Johnny Hodges—”In A Mellow Tone”

After some friction within the Ellington band during its late 1950 tour through Europe, altoist Johnny Hodges, slide trombonist Lawrence Brown and drummer William “Sonny” Greer handed in their notices in early 1951. Together with other former Ellingtonians they formed a small group around Hodges. They soon started recording, including many of the Duke’s tunes, like his 1939 composition “In A Mellow Tone,” based on the chords of Art Hickman‘s “Rose Room.”

Emmett Berry-trumpet; Lawrence Brown-trombone; Johnny Hodges-alto saxophone; Ben Webster-tenor saxophone; Leroy Lowett-piano; Lloyd Trotman-standing bass; Sonny Greer-drums. Columbia Studios, New York, April 9, 1954.

When Roxbury, Massachusetts born, John Cornelius Hodges (1907-1970) decided, after more than two decades with Ellington, to venture on his own he opened with his new band in Chicago’s Blue Note on March 7, 1951. After a two-week run there, he took his group on a tour of Michigan, Pennsylvania, Massachusetts and Rhode island.

In preparation for his debut as an orchestra leader, Johnny Hodges had recorded an album that was released under the Mercer label of Ellington’s son. With the small groups, Hodges also made recordings for Mercury, Columbia, Verve, and under the supervision of Norman Grantz for Grantz’ own lable Norgran.

Duke Ellington was disappointed to see Norman Grantz take these guys away from him to form a group around Hodges. Grantz said that Ellington didn’t speak to him for a year, because he felt hurt. For thirty years Duke Ellington had watched his greatest soloists come and go, yet his incomparable skill in finding brilliant replacements had kept his music going through the decades.

Soon the Duke replaced Greer, who had been with Ellington from the beginning in 1923, with ex-Tommy Dorsey drummer Louie Bellson, and altoist Hodges with Willie Smith, one-time lead man in the Jimmy Lunceford reed section. He also added valve trombonist Juan Tizol to the trombone section. The Duke hired all three newcomers away from Harry James’ orchestra.

Slide trombonist Lawrence Brown -- who had left shortly after Greer and Hodges to join Hodges’ group -- was replaced with Britt Woodman, who was with Charles Mingus.

After a 5-year absence, Johnny Hodges returned to Duke Ellington’s orchestra in 1956, and the Duke’s genius took care of Johnny’s music again until Hodges death in 1970.

Johnny Hodges, who had been playing the sax since he was 15, was often asked by youngsters to explain the formula and secret of his wonderful mellow tone on the sax. Johnny found it difficult to answer these questions because there is no secret or formula. You just have to study hard and practice regularly he said. Hodges confessed that he only practices while rehearsing with the band. But in his early days he studied hard and listened to solos by Coleman Hawkins, Benny Carter, Buster Bailey and others. In this way Johnny Hodges was able to create his own style and world-wide audiences responded to the passion in his playing.

An excellent 1966 Jazz Journal interview with Johnny Hodges by Henry Whiston can be found on http://www.ellingtonia.com/.../johnny-hodges-an-interview...