Customer Reviews

Play the Blues Back to Back

5 star:		(15)
4 star:		(2)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

This is one of my favorite small group jazz CD's. I was pleasantly surprised when I got this, expecting it to be good, but not this good! The companion to this, Side by Side, is of the same caliber but I'd have to give this one the nod. It's from my favorite jazz period (1955-1963) and it's performed by two of my favorite musicians, and the recording is amazing. The sound quality of these discs is the best I've ever heard from this time period, and in my opinion, some of the remastered jazz titles from this era are the finest sounding and best engineered recordings to be found from any era - period. Can you tell I like it?

Previous reviewers have already said everything that needs to be said, so I'll keep this short. This is a small group recording with Jo Jones on drums Les Spann on Guitar, Johnny Hodges on Alto Sax and Harry Edison on Trumpet.

None of the tracks are Ellington tunes, which is very unusual. When Ellington plays these tunes they begin to sound like he wrote them. In this case its probably because they are all blues. With a talent as great as Ellington's you quickly put your mark on the music. All the musicians play beautifully. This isn't a wild jam session, so whilst there certainly are sparks they are of a more subtle nature.

If you want to hear more of Ellington's under-rated Piano playing I strongly recommend "Piano in the Foreground" and "Money Jungle". Both of these feature the Dukes Piano in a trio setting (although wildly different).

duke ellington and johnny hodges playing the blues in a small group setting. how could you go wrong with this one? you can't. hodges trademark tone is in fine form as ever, and of course mr ellington's piano is sophisticated and fine throughout. while not a mellow album, the mood is loose and laid-back, full of a light easy swing that sits down fine on the ears. there are many essential ellington releases, i would say this is not one of them, so don't start here if you are new to his music; but once you have collected the finest gems in his discography, then by all means pick up a copy of this fine jazz outting.

Duke Ellington has so much music to choose from it is difficult to know where to begin. I understand that the best jazz was recorded in the 20's through the 60's, but the problem with alot of stuff prior to the 50's is sound quality and to me if I am distracted and annoyed by the sound, then it isn't worth me buying. Call me shallow. Lucky for us though, there are disc like this one. I love jazz and have so many discs, but I must say this is one of my all time favorites and one I play more than any. Johnny Hodges is at his best here, but so is the Duke. Beautiful piano. Trust me an buy this cd along with Side by Side and you will thanking me later.

After reading so many enthusiastic reviews I wonder if this CD is the same EMI LP I purchased in the early 60's. An incredible period for every Ellington fan because every few months another of his Columbia masterworks was released - each one displaying another side of his genius. "The Nutcracker Suite" especially confounding English jazz critics - many deciding Ellington was now definitely going to the dogs. As in 1933, 1935, 1945, 1954, etc.

One day an album cover appeared promising a unique Duke Ellington Johnny Hodges collaboration. (the original EMI cover has the words Back to Back in plain white - the yellow and blue version on this CD is an abomination). One takes it home to find every track ruined by Harry Edison's inability to compose a lyrical trumpet solo. Resorting instead to repeating the same short phrases over and over again until your wonder if he can ever find a way to pass the baton back to Hodges. Not just my opinion. The next weekend I return to Charing X Road and asked the 2 experts behind Dobell's counter what they thought and both agreed Edison was completely out of his depth - ruining what should have been a historic meeting of 2 jazz giants.

Has musical appreciation drastically changed in the last 50 years? How can one enjoy the smooth swinging intros created by Duke and Hodges and somehow manage to tune-out Edison's embarrassing repetitive non-Ellingtonian interruptions - which one already knows are just around the corner?

There are a few salient facts that might explain what went wrong at this recording session. Firstly it was only Hodges who had the contract with Norman Granz. The man who persuaded Hodges and Lawrence Brown to leave Duke - causing Ellington to have the leanest 4 years of his illustrious career. The virtue of this defection for Hodges fans is from 1951 onwards he made a string of albums for Granz and continued to do so after rejoining Duke in 1955. For instance on "The Big Sound" (1957) he recruited the entire Ellington band as his backing group. The attractive photo on the cover of "Back to Back" cover continues to tell a lie. This was Hodges's 16th SOLO album for Granz. Ellington was Hodges's guest - not the man in charge.

Naturally Duke would never agree to be mere accompanist showcasing the incredible talent of his most famous sidesman. (serving to further underline his indebtedness to Hodges - the heart and soul of the greatest sax session in the history of jazz - and his infallible crowd-pleasing star soloist)

Reading between various lines it seems to get Duke to agree to record with Hodges Granz had to throw another instrument into the mix. And as the chosen theme was New Orleans blues it had to be a trumpeter. What he never explains is why they should opt for an unsympathetic Basie sidesman instead of Ray Nance oR Clark Terry. Either one (with many previous outings with Hodges) could have easily sustained the mood and this record would have been a pleasure to listen to from beginning to end.

It should be noted Duke decided never to accompany Hodges again. But for all those who should doubt Hodges was only at his best when partnered with Wild Bill Davis listen to the recent release of "Buenos Aires Blues" (1963) on the Lonehill label. Unlike Earl Hines on later recording dates Lalo Schifrin does a fantastic job staying mostly in the background but when necessary taking equally personal piano solos to give Hodges breathing space for all his perfect sax statement.

At such reasonable Amazon prices it's still worthwhile sampling this CD. Having been a jazz fan for over 55 years the really good news is to see Johnny Hodges's best LP's gradually being made available to a younger generation in click-free remastered digital sound. Without which they could never discover the pleasure of listening to the greatest saxophonist the world has ever heard. Or will ever hear.

My dad loved jazz, and I grew up listening to it. When I heard this, it was like an distillation of all the absolute purest and best. If one could have just one jazz album, this should be it.

If you are jazz fan or want to learn about jazz this is a must. A wonderful CD that I've had for years now and never tire of it. Also, if you buy this one get "Side by Side" just as good (actually it might be better).

Johnny Hodges is so good he sets the standard for big band saxophonists, literally holding a clinic on how to play the blues. With Duke Ellington, "Sweets" Edison and others to back him, this late 50's recording is hard to beat. Another recording from the same period with the nearly the same personell is "Side by Side". Own both!

This is small combo Duke (like his classic *Side by Side* ) playing the blues, not big band Duke (*Blues in Orbit*). And the difference is evident. On *Back to Back * you have Duke playing with sidemen that, primarily, aren't his own. He is playing music he didn't write. This is called being out of ones comfort zone, and its good if one wants to grow in your art. However, Duke is playing the blues. The compositions are very familiar. He is not here to do the heavy lifting. While *Blues in Orbit* is lovely, here we have a rare gem of hearing Duke seemingly unhurried. He takes his time. Listen to *Weary Blues* to her this especially. Throughout Johnny Hodges on sax is in total control, swinging and grooving effortlessly. A big band is like a battleship, hard to manuever quite so easily, and Duke did it better than anyone else, but here he's captain of a charter boat, leisurely taking us on a blues trip. One we can revisit with each turn of this disc. Enjoy!

This album is a rarity. Most have at least one dud number. This CD has NO duds, Every track is brilliant. If you like small band jazz and/or the blues, you'll always treasure "Back to Back". One carp - why didn't the record company give equal billing to Harry Edison? A classic.