Buenos Aires Blues - Johnny Hodges/11th Hour [Import]

With no reviews of this reissue it's essential to let it be known this CD is a MUST for every Hodges fan. If "Buenos Aires Blues" was never made available during his lifetime it was due some oversight not because it's quality did not meet his highest standards. At the risk of sounding blase it has to admitted he did get into a slight rut during his 50's period on Verve (all available on Mosaic). There being only a limited variety of sound available from a small combo - with occasional guest performers. But after meeting-up with producer Creed Taylor he entered an experimental period which gave his recording career a new lease on life.

The 2 early-60's albums on this CD came out just after "Blue Hodge" with Wild Bill Davis and a big band LP with Billy Strayhorn which must be rated the perfect recording of Hodges playing his favorite Ellington masterpeices. That he should then make a quintet record with 4 non-Ellingtonians shows just how confident he had become. Although he gives plenty of space to his "backing group" thankfully these 9 tracks are dominated by Hodges's alto - whereby he creates a continuous stream of sensuous soothing mainstream jazz. One tune blending into another so one is hardly aware 5 are Hodges and Schifrin originals, 2 are by Ellington and 2 are popular standards. My only reservation is the opening track is not typical of what follows. One waits 50 seconds for Hodges's alto and when it does arrive it's been given an echo effect. But after this all sounds just as great as with all his later work.

Next he made "The Eleventh Hour". I don't remember this being released in England either. This time the unusual concept was having background arrangements provided by Oliver Nelson - who has no inhibitions about constrasting Hodges's alto with extremely lush strings. After the initial shock of hearing an Arabian chant opening to "Something to Live For" one soon adapts and it turns out this is yet another great "Hodges plays Ellington" album - plus 4 currently popular tunes. Again the big Lonehill blessing is to have a clear digital version of a stereo vinyl record where Hodges was sometimes swamped by the large string section.

The huge discovery here is "Guitar Amour". A true rarity as it was originally a very quiet tune composed by Duke for solo guitar for a scene in the movie "Paris Blues". Hodges and Nelson ignore the quiet part and create an entirely new almost hypnotic composition out of the second theme (when the guitarist gets a lot more animated). Out of nowhere Ray Nance's violin arrives to provide a welcome tzigane intermission. For this track alone this CD is worth twice its asking price.

Leonard Feather always writes great notes (to "Buenos Aires Blues"). Beside referring, as everyone else does, to Johnny Hodges's unique sensuous sound he then goes on to say Hodges's horn gets very close to being an "almost-human voice". One of the best explanations as to why he's still communicating so effectively (to the initiated) 40 years afer his demize. Off-stage we are told he was a extremely taciturn man. But this must have been because he felt he could say everything he wanted to much better on a saxophone. And like every good conversationist he never used 2 words when one would do. Whether it be at the Hammersmith Odeon, in a concert hall or in a recording studio every solo he blew was perfectly conceived, concisely expressed and invariably beautiful. As can be heard on these 2 rare early-60's LP's.