JOHHNY HODGES & WILD BILL DAVIS - Various Releases on Phono Imprint
Phono 870265 (2 CD Set)
Disc One
Tracks 1 to 10
Con-Soul & Sax
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Dickie Thompson ( gtr ) Mundell Lowe ( gtr ) Milt Hinton ( bass ( on tracks 1, 3, 5, 6 & 7 ) George Duvivier ( bass ) ( on tracks 2, 4, 8 to 10 ) Osie Johnson ( drs )
Recorded New York, 7 January 1965
Disc One
Tracks 11 to 17
Disc Two
Tracks 1 to 3
Wild Bill Davis in Atlantic City
Wild Bill Davis ( organ ) Johnny Hodges ( alto ) Lawrence Brown ( tmb ) Bob Brown ( tnr / flute ) Dickie Thompson ( gtr ) Bobby Durham ( drs )
Recorded Grace’s Little Belmont, Atlantic City, August 1966
Disc Two
Tracks 4 to 12
Blue Pyramid
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Lawrence Brown ( tmb ) Jimmy Hamilton ( clt ) Billy Butler ( gtr ) Bob Bushnell ( bass ) Herbie Lovelle ( drs ) ( tracks 5, 6, 8 & 9 ) Joe Marshall ( drs )
( tracks 4, 7, 10 & 11 ) Jimmy Jones ( arr ) On track 12 omit Jimmy Hamilton, Larry Young ( organ ) replaces Wild Bill Davis & Bill Sacher ( gtr ) replaces Billy Butler
Recorded New York, November &December 1965 & January 1966
Disc Two
Tracks 13 to 17
From Blue Notes
Johnny Hodges ( alto ) Snooky Young ( tpt ) Ernie Royal ( tpt ) Tony Studd ( bass tmb ) Jimmy Hamilton ( clt / tnr ) Frank Wess ( alto / flute ) Jerome Richardson ( alto / flute / Piccolo ) Don Ashworth ( bar / bass clt ) Joe Venuti ( violin / shaker ) ( tracks 15 to 17 only ) Hank Jones ( pno ) Kenny Burrell ( gtr ) ( on tracks 13 & 14 ) Eric Gale ( gtr ) ( on tracks 15 to 17 ) Bob Crenshaw
( bass ) Grady Tate ( drs ) Jimmy Jones ( arr / cond )
Recorded New York, August 1966
Disc Two
Tracks 18 to 21
From Sandy’s Gone
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Joe Newman ( tpt ) Kenny Burrell ( gtr ) Carl Lynch
( gtr ) George Duvivier ( bass ) Ed Shaughnessy ( drs ) Claus Ogermann’s Orchestra added ( on tracks 20 to21 )
Recorded New York, 3 September 1963
Johnny Hodges & Wild Bill Davis featuring Grant Green
Joe’s Blues & Wings and Things
Phono 870262
Joe’s Blues
Tracks 1 to 8
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Grant Green ( gtr ) Lawrence Brown ( tmb ) Bob Bushnell ( fender bass ) or Bob Crenshaw ( bass ) Grady Tate ( drs 0
Recorded New Jersey, 6 January 1965
Wings & Things
Tracks 9 to 16
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Grant Green ( gtr ) Lawrence Brown ( tmb ) Hank Jones ( pno ) replaces Wild Bill Davis on tracks 14 to 16 Richard Davis ( bass ) Ben Dixon ( drs )
Recorded New Jersey, 27 July 1965
Johnny Hodges & Wild Bill Davis featuring Kenny Burrell
Mess of Blues & Blue Rabbit
Phono 870263
Tracks 1 to 7
Mess of Blues
Johnny Hodges ( alto )Wild Bill Davis ( organ ) Kenny Burrell ( gtr 0Joe Wilder ( tpt ) Osie Johnson
( drs ) & Ed Shaughnessy ( drs )
Recorded New York, 3 & 4 September1963
Tracks 8 to 10 From Blue Rabbit
Johnny Hodges ( alto ) Roy Jackson ( organ ) replaces Wild Bill Davis Kenny Burrell ( gtr ) Jack Lesberg ( bass ) ( on tracks 8 to 9 ) Wendell Marshall ( bass ) ( on track 10 ) Bobby Donaldson ( drs )
Recorded New York, May 1963
Tracks 11 to 19
Stride Right
Johnny Hodges ( alto ) Kenny Burrell ( gtr ) Earl Hines ( organ / pno ) Richard Davis ( bass ) Joe Marshall ( drs )
Recorded New Jersey, 14 January 1966
Johnny Hodges & Wild Bill Davis featuring Les Spann & Mundell Lowe
Blue Hodge
Phono 870264
Tracks 1 to 10
Blue Hodge
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Les Spann ( gtr / flute ) Sam Jones ( bass ) Louis Hayes ( drs )
Recorded New Jersey, 23 & 24 August 1961
Tracks 11 to 16
From Blue Rabbit
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Mudell Lowe ( gtr ) Richard Davis ( bass ) Osie Johnson ( drs )
Recorded New York, 28 & 30 April 1964
Tracks 17 to 20
From Blue Notes
Wild Bill Davis out Johnny Hodges ( alto ) Snooky Young ( tpt ) Ernie Royal ( tpt ) Tony Studd
( bass tmb ) Jimmy Hamilton (clt / tnr ) Frank Wess ( tnr/ flute ) Jerome Richardson ( tnr / flute ) Danny Bank ( bar / bass clt ) Joe Venuto ( vibes ) Buddy Lucas ( harmonica ) Eric Gale ( gtr ) Hank Jones ( pno ) George Duvivier ( bass ) Grady Tate ( drs ) Jimmy Jones ( arr / cond )
Recorded New York, 24 October 1960
The saxophone and organ combination as always been a popular format in jazz and many musicians have gone down this road including, Buddy Tate and Milt Buckner, Illinois Jacquet and Milt Buckner and Eddie ‘Lockjaw’ Davis and Shirley Scott among others.
Wild Bill Davis has played with Duke Ellington and Count Basie and is probably best known for his arrangement and playing on Count Basie’s “April In Paris” recording
His partnership with Johnny Hodges has been a fruitful one and on these five CDs it covers ten individual albums with a variety of differing personnel.
Volume One is a two CD set and the first ten tracks cover the album Con-Soul & Sax and the opening track is not unfamiliar to Hodges being one of his features with the Duke Ellington Orchestra, “On The Sunny Side Of The Street” and Wild Bill Davis’s organ gives it that extra lift.
A shuffle beat is employed for “I’m Beginning To See The Light” and it gives the tune a new lease of life, the two guitar line up is also a factor which adds to the general enjoyment.
The balance of CD One is a live date in Atlantic City and Lawrence Brown is added to the front line on trombone along with Bob Brown on tenor and flute.
Lawrence Brown produces a lively solo on “It’s Only A Paper Moon” with some backing by Hodges and Wild Bill is always in the background urging the whole thing along.
One of the best tracks on the album is the familiar “Good Queen Bess” with Lawrence Brown playing the melody alongside Hodges with Hodge’s solo being punctuated by Wild Bill’s organ whilst Bobby Durham’s forceful drumming makes this one to remember.
The first three tracks on CD Two are the remainder of the live date from Atlantic City, Ellington’s “It Don’t Mean A Thing” is full of excitement with Lawrence Brown coming up with a storming trombone solo and with Wild Bill digging deep. By contrast Wild Bill’s original “I’ll Always Love You” is a fairly laid back with both Wild Bill and Hodges create ting a dremy mood.
The following nine tracks are the complete album “Blue Pyramid” and have Lawrence Brown and Jimmy Hamilton, the firs track “Blues For Madeleine” is a typical slow paced blues by Hodges, the theme is stated by Hodges backed by some subtle guitar by Billy Butler before Lawrence Brown takes over with a finely wrought solo after which Jimmy Hamilton and Wild Bill join in, this is a track to savour.
The following five tracks are from the album “Blue Notes” and include are larger group but do not have the same impact as the smaller group sessions.
The final four tracks re from the album “Sandy’s Gone” are with an orchestra directed by Claus Ogerman and do not warrant inclusion but for the fact that both Wild Bill and Hodges are on them.
Volume Two
Joe’s Blues
The first eight tracks are the complete album “Joe’s Blues” and apart from Wild Bill Davis and Johnny Hodges both Grant Green on guitar and Lawrence Brown on trombone are present on all tracks.
There are a number of outstanding tracks on this album, “Harmony In Harlem” is a lively track which has swinging solos by both Grant Green and Lawrence Brown. Hodges must have played “Warm Valley” countless times but he always seems to find something to say as he does on this version.
“Somebody Loves Me” has a lovely bouncy quality and all the group solo and keep the feeling throughout.
The final eight tracks are the album “Wings and Things” and on the final three tracks Wild Bill is replaced by Hank Jones on piano.
The title track is a rollicking affair and Lawrence Brown really gets into the spirit of things, Wild Bill keeps the whole thing live. The old favourite “Peg O’ My Heart” is given new lease of life by Hodges and Lawrence Brown ably abetted by Wild Bill with his apt comments.
When Hank Jones takes over from Wild Bill the group sound becomes much different and the first number “The Nearness Of You” emphasises this. “Imbo” is “Limbo Jazz” in a different guise but still retains that West Indian quality.
This is a most satisfying Volume with all concerned giving of their best.
Volume Three
Mess Of Blues
The first seven tracks are the complete album “Mess Of Blues” and Kenny Burrell comes in on guitar, trumpeter Joe Wilder is listed in the booklet but does not appear anywhere on the album.
The album opens with the familiar “Jones” which Duke Ellington used as a signing off theme and swings along nicely with good solos by all three of the main participants.
“I Cried for You” is played as a lightly swinging ballad which works well with a good solo by Kenny Burrel which suit’s the mood of the piece.
The Wild Bill Davis composition “Stolen Sweets” has memorable melody and Hodges makes the most of it.
This is an interesting album with good solos from all concerned.
The following three tracks are taken from “Blue Rabbit” and find organist Ray Jackson taking over from Wild Bill Davis but does supply them same free spirit as Wild Bill.
The final nine tracks are the complete album “Stride Right” and Earl Hines comes in replacing Wild Bill Davis and has a completely different feel.
The album opens with “Blues In Thirds” which will be familiar to all Earl Hines fans but it masquerades under the title “Caution Blues”.
“Fantastic, That’s You” is one of those memorable tunes whichs lodges itself in the subconscious and Johnny Hodges treats it with care and Kenny Burrell makes a telling contribution.
Although “Stride Right” has been released recently on another album it is suitable contribution to this album.
Volume Four
Blue Hodge
The first nine tracks are the complete album “Blue Hodge” and Les Spann comes in on guitar which contributes to his sparse discography.
The album gets off to a lively start with “And Then Some” which is brought to life with some intricate flute playing by Les Spann.
The title track “Blue Hodge” has something of a locomotive feel about it with it’s slightly chugging rhythm, Hodge’s solo is nicely paced and Les Spann’s guitar work has some melodic touches.
“It Shouldn’t Happen To A Dream” is one of those Ellington and Hodge’s tunes which stays in the mind and is been widely recorded by other groups both as an instrumental and a vocal, but Hodge’s version gives that little bit extra.
Gary McFarland’s “Why Are You Blue” has a free flowing solo by Hodges and is matched by Les Spann’s and Wild Bill. The Isham Jones standard is all sweetness with Hodge’s immaculate sound bringing out the beauty of the composition.
The following six tracks are the balance of the “Blue Rabbit” album and is notable for Mundell Lowe’s guitar contributions. “Fiddler’s Fancy” is a trite little tune and Hodge’s fairly dances over the melody but gets back into his normal mode for his solo.
The final four tracks are more from the larger group on “Blue Notes” and seem out of place alongside the smaller group tracks, Quincy Jones’ composition “The Midnight Sun Will Never Set” sounds something from a late night easy listening album.
There is some very good music on all these volumes but if you do not feel like shelling out for all four Volume Two probably contains the best music.
Reviewed by Roy Booth
Phono 870265 (2 CD Set)
Disc One
Tracks 1 to 10
Con-Soul & Sax
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Dickie Thompson ( gtr ) Mundell Lowe ( gtr ) Milt Hinton ( bass ( on tracks 1, 3, 5, 6 & 7 ) George Duvivier ( bass ) ( on tracks 2, 4, 8 to 10 ) Osie Johnson ( drs )
Recorded New York, 7 January 1965
Disc One
Tracks 11 to 17
Disc Two
Tracks 1 to 3
Wild Bill Davis in Atlantic City
Wild Bill Davis ( organ ) Johnny Hodges ( alto ) Lawrence Brown ( tmb ) Bob Brown ( tnr / flute ) Dickie Thompson ( gtr ) Bobby Durham ( drs )
Recorded Grace’s Little Belmont, Atlantic City, August 1966
Disc Two
Tracks 4 to 12
Blue Pyramid
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Lawrence Brown ( tmb ) Jimmy Hamilton ( clt ) Billy Butler ( gtr ) Bob Bushnell ( bass ) Herbie Lovelle ( drs ) ( tracks 5, 6, 8 & 9 ) Joe Marshall ( drs )
( tracks 4, 7, 10 & 11 ) Jimmy Jones ( arr ) On track 12 omit Jimmy Hamilton, Larry Young ( organ ) replaces Wild Bill Davis & Bill Sacher ( gtr ) replaces Billy Butler
Recorded New York, November &December 1965 & January 1966
Disc Two
Tracks 13 to 17
From Blue Notes
Johnny Hodges ( alto ) Snooky Young ( tpt ) Ernie Royal ( tpt ) Tony Studd ( bass tmb ) Jimmy Hamilton ( clt / tnr ) Frank Wess ( alto / flute ) Jerome Richardson ( alto / flute / Piccolo ) Don Ashworth ( bar / bass clt ) Joe Venuti ( violin / shaker ) ( tracks 15 to 17 only ) Hank Jones ( pno ) Kenny Burrell ( gtr ) ( on tracks 13 & 14 ) Eric Gale ( gtr ) ( on tracks 15 to 17 ) Bob Crenshaw
( bass ) Grady Tate ( drs ) Jimmy Jones ( arr / cond )
Recorded New York, August 1966
Disc Two
Tracks 18 to 21
From Sandy’s Gone
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Joe Newman ( tpt ) Kenny Burrell ( gtr ) Carl Lynch
( gtr ) George Duvivier ( bass ) Ed Shaughnessy ( drs ) Claus Ogermann’s Orchestra added ( on tracks 20 to21 )
Recorded New York, 3 September 1963
Johnny Hodges & Wild Bill Davis featuring Grant Green
Joe’s Blues & Wings and Things
Phono 870262
Joe’s Blues
Tracks 1 to 8
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Grant Green ( gtr ) Lawrence Brown ( tmb ) Bob Bushnell ( fender bass ) or Bob Crenshaw ( bass ) Grady Tate ( drs 0
Recorded New Jersey, 6 January 1965
Wings & Things
Tracks 9 to 16
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Grant Green ( gtr ) Lawrence Brown ( tmb ) Hank Jones ( pno ) replaces Wild Bill Davis on tracks 14 to 16 Richard Davis ( bass ) Ben Dixon ( drs )
Recorded New Jersey, 27 July 1965
Johnny Hodges & Wild Bill Davis featuring Kenny Burrell
Mess of Blues & Blue Rabbit
Phono 870263
Tracks 1 to 7
Mess of Blues
Johnny Hodges ( alto )Wild Bill Davis ( organ ) Kenny Burrell ( gtr 0Joe Wilder ( tpt ) Osie Johnson
( drs ) & Ed Shaughnessy ( drs )
Recorded New York, 3 & 4 September1963
Tracks 8 to 10 From Blue Rabbit
Johnny Hodges ( alto ) Roy Jackson ( organ ) replaces Wild Bill Davis Kenny Burrell ( gtr ) Jack Lesberg ( bass ) ( on tracks 8 to 9 ) Wendell Marshall ( bass ) ( on track 10 ) Bobby Donaldson ( drs )
Recorded New York, May 1963
Tracks 11 to 19
Stride Right
Johnny Hodges ( alto ) Kenny Burrell ( gtr ) Earl Hines ( organ / pno ) Richard Davis ( bass ) Joe Marshall ( drs )
Recorded New Jersey, 14 January 1966
Johnny Hodges & Wild Bill Davis featuring Les Spann & Mundell Lowe
Blue Hodge
Phono 870264
Tracks 1 to 10
Blue Hodge
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Les Spann ( gtr / flute ) Sam Jones ( bass ) Louis Hayes ( drs )
Recorded New Jersey, 23 & 24 August 1961
Tracks 11 to 16
From Blue Rabbit
Johnny Hodges ( alto ) Wild Bill Davis ( organ ) Mudell Lowe ( gtr ) Richard Davis ( bass ) Osie Johnson ( drs )
Recorded New York, 28 & 30 April 1964
Tracks 17 to 20
From Blue Notes
Wild Bill Davis out Johnny Hodges ( alto ) Snooky Young ( tpt ) Ernie Royal ( tpt ) Tony Studd
( bass tmb ) Jimmy Hamilton (clt / tnr ) Frank Wess ( tnr/ flute ) Jerome Richardson ( tnr / flute ) Danny Bank ( bar / bass clt ) Joe Venuto ( vibes ) Buddy Lucas ( harmonica ) Eric Gale ( gtr ) Hank Jones ( pno ) George Duvivier ( bass ) Grady Tate ( drs ) Jimmy Jones ( arr / cond )
Recorded New York, 24 October 1960
The saxophone and organ combination as always been a popular format in jazz and many musicians have gone down this road including, Buddy Tate and Milt Buckner, Illinois Jacquet and Milt Buckner and Eddie ‘Lockjaw’ Davis and Shirley Scott among others.
Wild Bill Davis has played with Duke Ellington and Count Basie and is probably best known for his arrangement and playing on Count Basie’s “April In Paris” recording
His partnership with Johnny Hodges has been a fruitful one and on these five CDs it covers ten individual albums with a variety of differing personnel.
Volume One is a two CD set and the first ten tracks cover the album Con-Soul & Sax and the opening track is not unfamiliar to Hodges being one of his features with the Duke Ellington Orchestra, “On The Sunny Side Of The Street” and Wild Bill Davis’s organ gives it that extra lift.
A shuffle beat is employed for “I’m Beginning To See The Light” and it gives the tune a new lease of life, the two guitar line up is also a factor which adds to the general enjoyment.
The balance of CD One is a live date in Atlantic City and Lawrence Brown is added to the front line on trombone along with Bob Brown on tenor and flute.
Lawrence Brown produces a lively solo on “It’s Only A Paper Moon” with some backing by Hodges and Wild Bill is always in the background urging the whole thing along.
One of the best tracks on the album is the familiar “Good Queen Bess” with Lawrence Brown playing the melody alongside Hodges with Hodge’s solo being punctuated by Wild Bill’s organ whilst Bobby Durham’s forceful drumming makes this one to remember.
The first three tracks on CD Two are the remainder of the live date from Atlantic City, Ellington’s “It Don’t Mean A Thing” is full of excitement with Lawrence Brown coming up with a storming trombone solo and with Wild Bill digging deep. By contrast Wild Bill’s original “I’ll Always Love You” is a fairly laid back with both Wild Bill and Hodges create ting a dremy mood.
The following nine tracks are the complete album “Blue Pyramid” and have Lawrence Brown and Jimmy Hamilton, the firs track “Blues For Madeleine” is a typical slow paced blues by Hodges, the theme is stated by Hodges backed by some subtle guitar by Billy Butler before Lawrence Brown takes over with a finely wrought solo after which Jimmy Hamilton and Wild Bill join in, this is a track to savour.
The following five tracks are from the album “Blue Notes” and include are larger group but do not have the same impact as the smaller group sessions.
The final four tracks re from the album “Sandy’s Gone” are with an orchestra directed by Claus Ogerman and do not warrant inclusion but for the fact that both Wild Bill and Hodges are on them.
Volume Two
Joe’s Blues
The first eight tracks are the complete album “Joe’s Blues” and apart from Wild Bill Davis and Johnny Hodges both Grant Green on guitar and Lawrence Brown on trombone are present on all tracks.
There are a number of outstanding tracks on this album, “Harmony In Harlem” is a lively track which has swinging solos by both Grant Green and Lawrence Brown. Hodges must have played “Warm Valley” countless times but he always seems to find something to say as he does on this version.
“Somebody Loves Me” has a lovely bouncy quality and all the group solo and keep the feeling throughout.
The final eight tracks are the album “Wings and Things” and on the final three tracks Wild Bill is replaced by Hank Jones on piano.
The title track is a rollicking affair and Lawrence Brown really gets into the spirit of things, Wild Bill keeps the whole thing live. The old favourite “Peg O’ My Heart” is given new lease of life by Hodges and Lawrence Brown ably abetted by Wild Bill with his apt comments.
When Hank Jones takes over from Wild Bill the group sound becomes much different and the first number “The Nearness Of You” emphasises this. “Imbo” is “Limbo Jazz” in a different guise but still retains that West Indian quality.
This is a most satisfying Volume with all concerned giving of their best.
Volume Three
Mess Of Blues
The first seven tracks are the complete album “Mess Of Blues” and Kenny Burrell comes in on guitar, trumpeter Joe Wilder is listed in the booklet but does not appear anywhere on the album.
The album opens with the familiar “Jones” which Duke Ellington used as a signing off theme and swings along nicely with good solos by all three of the main participants.
“I Cried for You” is played as a lightly swinging ballad which works well with a good solo by Kenny Burrel which suit’s the mood of the piece.
The Wild Bill Davis composition “Stolen Sweets” has memorable melody and Hodges makes the most of it.
This is an interesting album with good solos from all concerned.
The following three tracks are taken from “Blue Rabbit” and find organist Ray Jackson taking over from Wild Bill Davis but does supply them same free spirit as Wild Bill.
The final nine tracks are the complete album “Stride Right” and Earl Hines comes in replacing Wild Bill Davis and has a completely different feel.
The album opens with “Blues In Thirds” which will be familiar to all Earl Hines fans but it masquerades under the title “Caution Blues”.
“Fantastic, That’s You” is one of those memorable tunes whichs lodges itself in the subconscious and Johnny Hodges treats it with care and Kenny Burrell makes a telling contribution.
Although “Stride Right” has been released recently on another album it is suitable contribution to this album.
Volume Four
Blue Hodge
The first nine tracks are the complete album “Blue Hodge” and Les Spann comes in on guitar which contributes to his sparse discography.
The album gets off to a lively start with “And Then Some” which is brought to life with some intricate flute playing by Les Spann.
The title track “Blue Hodge” has something of a locomotive feel about it with it’s slightly chugging rhythm, Hodge’s solo is nicely paced and Les Spann’s guitar work has some melodic touches.
“It Shouldn’t Happen To A Dream” is one of those Ellington and Hodge’s tunes which stays in the mind and is been widely recorded by other groups both as an instrumental and a vocal, but Hodge’s version gives that little bit extra.
Gary McFarland’s “Why Are You Blue” has a free flowing solo by Hodges and is matched by Les Spann’s and Wild Bill. The Isham Jones standard is all sweetness with Hodge’s immaculate sound bringing out the beauty of the composition.
The following six tracks are the balance of the “Blue Rabbit” album and is notable for Mundell Lowe’s guitar contributions. “Fiddler’s Fancy” is a trite little tune and Hodge’s fairly dances over the melody but gets back into his normal mode for his solo.
The final four tracks are more from the larger group on “Blue Notes” and seem out of place alongside the smaller group tracks, Quincy Jones’ composition “The Midnight Sun Will Never Set” sounds something from a late night easy listening album.
There is some very good music on all these volumes but if you do not feel like shelling out for all four Volume Two probably contains the best music.
Reviewed by Roy Booth
