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Con Soul And Jazz: Wild Bill Is The Boss!
 
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Con Soul And Jazz: Wild Bill Is The Boss!

1 Jan 2007 | Format: MP3

£12.98 (VAT included if applicable)
Also available in CD Format
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3:50
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4:13
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4:55
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2:29
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2:59
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5:43
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3:52
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6:36
Disc 2
30
1
3:51
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5:43
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4:56
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4:53
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2:30
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2:21
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4:46
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3:11
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2:43
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3:59
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5:15
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4:00
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2:52
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3:29
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3:23
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3:38
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4:01
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2:11
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2:09
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2:03
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1:53

Product details

  • Original Release Date: 1 Jan 2007
  • Number of Discs: 2
  • Label: Lone Hill Jazz
  • Copyright: (c) 2007 Lone Hill Jazz
  • Total Length: 2:24:01
  • Genres:
  • ASIN: B0029ZVYPY
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 233,902 in MP3 Albums (See Top 100 in MP3 Albums)

Customer Reviews

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Most Helpful Customer Reviews

7 of 7 people found the following review helpful By J. Gibbons TOP 500 REVIEWER on 9 July 2007
Format: Audio CD Verified Purchase
This double album, the first in the Lone Hill Johnny Hodges/Wild Bill Davis reissue series, contains three complete albums and parts of two others.

The complete albums are 'Con-Soul and Sax' and 'In Atlantic City' - made under Wild Bill Davis' name for RCA Victor - and 'Blue Pyramid'
a Verve date. Also incuded are five tracks without Wild Bill from 'Blue Notes' and four tracks from 'Sandy's Gone' - a pop orientated big band album directed by Claus Ogerman.

Apart from the Ogerman tracks, the music all is spendidly relaxed mainstream. Hodges, of course, was one of the greatest, most original, alto sax players and his playing here is some of his best - whether standards, Ellington classics, or blues originals - and Wild Bill on Hammond Organ makes an ideal partner. The rhythm sections all swing madly and the other soloists (mainly Lawrence Brown and Jimmy Hamilton) are never less than interesting.

The tracks from 'Blue Notes' are by a more conventional mainstream group with a front line made up of Snooky Young and Ernie Royal on trumpet, Tony Studd on bass trombone, and a reed section made up of Hodges, Jimmy Hamilton, Frank Wess, Jerome Richardson, and Don Ashworth. The rhythm section, headed by the always rewarding piano of Hank Jones, is excelent. The five tracks here - the rest of the album is on volume four of this 'Lone Hill' series - are all well worth hearing. However, the tracks from 'Sandy's Gone' are not especially interesting but, mercifully, very short.

All in all a fine album which can be heartily recommended without reservation.
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7 of 7 people found the following review helpful By Casa Do Estoril Lda on 30 July 2009
Format: Audio CD
This is a very carefull and generous double CD, made by jazz lovers for jazz lovers. The music is great, with Johnny Hodges relaxing in small groups. Hodges is one of the greatest geniuses of the jazz era, a virtuoso of the saxophone but always respectful of the music. His sound is always gentle. He plays the standards and new material alike, with the most beautiful sound of jazz. It is also great music for those not accustomed to jazz, since it has here and there some material crossing over to other popular music domains. I would recommend it to anyone interested in listening to beautiful music played by one of the greatest musicians of the 20th century.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 3 reviews
7 of 7 people found the following review helpful
THEIR TIMELESS MASTERPIECE 5 May 2009
By W. BUTLER - Published on Amazon.com
Format: Audio CD Verified Purchase
The title of this excellent double-CD should not be taken literally. The Boss is and always was Johnny Hodges. Nevertheless it's very appropriate they have equal billing on the elegant Victor cover of their greatest album "Con-soul & Sax". On this, their 7th LP they again became a partnership of equals. Although each tune is first stated by Hodges it soon becomes clear the carefully prepared arrangements were designed to let Wild Bill solo on every track. And what other sound in jazz can compare with the interplay between jazz's greatest lyrical alto-sax and Davis's hammond organ which can be played very softly or duplicate the sound of a huge orchestra?

Nothing seems to happen by accident on "Con-soul & Sax". Each tune segues into the next as if part of an Ellington suite. A happy mood predominates because they returned to their "Blue Hodge" formula of 5 tracks per side (with only 2 slow ballads). This time one welcomes all 6 Ellington tunes because Wild Bill injects new alchemy into each one. The difference on this album being the choice of some less-familiar Duke like "Johnny Come Lately" from 1942 (on which Hodges didn't solo). But the outstanding track is "On Green Dolphin Street". Followed by an ultra-slow "Li'l Darlin" - which is surprisingy cheerful - with Wild Bill filling-in for the Basie band.

Their second Victor LP "In Atlantic City" illustrates Hodges's problem when sharing the stage with Lawrence Brown and other sidemen. Despite Wild Bill being present it can hardly be differentiated from any other Hodges 50's small-group jam session. But because this 2-night event was so well documented by Stanley Dance (also in his book "The World of Duke Ellington") it does have great historic value - and gives present day listeners a good idea what their small combo must have sounded like when Hodges and Brown broke away from Duke in 1951.

Next Lonehill included their last LP for Verve "Blue Pyramid" (recorded before and after "Con-soul & Sax"!). It shares many of the faults of their 3 previous ones on which Lawrence Brown appears. Despite a few jaunty numbers an air of melancholy takes over. Of the 9 tracks 5 are slow ballads (splicing 2 LP sides together means 4 are back-to-back). Added to which there are Jimmy Jones arrangements and sundry other sidesmen. What Stanley Dance charitably describes as variety is in fact confusion. Hence the need for a new producer and company - RCA - where miraculously they got back their old groove (to misquote Disney).

The 2 other items on CD #2 are worth listening to for curiosity value alone. "Blue Notes" an eclectic well recorded (with echo) late Hodges album where thankfuly his usual beautiful solo work is not overwhelmed by Jimmy Jones's big band arrangements.

Lastly Hodge's one unfortunate "pop" album "Sandy's Gone". If he had arrangements by Claus Ogerman (who did the same for Jobim, Astrud Gilberto and Stan Getz) he should have been in good hands. But someone decided to double-track Hodges's alto-sax - making his unique timbre unrecognisable. Knowing the harm it could do to Hodges jazz icon status one wonders why "Sandy's Gone" was ever released? Then one recalls "Beatles" songs were invading America in 1963. Thus it can be filed away with Ellington 65 (& 66) as a very temporary capitulation to a sea change in musical tastes.

But 40 years later one fact stands out. Johnny Hodges and Wild Bill Davis were made for each other. Which is why we are all beneficiaries of the Lonehill team who painstakingly put together 5 CD's of their complete output as a fitting Memorial to 2 great individualists.
1 of 1 people found the following review helpful
Superd as ever 29 Sep 2011
By mirasin - Published on Amazon.com
Format: Audio CD Verified Purchase
Johnny Hodges is one of my favorites and his tone and frazing gives me goosepimples.
I recommed it to every jazz lover.
The wonder of Johnny Hodges plus Wild Bill Davies : The very best in JAZZ-music 4 Oct 2013
By Hans VORHAUER - Published on Amazon.com
Format: Audio CD Verified Purchase
Johnny Hodges is in my opinion the best Jazz musician there was in our music-world.
His magnificent tone including his formidable improvisation-talent gives this modest
"giant" the best score in the total jazz-history. As an excellent member of Edward
Kennedy DUKE Ellington's famous orchestra. It was a.o. Johnny Rabbit/Jeep Hodges
who gave the Ellington Orchestra its fantastic and specific beautiful sound.
Until and in the fourties Hodges played also the Soprano-Saxophone, especially in the
"small Ellington-combo's". Wild Bill Davies was the best organ-/piano-player who sup-
ported Johnny Hodges, Both CD's are, in this aspect !, magnificent. Everytime You
put those CD's in Your "Play-Station . . . . ."You will enjoy this mighty music for 100 %.
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