Blues-A-Plenty - Johnny Hodges And His Orchestra - Blues-A-Plenty (Vinyl, LP, Album)

Pianist Lennie Tristano was much more than a musician; he took on the role of educator for a whole generation of cool jazz musicians who followed. The second half of this album is a more standard quartet affair, featuring Konitz and a great rhythm section of Art Taylor and Gene Ramey. As with several albums on this list, the title track of The Sidewinder has entrenched itself as a classic jazz standard, called at jam sessions and pickup gigs the world over even today!

Its fairly short track lengths allegedly planned to make it more appealing to commercial radio stations makes it a particularly good introduction for newcomers: an essential jazz album for every collection!

Ever the innovator, Miles Davis was a central figure in the emergence of Cool jazz, as this collaboration with the influential arranger Gil Evans attests. The nine-piece band on this historic recording is lent a chamber-jazz sound by the unusual inclusion of tuba and French horn.

With his iconic trumpet tone and striking sense of visual style, Miles was the perfect frontman for a band that included some of the most forward-thinking soloists of the day. Birth of the Cool must have sounded hugely futuristic when it was recorded in Davis would collaborate with the orchestrator again on later classic jazz albums like Miles AheadSketches of Spain and Porgy and Bess.

His ebullient LP is perhaps most well-known as a sideman on Miles Davis records, but this release showcases Cannonball as bandleader and ringleader. Along with Hank Jones pianoSam Jones bass and Art Blakey drumsthe album is memorable for featuring a rare appearance from Miles himself as a sideman. John Coltrane was deeply involved in the modal jazz revolution that took place in the late s, joining Miles Davis in moving away from traditional chord functions towards a more static harmonic landscape.

But alongside that, the tenor and soprano saxophonist was plotting his own contrasting harmonic upheaval. Perhaps no musician better bridged the gap between the legendary musicians of the 50s and 60s with the 21st Century than Keith Jarrett. Jarrett, seemingly overflowing with ideas, demonstrates his sound which ranges from from sensitive beauty to hypnotic grooving vamps. Incredibly, drummer Tony Williams had only just turned 18 when he made this record.

The distorted guitars, heavy-rock influenced arrangements and abrasive in-your-face playing mark Bitches Brew as one of the most important early examples of jazz-rock. A little note before we continue onto our pick of the ten greatest jazz albums of all time…. Compiling tracks recorded in for the LP Blue Note label, the music must have sounded shockingly modern when it was first released.

Reissues of this disc have presented different track-listings with alternate takes, but the big hits are all there. As with all albums in this top 10, the music is not just a jazz fan-favourite, but has woven its way into the consciousness of millions of other listeners around the world. Newly signed to Columbia Records, this was her most expensively produced album, with a Blues-A-Plenty - Johnny Hodges And His Orchestra - Blues-A-Plenty (Vinyl orchestra arranged by Ray Ellis, who was initially considered something of a left-field choice.

While some listeners prefer her classic s recordings with the likes of Teddy Wilson and Lester Young, this moving programme of American Songbook ballads offers a whole other level of emotional power and depth. Perhaps combined with the knowledge that she would die the following year, aged just 44, Lady In Satin is a must-have for every jazz enthusiast.

Dave Brubeck, a classically influenced pianist, was hugely popular on the college circuit playing for enthusiastic young students, and he would become only the second jazz musician, after Louis Armstrong, to feature on the cover of Time magazine. His Columbia release Time Out was ground-breaking at the time for its extensive use of unusual time signatures and achieved massive commercial success. It peaked at number 2 on the pop charts, was the first jazz album to sell over one million copies, and its enduring popularity saw it inducted into the Grammy Hall of Fame in There was something Ellingtonian in his approach: leading bands of devoted disciples, his music was highly thematic, deliberately written to evoke a particular person or mood.

Perhaps the album that best sums up the spirit of his writing, his playing and his influence as a bandleader is Mingus Ah Um. Another classic jazz album from the legendary year ofMingus Ah Um was his first for Columbia Records and contains a number of musical tributes. Faubus, an opponent of racial integration. As suggested by the track titles, the saxophonist was heading in an increasingly spiritual direction that would characterise much of his later work, and the music can be interpreted as an expression of gratitude to a higher power.

Coltrane himself chants verbally on the opening track, hypnotically repeating the words that make up the album title. Accompanied by his classic rhythm section of McCoy Tyner pianoJimmy Garrison double bass and Elvin Jones drumsColtrane wrings every melodic possibility out of this intense modal jazz. When Ellington wanted to expand his band inEllington's clarinet player Barney Bigard recommended Hodges. His playing became one of the identifying voices of the Ellington orchestra. From toLP left the Duke to lead his own band, but returned shortly before Ellington's triumphant return to prominence — the orchestra's performance at the Newport Jazz Festival.

Great music recorded during the golden age of recording at one of the great studios, mastered to perfection. Ella Fitzgerald. John Cornelius "Johnny" Hodges - was an American alto saxophonist, best known for solo work with Duke Ellington's big band. He is considered one of the definitive alto saxophones players of the big band era alongside Benny Carter. When Ellington wanted to expand his band inEllington's clarinet player Barney Bigard recommended Hodges.

His playing became one of the identifying voices of the Ellington orchestra. From toHodges left the Duke to lead his own band, but returned shortly before Ellington's triumphant return to prominence — the orchestra's performance at the Newport Jazz Festival. The self-taught player made many solo forays during his long career, one of his '50s outfits included a young John Coltrane, but history remembers Hodges for his virtuosic sidemanship, particularly his sensitive rendering of ballads.

Originally issued on Verve Records inBlues A Plenty finds the alto saxophonist in one of his standout dates as a leader, commandeering a talented group featuring Ben Webster tenor saxophoneRoy Eldridge trumpet and Vic Dickenson trombone along with the Ellington rhythm section of Billy Strayhorn pianoJimmy Woode bass and Sam Woodyard drums.

Johnny Hodges And His Orchestra. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career.

The music includes Blues-A-Plenty - Johnny Hodges And His Orchestra - Blues-A-Plenty (Vinyl potent originals, especially "Hymnal Blues" and the slow, powerful "Morning After Blues.

He was one of the best-documented saxophonists of his generation, recording over albums. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern, in reference to his relentless touring and devotion to jazz. Stitt was sometimes viewed as a mere Charlie Parker mimic, especially earlier in his career, but gradually came to develop his own sound and style particularly when performing on tenor sax. He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band inplaying alongside other emerging bebop stars like Gene Ammons and Dexter Gordon.

Stitt later played in Dizzy Gillespie's big band and sextet. He began on tenor and baritone inand at times was in a two-tenor unit with Ammons. He recorded with Bud Powell and J. Johnson for Prestige inthen did several albums on Prestige, Argo, and Verve in the '50s and '60s. Stitt led many combos in the '50s, and re-joined Gillespie for a short period in the late '50s.

After a brief stint with Miles Davis inhe reunited with Ammons and for a while was in a three-tenor lineup with James Moody. During the '60s, Stitt also recorded for Atlantic, cutting the transcendent Stitt Plays Bird, which finally addressed the Parker question in epic fashion.

He continued heading bands, though he joined the Giants of Jazz in the early '70s. Stitt did more sessions in the '70s for Cobblestone, Muse, and others, among them another definitive date, Tune Up.

He continued playing and recording in the early '80s, recording for Muse, Sonet, and Who's Who in Jazz. He suffered a heart attack and died in Sonny Stitt. The original master tapes for this title had not been used since previous to this reissue. Also, for this Analogue Productions Album) the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed.

With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed. I have a few different copies of this album and this release is of a completely different nature of sound. Astrud's vocals finally got the needed three-dimensionality and 'spirit' and Getz's saxophone breathes out of proportion.

When compared to other pressings, for example, Astrud is a mere statue. Here, she came alive with the feeling of real life-size. With 45 RPM benefits, the album gained better transients and a sense of atmosphere. It moves you more intimately and straight to the core. Its release helped fuel the bossa nova craze in the United States and internationally, becoming the first Grammy Award-winning album from non-American artists.

It became one of the best-selling jazz albums of all time, and turned Astrud Gilberto, who sang on the tracks "The Girl from Ipanema" and "Corcovado", into an internationally celebrated musician. The painting on the cover is by Olga Albizu. This was the first time a jazz album received Album of the Year.

It was listed by Rolling Stone Brazil as one of the best Brazilian albums in history. Astrud Gilberto says that her husband, Joao, informed Stan Getz that she "could sing at the recording. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? With one of the greatest hit singles jazz has ever known - each one who hears it goes "Ahhh!

Jazz Samba was the first major bossa-nova album on the American jazz scene. Its release signaled the beginning of the bossa-nova craze in America. Stan Getz was the featured soloist and the tracks were arranged by Charlie Byrd, who had first heard Bossa Nova music during a tour of Brazil. The two tracks composed by Jobim were released in Europe and the US as singles. But beyond technique, Getz intuitively understands the romanticism and the undercurrent of melancholy inherent in the music, and that's what really made Jazz Samba such a revelatory classic.

Absolutely essential for any jazz collection. Where Norman Granz had produced countless Oscar Peterson albums dedicated to the popular song, Davis was more interested in making albums closer to how the Peterson trio sounded live.

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And surely enough has been said - "Satchmo" and the grande dame of jazz certainly need no further introduction. In the '50s just the mere mention of their forenames was enough to light up the eyes of jazz fans. A glance at the track list reveals that tranquility rules the day: wild stomps and improvised scats will neither be sought nor missed. Of prime importance to the jazz ballad is a feeling of "letting oneself drift" in the inspiration which gushes forth from the minds of Album) American songwriters.

This is no contest - for the artists all pursue a common goal with extreme sensitiveness. The background combo, made up of first-class musicians and led by Oscar Peterson, performs with great concentration and almost obtrusive unobtrusiveness.

Verve's highly successful producer Norman Granz decided quite deliberately to make the recording in the studio instead of at a live session.

And success has verified his judgment, for such vocal jazz knows only gentle tones - but the result is all the more intensive for that. How much would you pay for the most palpable illusion you'll ever experience that Pops and the First Lady of Song are back among the living—standing, breathing, singing, and blowing, right in front of you?

It's the only QRP Verve I've heard so far, but if it's a harbinger of things to come, it's what Satch would call a mitzvah! The results are simply staggering. If you have a good stereo, you'll swear they're in the room! There is, for example, the iconoclasm of the soloist having to mesh with collective improvisation. There is also, for lack of a better term, the business of jazz singing. Jazz, of course, began a good century ago as a vocal music. In fact, the one definable tradition of jazz singing is probably blues singing.

The rest of jazz singing has for some time been in the scattered, dissimilar hands of people who have persisted without the backrest of tradition. Among male singers who have LP, by and large, had the prowess of female jazz singers-there have been Leo Watson, the remarkable scat singer whose word streams formed a series of harsh, cubistic dreams of birds, Chicago, and big bass drums; Jelly Roll Morton, a great jazz singer whose soft, thin, barreling voice still retains on his records an urgent poignancy, and his semi-followers, Clancy Hayes and Turk Murphy; Lips Page; Jack Teagarden, his prvoice good burlap; Nat King Cole, who developed a Casual, suede approach; and, finally, Louis Armstrong.

In recent years, the ranks of female jazz singers, though swelling daily, have been LP by little more than handsome, leggy dilutions. But Ella Fitzgerald, has, for one reason and another, remained the most vigorous and ineffable singer in jazz and popular music. Her style was virtually set by the time she began professionally in the Thirties with Chick Webb. It was a rhythmical, agile, humorous way of singing that depended on a healthy, rather ordinary voice; a lack of useless ornamentation most young singers today affect styles that are, basically, borrowed ornamentations ; a direct and understanding delivery of lyrics again, most young singers handle lyrics as if they were sucking mothballs ; and a musicianship that enabled her to get away from the melody in a Blues-A-Plenty - Johnny Hodges And His Orchestra - Blues-A-Plenty (Vinyl that any composer would have been proud had he thought of it originally.

It has, nevertheless, become more subtle, more flexible, more polished, and recently has manifested a luminous lyricism that is not apparent so much in its single parts as in the whole. She gives the impression today of the finished artist whose seams no longer show, whose approach is stable but exciting, and whose mind is in balance with the heart.

Louis Armstrong, on the other hand, has retained the insuperable singing style he had worked out by the late Thirties. There is less of the whooping, shoveling quality in his voice, which has, like rough waters, inevitably smoothed down, but the great singing foundation is apparent, particularly in the way he approaches ballads.

And what great warmth and soul! What his voice has always been is an indication of how jazz singing could go. Louis invariably handles melody like a bear giving a hug; he smothers it in the peculiarities of his voice and enunciation, and out pops a new shapea kind of counter-melody, dressed, nevertheless, in tweeds and pearls.

Unfortunately, of late, Louis has confined himself almost exclusively to remaking blues of an earlier age and pedestrian popular songs so that each impression was but a fainter and dimmer carbon of the original great talent. This record gives Louis a chance at restoration. The materials are a judicious choice of high-level standards. And instead of his usual, diffident Dixieland backing, there are the Oscar Peterson Trio Ray Brown on bass and Herb Ellis on guitar plus Buddy Rich, who are properly pulsive and wholly discreet.

In such a palmy setting, Armstrong is in simple, unraffish condition, and Ella is in impeccable voice. A quiet, Sunday-go-to-meeting record, with slow and middle tempos throughout, that, however, never stop swingingit creates the sort of jazz that is pensive, rich, and rewarding. Considered one of Ella's greatest recordings, she's backed on this release by pianist Paul Smith. The album hits at a depth of emotional understanding that critics often complained was missing in Ella's reading of jazz lyrics, and once again establishes her as one of the supreme interpreters of the Great American Songbook.

But if Soulville was everything I hoped for, Epitaph is the over-achiever. Ella recorded a series of her 'greatest hits' for the soundtrack of this entirely forgettable movie, a few of which were used. Ella played a singing piano player, so she recorded the songs with only piano backing by Paul Smith.

Recorded in at the United Western Recorders in Hollywood, which produced great sounding hits for everyone from Nat King Cole to the Beach Boys, this has always been recognized as one of Ella's best sounding records, and was released long ago by Classic Records.

This new mastering by the late George Marino at Sterling Sound easily bests that earlier effort. Great music recorded during the golden age of recording at one of the great studios, mastered to perfection. Ella Fitzgerald. John Cornelius "Johnny" Hodges - was an American alto saxophonist, best known for solo work with Duke Ellington's big band. He is considered one of the definitive alto saxophones players of the big band era alongside Benny Carter.

When Ellington wanted to expand his band inEllington's clarinet player Barney Bigard recommended Hodges. His playing became one of the identifying voices of the Ellington orchestra. From toHodges left the Duke to lead his own band, but returned shortly before Ellington's triumphant return to prominence — the orchestra's performance at the Newport Jazz Festival.

The self-taught player made many solo forays during his long career, one of his '50s outfits included a young John Coltrane, but history remembers Hodges for his virtuosic sidemanship, particularly his sensitive rendering of ballads. Originally issued on Verve Records inBlues A Plenty finds the alto saxophonist in one of his standout dates as a leader, commandeering a talented group featuring Ben Webster tenor saxophoneRoy Eldridge trumpet and Vic Dickenson trombone along with the Ellington rhythm section of Billy Strayhorn pianoJimmy Woode bass and Sam Woodyard drums.

Johnny Hodges And His Orchestra. Playing alto sax throughout this album, Stitt hardly sounds like a Charlie Parker clone, something that unfortunately was a frequent claim by tin-eared critics throughout a fair portion of his career. Blues-A-Plenty - Johnny Hodges And His Orchestra - Blues-A-Plenty (Vinyl music includes several potent originals, especially "Hymnal Blues" and the slow, powerful "Morning After Blues.

He was one of the best-documented saxophonists of his generation, recording over albums. He was nicknamed the "Lone Wolf" by jazz critic Dan Morgenstern, in reference to his relentless touring and devotion to jazz.

Stitt was sometimes viewed as a mere Charlie Parker mimic, especially earlier in his career, but gradually came to develop his own sound and style particularly when performing on tenor sax.

He was an alto saxophonist in Tiny Bradshaw's band during the early '40s, then joined Billy Eckstine's seminal big band inplaying alongside other emerging bebop stars like Gene Ammons and Dexter Gordon.

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Blue Bird. Art Background. Jazz Artists. Song Artists. Le Jazz Hot. Cool Jazz. A Love Supreme. Hard Bop. Music Artists. Heart Photography. Portrait Photography. Jazz Composers. Happy Born Day to Johnny Hodges. Blues Artists. Photography Gallery. Fine Art Photography. Recording Studio. When Ellington wanted to expand his band inEllington's clarinet player Barney Bigard recommended Hodges.

His playing became one of the identifying voices of the Ellington orchestra. From toHodges left the Duke to lead his own band, but returned shortly before Ellington's triumphant return to prominence — the orchestra's performance at the Newport Jazz Festival.

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8 thoughts on “Blues-A-Plenty - Johnny Hodges And His Orchestra - Blues-A-Plenty (Vinyl, LP, Album)

  1. Johnny Hodges and his Orchestra - Blues-A-Plenty was originally released as MG VS in © The Verve Music Group. Manufactured by Universal Music Enterprises, a Division of UMG Recordings, Inc. Colorado Avenue, Santa Monica, CA Publishers and Rights Society A1 -- Robbins Music Corp. - ASCAP.

  2. View credits, reviews, tracks and shop for the Vinyl release of "Blues-A-Plenty" on Discogs.

  3. Blues-A-Plenty. Buy the Vinyl album for $ and get the MP3 version for FREE. CD album ships from and sold by blueskyservices.biz Terms and Conditions. Does not apply to gift orders. Complete your purchase of the CD album to save the MP3 version to your Music Library/5(4).

  4. A TAV Curator's Pick. John Cornelius "Johnny" Hodges ( - ) was an American alto saxophonist, best known for solo work with Duke Ellington's big band. He is considered one of the definitive alto saxophones players of the big band era (alongside Benny Carter) Hodges started playing with Lloyd Scott, Sidney Bech.

  5. out of 5 stars Johnny Hodges and His Orchestra - not really - there's no orchestra here - a few band tracks but mostly small forces. Reviewed in the United States on July 7, I have to begin this with the fact that on the cover of this album it says Johnny Hodges and his orchestra/5(15).

  6. Find album release information for Blues A-Plenty - Johnny Hodges, Johnny Hodges & His Orchestra on AllMusic.

  7. Buy Johnny Hodges & His Orchestra, Johnny Hodges's album titled Blues A-Plenty. Vinyl LP. $ View All Available Formats & Editions Buy Johnny Hodges & His Orchestra, Johnny Hodges's album titled Blues A-Plenty. Happy Halloween! Free Shipping on Orders of $35 or More. Up to 30% Off the Biggest blueskyservices.biz: $

  8. May 24,  · May 24,  · BLUES-A-PLENTY + 7 Bonus Tracks featuring Ben Webster Das komplette original Johnny Hodges Album Blues-A-Plenty (Verve MGVS ). Der großartige Altsaxophonist Johnny Hodges wird hier von einer All-Star Band begleitet, bestehend aus Ben Webster, Roy Eldridge, Vic Dickenson, sowie einer Rhythmusabteilung mit Billy Strayhorn am Piano, Jimmy .

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