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" 'Blues for New Orleans' the opening selection, is in a sense a paying back of the debt jazz as a whole owed to New Orleans musicians and their instrumental versions of the blues, for it was they who had asserted the primacy of the blues and made the first really effective translations of an essential vocal idiom. But 'Blues for New Orleans' is no ordinary blues, because this is the last blues and the last recording of that great blues player, Johnny Hodges, who died shortly afterwards. Although this fact lends additional poignancy to the performance, it would in any case have been an intensely stirring one. Here Hodges has the kind of setting he loved, and which none could write so well for him as Ellington. He also had the support and stimulus of an old recording companion, Wild Bill Davis, at the organ. The leader [Duke Ellington] was in the studio - not in the control room - conducting, routining, dancing, clapping his hands, and miming his requirements as the arrangement unfolded. There occurred a last example of the complete and instant understanding that existed between him and the little giant who first joined the band in 1928: he made a quick gesture with his hand and Hodges, comprehending the significance immediately, stepped back from the microphone, and then moved in on it confidently with a telling held note. The power and vitality of the interpretation make the saxophonist's death even more of a tragedy. Ellington fully recognized its extent when he said in his eulogy, "Because of this great loss, our band will never sound the same."