Half & Half (Remastered) Johnny Hodges & Charlie Shavers

Cover Half & Half (Remastered)

Album info



Album including Album cover Booklet (PDF)


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  • 1Perdido02:39
  • 2Jeep's Blues02:39
  • 3All of Me01:51
  • 4C Jam Blues02:17
  • 5I Got It Bad (And That Ain't Good)02:09
  • 6In a Mellow Tone06:58
  • 7Bye Bye Blackbird02:24
  • 8Breezin' Along with the Breeze01:55
  • 9Embraceable You02:15
  • 10What Is This Thing Called Love?02:49
  • 11Time on My Hands03:32
  • 12Undecided02:54
  • 13I'll Make Fun for You03:35
  • Total Runtime37:57

Info for Half & Half (Remastered)

Shavers and Hodges were genii: unflawed musicians, total original minds, two of the great burnished talents that were ablaze in those fiery jazz years. Both seminal figures: Johnny Hodges, one of the three classic alto-saxophonists in jazz, Charlie Shavers, one of the two or three greatest trumpeters of his (or perhaps any) era. Both had the gift of making perfection sound easy, and both revelled – with an almost Casanova sensuality – in every tonal, and technical richness that their instrument was capable of.

On this record, the two old masters perform in two settings each, both with the kind of ripe luscious talent that grows only in the summertime of an art.

Johnny Hodges, alto saxophone
Charlie Shavers, trumpet

Digitally remastered

Johnny Hodges
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. (AMG)

Charlie Shavers
was one of the great trumpeters to emerge during the swing era, a virtuoso with an open-minded and extroverted style along with a strong sense of humor. He originally played piano and banjo before switching to trumpet, and he developed very quickly. In 1935, he was with Tiny Bradshaw's band and two years later he joined Lucky Millinder's big band. Soon afterward he became a key member of John Kirby's Sextet where he showed his versatility by mostly playing crisp solos while muted. Shavers was in demand for recording sessions and participated on notable dates with New Orleans jazz pioneers Johnny Dodds, Jimmy Noone, and Sidney Bechet. He also had many opportunities to write arrangements for Kirby and had a major hit with his composition "Undecided." After leaving Kirby in 1944, Charlie Shavers worked for a year with Raymond Scott's CBS staff orchestra, and then was an important part of Tommy Dorsey's Orchestra from 1945 until past TD's death in 1956. Although well-featured, this association kept Shavers out of the spotlight of jazz, but fortunately he did have occasional vacations in which he recorded with the Metronome All-Stars and toured with Jazz at the Philharmonic; at the latter's concerts in 1953, Shaver's trumpet battles with Roy Eldridge were quite exciting. After Dorsey's death, Shavers often led his own quartet although he came back to the ghost band from time to time. During the 1960s, his range and technique gradually faded, and Charlie Shavers died from throat cancer in 1971 at the age of 53. (AMG)

Booklet for Half & Half (Remastered)

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