A happy, unpretentious set where Hodges plays exactly what he plays best.
Triple Play was recorded in 1967, late enough in Johnny Hodges' career that he'd already proven everything he needed to prove, yet he sounds fresh and unbothered by fashion or critical opinion. The session brought together a tight working group: Hodges on alto sax, Wild Bill Davis on organ, Joe Benjamin on bass, and Osie Johnson on drums. This was organ-trio territory, a format that suited Hodges perfectly — no need for elaborate arrangement, just good musicians playing what they knew.
What you hear is exactly what the title promises: three compact, satisfying performances where everyone serves the melody and the swing. Hodges doesn't showboat or reach for novelty. He's the star, but he's not trying to convince you of that. The organ provides warmth and movement, not flash, and the rhythm section locks in without drawing attention to itself. This is how jazz sounded when players cared more about the song than about sounding contemporary.
For listeners new to Hodges, this isn't the place to start — begin with his Duke Ellington recordings or his early solo work. But if you already know his sound and want to hear him in a relaxed, perfectly competent setting without pretension, Triple Play delivers exactly that. It's the kind of album that disappears into your collection and surfaces three years later, sounding just as solid as it did before.