A rare chance to hear one of jazz's finest alto players in full command, with Duke and friends in support.
By 1959, Johnny Hodges had spent decades as Duke Ellington's featured soloist—brilliant work, but always within Ellington's shadow. Side by Side flips that arrangement. Hodges takes the lead on most of the album, and while Ellington and Billy Strayhorn handle the piano parts, they're there to frame him, not direct the session. It's a simple shift, but it matters: this is Hodges' album, full stop.
The band is stacked. Ben Webster brings his warm, rounded tone on tenor, Roy Eldridge adds fire on trumpet, Harry "Sweets" Edison keeps things grounded on his own trumpet work, and Jo Jones anchors the rhythm with his brushwork and taste. The interplay is relaxed and purposeful—these are seasoned players who know how to listen to each other. Hodges' alto cuts through clearly, sometimes growling, sometimes silky, always authoritative. This wasn't a new direction for him, but it was a validation: he could carry a session without Ellington's orchestra around him.
The album found its audience and never left print. AllMusic, DownBeat, and The Penguin Guide to Jazz Recordings all rated it highly, recognizing something solid and well-executed. Side by Side is also a follow-up to Back to Back: Duke Ellington and Johnny Hodges Play the Blues, so there was already a template for this partnership. For listeners new to Hodges, start with this one—it's cleaner and more direct than diving into Ellington's full discography, and it shows exactly why Hodges mattered on his own terms.