Liner Notes by Willard Jenkins

For the second volume of his classy homage to and recognition of the exemplary gifts left here for us all to learn by Johnny Hodges—the distinctive primarily alto saxophonist (who was an early soprano saxophone doubler before rather emphatically giving up the straight horn in ’46)—Hodges’ modern progeny, alto & baritone saxophonist Owen Broder has chosen the quintet format.  He is joined in this musical simpatico by Riley Mulherkar on trumpet, Carmen Staaf on piano, Barry Stephenson on bass, and Bryan Carter on drums.  They journey on an adept, relaxed and decidedly swinging stroll through these eight, loving slices of Hodges’ rich legacy.

Recognized historically for his indelible contributions as a distinctive section voice and auspicious soloist in the hallowed lineage of the Duke Ellington Orchestra, Hodges joined Duke in 1928, taking a 1951-1955 hiatus, and finally splitting just prior to the alto master’s 1970 passing.  In that pantheon he was known variously among his intimates and Ducal enthusiasts as Rabbit, Jeep, and even Squatty Roo (in deference to his diminutive 5’5” stature).  To be sure, Hodges also crafted a robust discography of leader record dates on his own. 

Among Hodges’ quintet recordings are Buenos Aires Blues (with Argentine pianist-composer Lalo Schiffrin), the Gerry Mulligan Meets Johnny Hodges encounter, Blue Hodge—part of a series of engagements with Hammond B-3 organ ace Wild Bill Davis—Stride Right with piano legend Earl “Fatha” Hines, and another organ date, Rippin & Runnin’.  There is certainly precedent for Owen Broder’s loving tribute, despite the fact that we tend to focus on Hodges primarily ensconced in and distinguishing himself historically in the Ellington orchestral oeuvre. 

Owen Broder’s own history is laden with large ensemble affiliations, including the Anat Cohen Tentet, the Gil Evans Project, composer Miho Hazama’s M-Unit, and the Ulysses Owens Jr. Big Band.  Asked how he landed on this now 2-volume homage to Johnny Hodges’s artistry, and particularly in a quintet format rather than what some might expect from an expansive ensemble perspective given Hodges’ rich history, Broder confessed that, yes, “Hodges is most commonly thought of in the context of his work as Ellington’s lead saxophonist.”  Broder’s passion for Hodges does indeed come from an honest place, from early in his own development.  “I was first introduced to Hodges’ playing while in high school, preparing for the Essentially Ellington competition in 2006,” a competition his Jacksonville, FL school Douglas Anderson won.  “I was introduced to two small group records Hodges co-led alongside Ellington: Back to Back and Side By Side.  I loved hearing him stretch out more as a soloist and band leader.  Through school, Hodges continued to be one of my main influences,” Broder enthused.

“The first several years of my career and the first four albums under my name,” Broder continued, “we explored more contemporary music.  On the heals of Heritage, a contemporary large ensemble recording project, I wanted to revisit the roots of my own style, which of course brought me back to Hodges.  Back to Back, and Side By Side,” citing two 1959 Hodges sessions for the Verve label, “were launching points for my investigation of his work as a composer, arranger, and leader of small groups.  Hodges: Front and Center shines a light on a prolific, yet largely unrecognized aspect of Hodges’ career.” 

Of the 8 selections on Hodges: Front and Center Vol. 2, Johnny Hodges wrote the eminently apropos opener “Used to Be Duke”, “Back Beat”, and “Shady Side”. The sprightly “Big Smack” comes from a collaboration between Hodges and his fellow Ellingtonian, the burly tenor man Ben Webster.  “Wabash Blues” comes from Dave Ringle, “St. Louis Blues” is the W.C. Handy all-timer, Ellington wrote “Stompy Jones,” and “The Star Crossed Lovers,” originally an Ellington Orchestra feature for Hodges, was one of the beauty spots in the hallmark Ellington-Billy Strayhorn partnership. 

“Most of these 8 tracks are from Hodges’ recordings under his name as a band leader,” Broder confirms.  “Hodges was a big fan of the blues, and many of the songs he recorded were variations on the blues form.  The compositions on Hodges: Front and Center vol. 2 capture Hodges’ affinity for the blues while featuring a wide variety of song forms.  More so than Volume 1, this follow-up features Hodges as composer, presenting four of his own compositions.  I felt this two-album collection of pieces would be incomplete without the ballad that Hodges is so well-known for with Ellington’s orchestra, “The Star-Crossed Lovers.”  With this large ensemble classic arranged for quintet among Hodges’ compositions and his interpretations of popular jazz standards, Volume 2 presents a diverse collection of repertoire that represent the wide breadth of Hodges’ catalogue.”

To each of these pieces, and with a particular eye & ear towards what for some of these tunes is not their customary instrumental format, Broder crafted warm, complimentary arrangements that serve this quintet’s skills quite marvelously.  “I transcribed all of the tunes included on both albums,” Broder confirmed.  “While the arrangements largely maintain the character of the original recordings, they adapt to this particular quintet and allow these contemporary musicians to bring their own personalities to this timeless music,” the altoist continues.  Broder informs that specifically “tunes like “Back Beat” and “Shady Side” required less arranging, given that they came from quintets,” in their original recorded incarnations, “though I re-orchestrated the arrangements for [trumpeter] Riley Mulherkar to play Hodges’ alto parts while I switched to bari to play Gerry Mulligan’s parts,” says Broder, referencing his skilled doubling on the big saxophone, providing further evidence of his canny employment of the flavor of Hodges’ forays with his fellow hall-of-famer Mulligan.

“Used to Be Duke,” “Wabash Blues,” “Big Smack,” St. Louis Blues,” and “Stompy Jones” were originally recorded with larger ensembles (not necessarily full big bands, but some additional horns and/or an added guitar).”  On this version Staaf’s assertive chords lead the way to the kind of happy, light-hearted swing in which Hodges so often and delightedly enveloped his muse.  There could be no more apropos closer than “The Star-Crossed Lovers,” Duke & Billy’s loving framework for one of the most distinctive voices ever to encounter the alto saxophone, none other than The Rabbit, The Jeep… Cambridge, Massachusetts own Cornelius “Johnny” Hodges.   

NEA Jazz Master Willard Jenkins is a DMV-based jazz author-journalist and broadcaster who also serves as the artistic director of the DC Jazz Festival.

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