Johnny Dodds
WILD MAN BLUES
Johnny Dodds is undoubtedly one of the greatest stylists of clarinet in traditional jazz history. His use of the Albert-system clarinet and double embouchure allowed him incredible flexibility with pitch and inflections, a hallmark of his sound. Dodds also exploited the lower “chalumeau” register of the clarinet extensively, giving his solos a darker, expressive quality. Combined with an early influence from playing blues while growing up in New Orleans, Dodds developed a lyrical style that would influence generations of clarinetists to come.
Dodds’ recording credits are prolific and remarkable. Upon moving to Chicago in 1922, Dodds would find stardom as a member of King Oliver’s Creole Jazz Band. He would eventually join Armstrong’s classic Hot Five and Hot Seven ensembles, as well as Morton’s Red Hot Peppers, firmly establishing his place in history among the greats.
This version of “Wild Man Blues” was recorded late in his career in 1938, two years before he would die of a heart attack. For all his momentum during the 1920’s, this would be Dodds’ only session from the 30’s. The tempo is a bit brighter than prior versions and also features Dodds playing the melody on the first chorus. He is joined by an all-star cast with Charlie Shavers on trumpet, Teddy Bunn on guitar, Lil’ Hardin-Armstrong on piano, John Kirby on bass, and his brother Baby Dodds on drums.
On a side note, the recording I found was actually a half-step lower than recorded. My suspicions were confirmed when Dodds’ opening line when out of range in bar 8 with a concert Db. This version, in G minor/Bb major, is a departure from the typical key of F minor/Ab major done by Armstrong, but consistent with versions done by Sidney Bechet and others.
Dodds’ love for the lower register is never more obvious than on the out chorus after the solo sections. Functioning as accompaniment to Shavers’ trumpet lead, Dodds crafts a beautiful counterpoint line that smoothly outlines the changes, all while in the lower register:
Dodds then carefully navigates registers as he transitions from counterpoint to lead playing in bar 113:
This awareness is at the heart of traditional jazz, and more broadly, group playing in general. Dodds’ innate understanding of his role within the ensemble, combined with his blend of grease and lyricism, made him one of the greatest to ever play.