# Derrick Hodge considers himself a product of a hotbed of talent from the greater Philadelphia region which had a thriving Gospel, Jazz … New video 2018

- Link: https://jazzblues.eu/2018/07/05/derrick-hodge-considers-himself-a-product-of-a-hotbed-of-talent-from-the-greater-philadelphia-region-which-had-a-thriving-gospel-jazz-new-video-2018/
- Published: 2018-07-05T00:02:17+01:00
- Author: https://JazzBlues.EU

**05.07. – Happy Birthday !!! Derrick Hodge began studying electric guitar at the
age of 7, inspired by the playing of West Philadelphia’s Beulah Baptist Church choir’s
bassist, Joel Ruffiin. A year later, Hodge switched to electric bass guitar and 
began playing in the elementary school concert band and orchestra. In junior high,
he was introduced to the upright contrabass. **

At the time, there were no bass instructors so Hodge learned the instrument by using
his electric bass technique and by watching the 1st and 2nd violins sitting across
from him. And for jazz band, he just played the upright bass as if it were an electric
bass, disallowing the lack of instructional resources to be his hindrance.

He considers himself a product of a hotbed of talent from the greater Philadelphia
region which had a thriving Gospel, Jazz, Classical, R&B and emerging Hip Hop scene.
He also credits mentors such as James Poyser, Jethaniel Nixon, and others throughout
his teenage years. Hodge received his Bachelor’s Degree in Music from Temple University
Ester Boyer College of Music where he studied Jazz Composition and Performance. 
He studied acoustic and electric bass privately with Vince Fay. He was also involved
in the Temple University Jazz Band and Small Ensemble, conducted by Terell Stafford,
and was the first Jazz major to participate in the Temple University Symphony Orchestra,
conducted by Luis Biava, and New Music Chamber Orchestra. He was also a student 
at the Jazz Aspen Snowmass Summer Academy, under the instruction of Christian McBride
and Loren Schoenberg.

Along with formal collegiate training and experience, he performed with the Temple
University Gospel Choir, among others. Hodge has performed and/or recorded with 
Terell Stafford, Donald Byrd, Bootsie Barnes, Kirk Franklin, Donnie McClurkin, John
P. Kee and the New Life Community Choir, Kenny Lattimore, Q-Tip, Mos Def, Timbaland,
Jill Scott, Musiq Soulchild, Gerald Levert, Common, Kanye West, Andre 3000, Sade,
Terence Blanchard, Mulgrew Miller, Clark Terry, and others. Aside from Hodge’s performing
side, he has always had a passion for music composition. Being granted the opportunities
to write for artists in the past has enabled him to be identified as a writer in
various genres of music ranging from Jazz and Orchestral Chamber music to Pop and
R&B.

Over the past few years, Hodge has been developing his writing skills for extended
music scoring and film music. Understudying with Grammy Nominated composer Terence
Blanchard, Hodge has been afforded the opportunity to learn about the film industry
and writing process. He has also received on the job training while working as an
instrumentalist on many of Blanchard’s films including She Hate Me, Waist Deep, 
and Inside Man.

Derrick’s most recent projects have included production work and orchestrations 
with Common and Kanye West for Common’s recent album “Finding Forever”, which reached
Billboard 1. He is also writing music for two films: “The Army Recruiter” and “Uneasy
Listening”. Other recent projects include When the Levees Broke: A Requiem in Four
Acts in which he did additional writing and scoring, as well as Who the $%@ Is Jackson
Pollock?, and Faubourg Treme: A story of Black New Orleans, in which he was the 
music composer. Hodge is now preparing for the premiere of his band at the Bluenote
in New York City on Halloween night, in association with producer Jill Newman of
Jill Newman Productions.

For his premiere, he will be introducing his ideas and concepts in a more intimate,
small group setting. The beginning of a new venture for him, Hodge considers this
project at the Bluenote to be the starting point for a lifelong quest to keep music
honest, relevant to the people, and uninhibited by genre.

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