Art Hodes

Throughout his long career, Art Hodes was a fighter for traditional jazz, whether through his distinctive piano playing, his writings (including many articles and liner notes), or his focus on radio and educational television. Famous for the sensation he placed into blues, Hodes was especially effective on up-tempo music, where his on-the-beat chordings from his remaining hand could possibly be quite fascinating. Given birth to in Russia, he found America along with his family members when he was half a year old and was raised in Chicago. Hodes experienced the chance to see Chicago jazz during its primary years within the 1920s, and he discovered from additional pianists. In 1928, he produced his documenting debut with Wingy Manone, but spent a lot of the 1930s in obscurity in Chicago until he relocated to NY in 1938. He used Joe Marsala and Mezz Mezzrow before developing his own music group in 1941. Hodes documented for Solo Artwork, his Jazz Record label, Personal, Decca, and Dark & White colored during 1939-1942, but he produced more of the feeling with his warmed Dixieland recordings for Blue Notice during 1944-1945 (which have already been reissued on the Mosaic box collection). During 1943-1947, Hodes edited the key publication the Jazz Record, experienced a radio display, and became mixed up in moldy fig versus bebop wars with Leonard Feather and Barry Ulanov; jazz on a complete lost towards the second option. In 1950, he came back to Chicago, where he continued to be energetic locally and produced occasional information. Hodes hosted a tv series, Jazz Alley, for a while in the 1960s, published for Downbeat, and was a jazz educator. Artwork Hodes recorded regularly through the 1970s and ’80s, and was more popular among the last survivors of Chicago jazz. His later on recordings had been for such brands as Audiophile, Jazzology, Delmark, Storyville, Euphonic, Muse, Parkwood, Candid, and Music & Arts.