Hodge, John Reed (1893-1963) army general, born in Golconda, Illinois. Hodge was considered one of the best combat commanders in the Pacific during World War II, with successful operations at Guadalcanal (1942), Bougainville (1943-44), Leyte (1944), and Okinawa (1945). During World War I he had taken part in the St. Mihiel and Meuse-Argonne offensives (1918). After World War II, Hodge was military administrator and commander of U.S. forces in the south of Korea (1945-48), where he sought to promote stability by suppressing Communism and fostering a moderate pro-American coalition, a position that made him enemies on both the left and the right. Hodge retired in 1953 with the rank of full general.
Hodge was called “the Patton of the Pacific” because of his hard-driving style.
See the Introduction, Abbreviations and Pronunciation for further details.
(born July 25, 1906, Cambridge, Mass., U.S. — died May 11, 1970, New York, N.Y.) U.S. saxophonist, one of the greatest alto-saxophone stylists in jazz. "Rabbit" Hodges was encouraged and influenced by Sidney Bechet in the mid-1920s. He joined Duke Ellington's band in 1928 and quickly became its most prominent soloist. Except for a period when he led his own small group (1951 – 55), Hodges would remain with Ellington for the rest of his career. His peerless, soulful tone and rhythmic poise made him a master interpreter of both ballads and blues, and Ellington and Billy Strayhorn composed many pieces expressly for him.
Possessor of the most beautiful tone ever heard in jazz, altoist Johnny Hodges formed his style early on and had little reason to change it through the decades. Although he could stomp with the best swing players and was masterful on the blues, Hodges' luscious playing on ballads has never been topped. He played drums and piano early on before switching to soprano sax when he was 14. Hodges was taught and inspired by Sidney Bechet, although he soon used alto as his main ax; he would regretfully drop soprano altogether after 1940. His early experiences included playing with Lloyd Scott, Chick Webb, Luckey Roberts, and Willie "The Lion" Smith (1924), and he also had the opportunity to work with Bechet. However, Johnny Hodges' real career began in 1928 when he joined Duke Ellington's orchestra. He quickly became one of the most important solo stars in the band and a real pacesetter on alto; Benny Carter was his only close competition in the 1930s. Hodges was featured on a countless number of performances with Ellington and also had many chances to lead recording dates with Ellington's sidemen. Whether it was "Things Ain't What They Used to Be," "Come Sunday," or "Passion Flower," Hodges was an indispensable member of Ellington's orchestra in the 1930s and '40s. It was therefore a shock, in 1951, when he decided to leave Duke Ellington and lead a band of his own. Hodges had a quick hit in "Castle Rock" (which ironically showcased Al Sears' tenor and had no real contribution by the altoist), but his combo ended up struggling and breaking up in 1955. Hodges' return to Duke Ellington was a joyous occasion and he never really left again. In the 1960s, Hodges teamed up with organist Wild Bill Davis on some sessions, leading to Davis joining Ellington for a time in 1969. Johnny Hodges, whose unchanging style always managed to sound fresh, was still with Duke Ellington when he suddenly died in 1970. ~ Scott Yanow, All Music Guide
John Cornelius "Johnny" Hodges (July 25, 1906 – May 11, 1970) was an American alto saxophonist best known for leading Duke Ellington's saxophone section for 38 years.[1]
Hodges started playing with Lloyd Scott, Sidney Bechet, Lucky Roberts and Chick Webb. When Ellington wanted to expand his band in 1928, Ellington's clarinet player Barney Bigard recommended Hodges, who was featured on both alto and soprano sax. His playing became one of the identifying voices of the Ellington orchestra. Hodges left the Duke to lead his own band (1951-1955), but returned to the large ensemble shortly before Ellington's triumphant return to prominence--the orchestra's performance at the 1956 Newport Jazz Festival.
Hodges was born in Cambridge, Massachusetts. He was mostly self-taught, although he did take lessons on soprano sax with Bechet. He was one of the prominent Ellington Band members who featured in Benny Goodman's legendary 1938 Carnegie Hallconcert. Goodman described Hodges as "the greatest man on alto sax I ever heard." Charlie Parker called him "the Lily Pons of his instrument."
Ellington's practice of writing tunes specifically for members of his orchestra resulted in the Hodges specialties, "Confab with Rab", "Jeep's Blues", "Sultry Sunset", and "Hodge Podge". Other songs recorded by the Ellington Orchestra which prominently feature Hodges' smooth alto-saxophone are "Magenta Haze", "Prelude to a Kiss", "Haupe" (from Anatomy of a Murder) -- note also the "seductive" and hip-swaying “Flirtibird,” featuring the "irresistibly salacious tremor" by Hodges,[2] "The Star-Crossed Lovers" from Ellington's Such Sweet Thunder suite, "I Got It Bad (And That Ain't Good)", "Blood Count" and "Passion Flower".
Generations of saxophonists turn to 1963 recording The Great Paris Concert, in which Hodges' lyrical poise is captured well, particularly on "On the Sunny Side of the Street".
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, from Ben Webster to John Coltrane, both of whom played with him when he had his own orchestra in the 1950s, to Lawrence Welk, who featured him in an album of standards. His highly individualistic playing style, which featured the use of a wide vibrato and much sliding between slurred notes, was frequently imitated. As evidenced by the Ellington compositions named after him, he earned the nicknamesRabbit, according to Johnny Griffin because "he looked like a rabbit, no expression on his face while he's playing all this beautiful music."[3] and Jeep (for his apparent speed as a runner).[citation needed]
Hodges' last performances were at the Imperial Room in Toronto, less than a week before his death from a heart attack. His last recordings are featured on The New Orleans Suite, incomplete on his death.
In Ellington's eulogy of Hodges he said: "Never the world's most highly animated showman or greatest stage personality, but a tone so beautiful it sometimes brought tears to the eyes - this was Johnny Hodges. This is Johnny Hodges."
