Originally recorded in late 1957 and reissued on CD by Columbia Records in 1989, Ellington Indigos is one of Duke Ellington's most beloved mood-and-ballad albums. Designed as a showcase for lush orchestral colors and intimate solo features, the album finds Ellington and his legendary orchestra—featuring stars like saxophonist Johnny Hodges, trumpeters Shorty Baker and Clark Terry, and tenor sax titan Paul Gonsalves—delivering definitive interpretations of timeless standards alongside foundational Ellington classics like "Solitude", "Mood Indigo", and "Prelude to a Kiss". Highlighted by Ray Nance's lush violin performance and Ozzie Bailey's evocative vocal on "Autumn Leaves", this recording stands as a masterclass in modern big band balladry.

The Complete 1960 Sextet Jazz Cellar Session is an absolutely sublime, breathtakingly smoky, and historically monumental swing jazz document uniting two of the greatest saxophone stylists in music history—tenor giant Ben Webster and alto maestro Johnny Hodges—beautifully compiled and released in 2011 by Solar Records. Spanning over 73 minutes across 17 magnificent, high-fidelity archival tracks, this definitive edition brings together the complete, legendary November 22, 1960 studio session recorded at San Francisco's Jazz Cellar, heavily augmented by rare, essential bonus recordings captured in Los Angeles just two months later. Both alumni of the legendary Duke Ellington Orchestra, Webster and Hodges display an unparalleled, telepathic musical empathy, trading gorgeous phrases built on deep blues sensibilities, elegant vibrato, and effortless melodic swing. On the main San Francisco sessions, the two horn titans are backed by an elite West Coast rhythm engine featuring pianist Lou Levy, master guitarist Herb Ellis, bassist Wilfred Middlebrooks, and the crisp, impeccable drumming of Gus Johnson. The January 1961 bonus tracks expand the sonic architecture even further, adding brass legends Ray Nance and Lawrence Brown alongside modern jazz stalwarts Emil Richards and Mel Lewis under Jimmy Hamilton's brilliant orchestrations. The tracklist is an absolute masterclass in timeless mainstream jazz, highlighting the driving rhythm of Ben's Web and Blues'll Blow Your Fuse, the exquisite balladry of Val's Lament, and glorious, loose-swinging readings of Great American Songbook classics like Exactly Like You and I'm Beginning to See the Light. Exceptionally preserved in pristine dual-format lossless and high-bitrate audio with full booklet artwork scans, this rare collector's archive stands as an absolute mandatory cornerstone and a prized holy grail for global purists of classic swing, mainstream jazz history, and elite saxophone mastery.

On The Way UP is a comprehensive jazz collection that showcases the timeless artistry of alto saxophonist Johnny Hodges, a key figure in the Duke Ellington orchestra and one of the most expressive voices in swing and early bop. Released in 1997, this compilation highlights Hodges’ signature smooth tone, lyrical phrasing, and effortless sense of swing across a diverse selection of performances. The album features a blend of blues-infused numbers, elegant ballads, and upbeat swing pieces, demonstrating his remarkable versatility and emotional range. Tracks such as “C-Jam Blues,” “On Green Dolphin Street,” and “Drop Me Off In Harlem” reflect his ability to balance melodic clarity with subtle improvisation, while classics like “Sophisticated Lady” and “I’m Beginning To See The Light” capture his refined and romantic style. Supported by strong ensemble playing throughout, the recordings emphasize groove, warmth, and musical sophistication. This collection serves as an excellent overview of Hodges’ enduring contribution to jazz, highlighting his role as a master stylist and one of the defining saxophonists of his era.

Recorded in 1959, Gerry Mulligan Meets Johnny Hodges is heralded as one of the best of Mulligan's recorded pairings with fellow instrumentalists. On this date, the two saxophonists are joined by a solid rhythm section of Claude Williamson (piano), Buddy Clark (bass) and Mel Lewis (drums), splitting the repertoire across three originals each from Mulligan and Hodges. The two complement the other throughout with the exception of Mulligan's "What's the Rush," where the baritonist sits out altogether in favor of Hodges' alto taking the spotlight.

Two Verve albums from Johnny Hodges - both relatively obscure, and both pretty darn great! The Eleventh Hour is an overlooked gem from Johnny Hodges - a 60s session that hearkens back to the "with strings" Verve mode of the 50s - but one that also updates the approach strongly, thanks to some well crafted arrangements by Oliver Nelson! Nelson's work in the jazz backings for soloist mode during the 60s was some of the best of the big band genre - and although his work here is much more in the mellow tone mode than his backings for players like Jimmy Smith and Lou Donaldson, Hodges is still getting top shelf treatment, some really wonderful washes of sound and color that show that his tone is still very much alive…

Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would revisit with his Concert Jazz Band. The veteran alto saxophonist contributed the low-key ballad "Shady Side," the sassy blues "Back Beat" and "What It's All About," another potent blues…

Topping off a wealth of full-band recordings, the various stars of Ellington's great outfit recorded many combo sides under their own names. And while not on the same sophisticated level of classic Ellingtonia, the late-'30s material cut by Johnny Hodges, Cootie Williams, and Rex Stewart is packed with tasty solo work and some of the finest examples of early small-group swing. These later examples from 1958-1959 feature Hodges backed by both Ellington and Billy Strayhorn on piano and such non-Duke luminaries as Ben Webster, Roy Eldridge, Harry "Sweets" Edison, and Jo Jones. Like its companion album, Back to Back, Side by Side has a loose, jam session feel, with all the soloists stretching out. Hodges is in top form throughout, while Edison and Webster man their spots just fine. Highlights include the sveltely swinging "Going Up" and Hodges' bluesy closer, "You Need to Rock." A must for fans of vintage combo swing. © Stephen Cook

This release presents two albums by Johnny Hodges, recorded outside of the Ellington setting and both appearing here on CD for the first time ever. The first, which was originally released as PREVIOUSLY UNRELEASED RECORDINGS, is in quintet format and marks Hodges only recorded encounter ever with Argentinean pianist and composer Lalo Schifrin, who contributes two compositions. While the second album, THE ELEVENTH HOUR, showcases the saxophonist soloing on standard tunes with a big band of winds & strings, conducted & arranged by Oliver Nelson.

This album is of historic interest as it comprises the only studio recordings made by the Johnny Hodges band while John Coltrane was a member, most of the other sidemen being former Ellingtonians or guests from Duke Ellington's orchestra. The music is excellent: Johnny Hodges is on superb form throughout; all of Harold Baker's trumpet solos are exquisite, as is Jimmy Hamilton's clarinet playing on "If you were mine",while Louie Bellson demonstrates that he was surely the best drummer ever to play with Ellington.
The CD is marketed under John Coltrane's name. However anyone who buys this record expecting to hear any solos by Coltrane will be disappointed; Coltrane is the one horn player in the band who does not play any solos.

Johnny Hodges was a jazz alto saxophonist, who enjoyed a performing and recording career that lasted from the 1920s through to his death in 1970. Best-known for his work with Duke Ellington, he had a pure tone and economy of melody on both the blues and ballads that won him admiration from musicians of all eras and styles, and made him ubiquitous on recording sessions across the spectrum of jazz. He occasionally led his own bands, and this 41-track 2-CD collection focuses on albums he made in a concentrated period in the mid-1950s with his small orchestra for the Clef and Norgran labels, owned by renowned impresario and producer Norman Granz, which were forerunners of Verve. It features the titles from the albums. “Johnny Hodges Collates”, “Johnny Hodges Collates No. 2”, “Swing With Johnny Hodges”, “Memories of Ellington”, “Castle Rock”, “The Blues” and “In A Tender Mood”, with some of the titles appearing on more than one album. A number of the titles were also released as singles, and two of them “Castle Rock “ and “A Pound Of Blues”, were US R&B hits. It naturally features some notable musicians of the era, including Al Sears, Leroy Lovett, Billy Strayhorn, Al McGibbon, Sonny Greer, Emmett Berry, Lloyd Trotman, Flip Phillips, Red Callender, Ray Brown, J.C. Heard and others. It’s a snapshot of a particular and intriguing phase of Johnny Hodges’ career, and a great showcase for his understated virtuosity as a jazz musician and leader.

During its classic period, jazz saw the emergence of numerous regular small formations which successfully encouraged improvisation, enabling their best soloists a freedom of expression without any of the constraints of a big band. Jacques Morgantini allows us to discover this decisive period in the evolution of Jazz with this 36 tracks CD set featuring a 32 pages booklet.

Recorded during his five year "vacation" from Duke Ellington's orchestra, this Johnny Hodges set features his band sticking mostly to standards. With trumpeter Harold "Shorty" Baker, trombonist Lawrence Brown, baritonist Harry Carney, pianist Call Cobbs, or Richie Powell, bassist John Williams, drummer Louis Bellson, and either Jimmy Hamilton or John Coltrane (who unfortunately does not solo) on tenor, Hodges had a particularly strong group. High points include "On the Sunny Side of the Street," the title track and a seven-song ballad medley.

Topping off a wealth of full-band recordings, the various stars of Ellington's great outfit recorded many combo sides under their own names. And while not on the same sophisticated level of classic Ellingtonia, the late-'30s material cut by Johnny Hodges, Cootie Williams, and Rex Stewart is packed with tasty solo work and some of the finest examples of early small-group swing. These later examples from 1958-1959 feature Hodges backed by both Ellington and Billy Strayhorn on piano and such non-Duke luminaries as Ben Webster, Roy Eldridge, Harry "Sweets" Edison, and Jo Jones. Like its companion album, Back to Back, Side by Side has a loose, jam session feel, with all the soloists stretching out. Hodges is in top form throughout, while Edison and Webster man their spots just fine. Highlights include the sveltely swinging "Going Up" and Hodges' bluesy closer, "You Need to Rock." A must for fans of vintage combo swing.

The defining saxophonist of his generation, Johnny Hodges rose to prominence during the big-band era with what Duke Ellington described as 'a tone so beautiful it sometimes bought tears to the eyes'. Perhaps an understated member of Ellington's big band initially, Hodges' deft tone and seductive style soon affirmed him as one of The Duke's most valuable soloists and a vital player in his orchestra. A subdued yet commanding presence in the big band format, Hodges' assured mastery of the alto-sax and his subtle nuance has left him regarded as one of the very best musicians to have worked alongside Ellington. Hodges' career-defining moment came in 1928 when he joined Duke Ellington's orchestra, and from 1937 he led his own studio group drawn from members of the group, with whom he released tracks co-written with Ellington, including 'Jeep's Blues', 'Hodge Podge' and 'Confab With Rab', each composed to complement Hodges' own seductive style of play.

The Hammond organ, named after its inventor Laurens Hammond, debuted in 1935 as a cost-effective electro-acoustic alternative to the gigantic pipe organs mainly installed in churches. Among Hammond’s first customers were George Gershwin and Count Basie. Jazz pianists like Basie, Fats Waller, Wild Bill Davis and Milt Buckner were the founding fathers of the instrument’s international conquest, which led across all styles of popular music, from jazz to progressive rock, with its heyday in the 1960s and '70s…