The Rabbit Strays

2019 ◽  
pp. 107-122
Author(s):  
Con Chapman
Keyword(s):  

The chapter describes Johnny Hodges’s break with the Ellington orchestra in the early 1950s. He had occasionally threatened to leave the band, and in early 1951 he did so with the encouragement of record producer Norman Granz, who signed him to a recording contract and financed his break. Hodges took two Ellingtonians with him, and among other noteworthy musicians who joined was a young John Coltrane, whom Hodges had to fire because of his drug habit. Hodges said he and his co-conspirators made the break because they wanted to return to simpler music than the ambitious works that Ellington would sometimes write. The economic reasons for the break are also discussed. The big bands were suffering, and Ellington had announced a pay cut. Ultimately Hodges found that he was not suited to be a bandleader; he disbanded the group and returned to Ellington in 1955.

2009 ◽  
Vol 2 (2) ◽  
pp. 109-118
Author(s):  
David Liebman
Keyword(s):  

2021 ◽  
pp. 327-400
Author(s):  
Ted Gioia

In the post–World War II years, jazz started to split off into many different directions, spurring a fragmentation that expanded the creative range of the idiom but caused long-lasting divisions among artists and fans (the so-called jazz wars). The first fault lines emerged between traditional and modern jazz exponents, but during the 1950s and early 1960s, many different styles emerged—including cool jazz, hard bop, soul jazz, West Coast jazz, modal jazz, Third Stream jazz, and various experimental approaches. This chapter traces these stylistic developments, and their leading exponents. It looks at the life and work of Miles Davis, John Coltrane, Thelonious Monk, Stan Getz, Charles Mingus, and Bill Evans, among other major jazz stars of the era, and assesses key albums such as Kind of Blue, Mingus Ah Um, and Giant Steps.


Notes ◽  
2014 ◽  
Vol 71 (2) ◽  
pp. 299-300
Author(s):  
Mark C. Gridley
Keyword(s):  

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