after Hodge’s immaculate solo Eldridge enters with a scream but manages to contain himself for there on in, both Ben Webster and Lawrence Brown have good solos and the rhythm section keep the whole moving along with great skill.
The final track on the album is “The Last Time I Saw Paris” is Hodges all the way and doesn’t stray too far from the melody which brings out the best in the tune.
The following five tracks are the balance of the “The Smooth One” with all the numbers composed by Hodges, this must be one of the best a Hodges small group. The three numbers “First Klass”, “Second Klass” and “Third Klass” all increase in tempo which each successive number which adds to the excitement.
The three final numbers on the album are Ellington compositions and are taken from one of the earlier sessions and although well played do not add much to many other similar recordings and are pretty well worn.
The first twelve tracks on CD Three are the famous recordings made at San Francisco’s Jazz Cellar and have an unusual Hodges line up. It’s little wonder that this session is held in such high regard with two of the jazz worlds two most consistent horn men with a rhythm section that plays together like a well oiled piece of equipment.
All the numbers on the session bar one are co-composed by Hodges and Webster which sets the tone of the session. Not only are they immaculate solos by Hodges and Webster but Herb Ellis contributes some stunning solos to the session..
On “Big Ears” Ben Webster ‘s solo is robust and swings hard, not to be out done Johnny Hodges’s solo fairly glides along. “Just Another Day” has a strong melody and pianist Lou Levy has his chance to show good pianist he is and along with guitarist Herb Ellis provides a lift to the track.
The final five tracks on this disc have a West Coast rhythm section which includes one of the hardest swinging drummers around at the time Mel Lewis.
Johnny Hodge’s solo on “Exactly Like You” is a typical laid back affair and Lawrence Brown puts in one of his interesting solos. Ray Nance adds weight to the front line with some stunning trumpet work and along with Lawrence Brown make “I’m Beginning To See The Light” a memorable track.
“Val’s Lament” is a beautiful tune and is given the appropriate treatment with fine solos by both pianist Russ Freeman and vibist Emil Richards. It’s a great pity there are no other tracks from this session.
The first nine tracks on CD Four are the complete “Side By Side” album which is the companion album to “Back To Back” and in fact includes three tracks from that session which in total are a triumph in particular “Stompy Jones” and “Going Up” is notable fo the flute solo by Les Spann.
“Just A Memory” is nice melodic tune and Johnny Hodges’ solo just floats along and Roy Eldridge’s solo is beautifully contained.
The standard “Let’s Fall In Love” is taken at nice easy pace and all the front line contribute interesting solos. The final track on the album “You Need To Rock” again has solos by everybody and the ensemble work is spot on.
Roy Eldridge’s work on this session is much better than anywhere else on this four CD set and does not stray in to the stratosphere.
The two bonus sessions are from the earliest period on the whole set but still have lots of good things to offer. Al Hibbler supplies a vocal on “This Love Of Mine” but does not inflict too much damage and Hodges has a nice solo.
Ellington’s familiar “Hodge Podge” has particularly good trumpet solo by Emmett Berry there also contributions by Webster and Hodges.
The number “Sheik Of Araby” is given a novel treatment and is notable for the integrated section work and the final track “Latino” adds variety to the session.
This set must be a contender for the album of the year with its variety good tunes and some brilliant soloing.
Reviewed by Roy Booth
Phono 870255
CD One
Tracks 1 to 11
Blues A Plenty
Johnny Hodges ( alto ) Ben Webster ( tnr ) Roy Eldridge ( tpt ) Vic Dickenson ( tmb ) Billy Stray horn
( pno ) Jimmy Woode ( bass ) Sam Woodyard ( drs )
Eldridge, Dickenson $ Webster out on tracks 1, 3, 6, 8 & 10
Recorded New York, 5 April 1958
Tracks 12 to 16
From The Smooth One
Johnny Hodges ( alto ) Ben Webster ( tnr ) Shorty Baker ( tpt ) Quentin Jackson ( tmb ) John Sanders
( tmb )Jimmy Hamilton ( clt ) Les Spann ( gtr ) Jimmy Jones ( pno ) Ray Brown ( bass ) Jo Jones ( drs )
Recorded New York, 8 April 1959
CD Two
Tracks 1 to 8
Not So Dukish
Johnny Hodges ( alto ) Ben Webster ( tnr ) Roy Eldridge ( tpt ) Ray Nance ( tpt ) Lawrence Brown
( tmb ) Jimmy Hamilton ( clt ) Billy Strayhorn ( pno ) Jimmy Woode ( bass ) Sam Woodyard ( drs )
Hamilton out on tracks3, 4, 6 & 8 Nance out on tracks 4 & 8 Eldridge out on tracks 7 & 8 Brown & Webster out on track 8
Recorded New York, 10 September 1958
Tracks 9 to 17
From The Smooth One
Johnny Hodges ( alto ) Ben Webster ( tnr ) Shorty Baker ( tpt ) Quentin Jackson ( tmb ) John Sanders
( tmb ) Jimmy Hamilton ( clt ) Les Spann ( gtr ) Jimmy Jones ( pno ) Ray Brown ( bass ) Jo Jones
( drs )
Recorded New York, 7 April 1959
Tracks 14 to 16
Johnny Hodges ( alto ) Ben Webster ( tnr ) Emmett Berry ( tpt ) Lawrence Brown ( tmb ) Leroy Lovett
( pno ) Lloyd Trotman ( bass 0 Osie Johnson ( drs )
RecordedNew York, 9 April 1954
CD Three
Tracks 1 to 12
The Jazz Cellar Sessions
Johnny Hodges ( alto ) Ben Webster ( tnr ) Herb Ellis ( gtr ) Lou Levy ( pno ) Wilfred Middlebrooks
( bass ) Gus Johnson ( drs )
Recorded at the Jazz Cellar, San Francisco, 22 November 1960
Tracks 13 to 17
Johnny Hodges ( alto ) Ben Webster ( tnr ) Ray Nance ( tpt ) Lawrence Brown ( tmb ) Emil Richards
( vibes ) Russ Freeman ( pno ) Joe Môndragon ( bass ) Mel Lewis ( drs ) Jimmy Hamilton ( arr )
Recorded Los Angeles, 31 January 1961
CD Four
Tracks 1 to 9
Side By Side
Johnny Hodges ( alto ) Ben Webster ( tnr ) Roy Eldridge ( tpt ) on tracks ( 3 & 5 to 9 ) Lawrence Brown ( tmb ) Billy Strayhorn ( pno ) Wendell Marshall ( bass ) Jo Jones ( drs )
Recorded New York , 14 August 1958
On tracks 1, 2 & 4 omit Ben Webster add Duke Ellington ( pno ) Harry Edison ( tpt ) Les Spann ( gtr ) Al Hall ( bass ) Jo Jones ( drs )
Recorded New York, 26 February 1959
Bonus tracks
Tracks 10 to 13
Johnny Hodges ( alto ) Ben Webster ( tnr ) Emmett Berry ( tpt ) Lawrence Brown ( tmb Leroy Lovett
( pno ) Red Callender ( bass 0 J.C. Heard ( drs ) Al Hibbler ( vocal ) on “This Love Of Mine”
Recorded Los Angeles, 27 July 1957
Tracks 14 t o 17
Johnny Hodges ( alto ) Ben Webster ( tnr ) Rudy Williams ( tnr ) Emmett Berry ( tpt ) LawreOce Brown ( tmb ) Ted Brannon ( pno ) Barney Richmond ( bass ) Al Walker ( drs )
Recorded New York, 11 December 1952
The one fact that stands out on these four CDs is the Duke Ellington connection not only are the two featured soloists, Johnny Hodges and Ben Webster Ellington band members at some time in their careers but many of the musicians who appear as sidemen also have played with Ellington. Duke Ellington himself appears on three tracks and his co writer and arranger is present on many.
Johnny Hodges first joined the Ellington orchestra in 1928 and stayed until 1948 when he left having been offered a residency at the Appollo Bar in New York and during this period also had his own big band and a number of small groups but realising he was not cut out to be a leader with its various headaches he rejoined Ellington in 1955 and remained until his demise in 1970.
Ben Webster was a member of the 1940 Ellington orchestra along with bassist Jimmy Blanton and although it was short lived it became known as the Webster / Blanton band and Webster was heavily featured as a soloist.
The first eleven tracks on CD ane are the complete album “Blue A Plenty” and includes two alternative takes with studio chat. Five tracks have Roy Eldridge and Vic Dickenson added two the frontline and are all Johnny Hodges originals which have the usual Hodge’s bounce. Eldridge keeps his natural exuberance under control and his solo on “Cool Your Motor” is a beauty. Vic Dickenson solos are pithy and to the point and make a nice contrast to Eldridge’s contributions.
The balance of the tracks are Just Hodges with the rhythm section and his most romantic in ballad mode and Billy Strayhorns backing on piano and in his solos is a joy. Johnny Hodges is so consistent he tends to get taken for granted but who else can play like a dream at all times?
The rest of the tracks on CD One are from the album and all the front line players are or have been members of the Ellington band and fit right into this type of music. Guitarist Les Spann adds zest to the stellar rhythm section with the solid bass laid down by Ray Brown on bass. Jimmy Hamilton always provides that extra lift to any group and doesn’t fail on this occasion. Both “My Melancholy Baby” and “Lotus Blossom” by Billy Strayhorn are outstanding tracks and contribute to making this a fine session.
The first eight tracks on CD Two are the complete “Not So Dukish” album and have a complete Ellington line up and kicks off with a sprightly “M.H.R.” jointly composed by Hodges and Billy Strayhorn there are good solos from all the front line players and Roy Eldridge manages to keep himself in check without going over the top.
The title tune “Not So Dukish” is an easy paced number and after Hodge’s immaculate solo Eldridge enters with a scream but manages to contain himself for there on in, both Ben Webster and Lawrence Brown have good solos and the rhythm section keep the whole moving along with great skill.
The final track on the album is “The Last Time I Saw Paris” is Hodges all the way and doesn’t stray too far from the melody which brings out the best in the tune.
The following five tracks are the balance of the “The Smooth One” with all the numbers composed by Hodges, this must be one of the best a Hodges small group. The three numbers “First Klass”, “Second Klass” and “Third Klass” all increase in tempo which each successive number which adds to the excitement.
The three final numbers on the album are Ellington compositions and are taken from one of the earlier sessions and although well played do not add much to many other similar recordings and are pretty well worn.
The first twelve tracks on CD Three are the famous recordings made at San Francisco’s Jazz Cellar and have an unusual Hodges line up. It’s little wonder that this session is held in such high regard with two of the jazz worlds two most consistent horn men with a rhythm section that plays together like a well oiled piece of equipment.
All the numbers on the session bar one are co-composed by Hodges and Webster which sets the tone of the session. Not only are they immaculate solos by Hodges and Webster but Herb Ellis contributes some stunning solos to the session..
On “Big Ears” Ben Webster ‘s solo is robust and swings hard, not to be out done Johnny Hodges’s solo fairly glides along. “Just Another Day” has a strong melody and pianist Lou Levy has his chance to show good pianist he is and along with guitarist Herb Ellis provides a lift to the track.
The final five tracks on this disc have a West Coast rhythm section which includes one of the hardest swinging drummers around at the time Mel Lewis.
Johnny Hodge’s solo on “Exactly Like You” is a typical laid back affair and Lawrence Brown puts in one of his interesting solos. Ray Nance adds weight to the front line with some stunning trumpet work and along with Lawrence Brown make “I’m Beginning To See The Light” a memorable track.
“Val’s Lament” is a beautiful tune and is given the appropriate treatment with fine solos by both pianist Russ Freeman and vibist Emil Richards. It’s a great pity there are no other tracks from this session.
The first nine tracks on CD Four are the complete “Side By Side” album which is the companion album to “Back To Back” and in fact includes three tracks from that session which in total are a triumph in particular “Stompy Jones” and “Going Up” is notable fo the flute solo by Les Spann.
“Just A Memory” is nice melodic tune and Johnny Hodges’ solo just floats along and Roy Eldridge’s solo is beautifully contained.
The standard “Let’s Fall In Love” is taken at nice easy pace and all the front line contribute interesting solos. The final track on the album “You Need To Rock” again has solos by everybody and the ensemble work is spot on.
Roy Eldridge’s work on this session is much better than anywhere else on this four CD set and does not stray in to the stratosphere.
The two bonus sessions are from the earliest period on the whole set but still have lots of good things to offer. Al Hibbler supplies a vocal on “This Love Of Mine” but does not inflict too much damage and Hodges has a nice solo.
Ellington’s familiar “Hodge Podge” has particularly good trumpet solo by Emmett Berry there also contributions by Webster and Hodges.
The number “Sheik Of Araby” is given a novel treatment and is notable for the integrated section work and the final track “Latino” adds variety to the session.
This set must be a contender for the album of the year with its variety good tunes and some brilliant soloing.
Reviewed by Roy Booth
