J. J. Johnson

J.J. Johnson - Quintergy: Live At The Village Vanguard (1988) {Antilles 422-848 214-2 rel 1991}
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© 1988, 1991 Antilles / Island Records | 422-848 214-2
Jazz / Post Bop / Trombone

Trombonist J.J. Johnson, 64 at the time of Quintergy, is heard in top form on this Live at the Village Vanguard set. His quintet, which includes Ralph Moore on tenor and soprano, pianist Stanley Cowell, bassist Rufus Reid and drummer Victor Lewis, is perfectly suited to interpret the spirited set of advanced bop. Highlights include Johnson's feature on "You've Changed," "Coppin' the Bop," "Lament" and his unaccompanied playing on "It's All Right with Me." Excellent music. Another Antilles CD, Standards, comes from the same sessions.

J.J. Johnson finds himself at the helm of a dream band here - a full brass orchestra with French horns, euphoniums, tubas, and a harp - and gets to exploit its possibilities wherever they might lead. The results are beyond category, where the veteran trombonist's writing has a feathery richness, urbanity, and a depth charge in the bass reminiscent of, but not really indebted to, Gil Evans. There is plenty of straight-ahead jazz grooving but also several episodes of formal, almost classical writing, as in the suitably joyous "If I Hit the Lottery," and rigorous combinations of both, like the angular tribute to Béla Bartók, "Canonn for Bela." The generous Johnson doesn't even appear on a piece he commissioned from Robin Eubanks called "Cross Currents" - Eubanks performs the sputtering trombone solo - nor on Slide Hampton's blazing "Comfort Zone"…

Whatever Norman Granz was using as a thinking man's energy drink in 1957 when he formulated this Jazz at the Philharmonic all-star band should be bottled and sold to the world. This stroke of genius was manifested in pairing Stan Getz with J.J. Johnson, backing them up with pianist Oscar Peterson's legendary trio including bassist Ray Brown and guitarist Herb Ellis, and adding MJQ drummer Connie Kay to this truly classic jazz sextet. Two JATP concerts done in Chicago (in stereo) and Los Angeles (in mono) comprise this expanded edition CD, with some stretched-out jams, repeat tunes, and extra material. Originally tabbed as an unusual teaming of tenor sax and trombone, the two principals sound well-suited, very compatible in their dynamic levels, and especially congruous when they play together, while Peterson is absolutely supportive so that these two giants of jazz can cut loose…

J.J. Johnson - Blue Trombone (1957) {2009 AJC Remaster}
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© 2009 American Jazz Classics / Columbia | 99002
Jazz / Hard Bop / Trombone

Digitally remastered and expanded edition of this 1957 release from the Jazz trombonist, Johnson's second complete album ever in a quartet format. The sessions, with master accompaniment by Tommy Flanagan, Paul Chambers and Max Roach, went so well that material for two albums was gathered (the other album being First Class). As an added bonus, there are two quartet tracks taken from Johnson's previous quintet sessions, as well as five quintet tracks that complete all of the master takes from the latter of those sessions.

The CD reissue of the two volumes titled The Eminent Jay Jay Johnson straighten out his three Blue Note sessions of 1953-55 and add alternate takes. This particular CD concentrates exclusively on the trombonist's 1953 sextet date with the great trumpeter Clifford Brown, Jimmy Heath (who doubles on tenor and baritone), pianist John Lewis, bassist Percy Heath and drummer Kenny Clarke. The six titles (plus three alternates) are highlighted by "It Could Happen to You," "Turnpike" and a classic rendition of "Get Happy."

At times sounding indistinguishable soloing side by side, trombonists Kai Winding and J.J. Johnson gained unexpected fame from a series of collaborative efforts cut during the mid-'50s. Sandwiched between their initial Savoy outing and several Columbia releases (and a later reunion session for Impulse), 1955's Nuf Said features the soloists in a buoyant West Coast mood on several medium- to fast-tempo swingers. Winding and Johnson both turn in fluid, tonally rounded statements, while pianist Dick Katz, bassists Milt Hinton and Wendell Marshall, and drummer Al Harewood (using brushes most of the time) provide plush rhythmic support…

Trombonist J.J. Johnson's 1960 sextet is featured on this Columbia CD. Most notable among the sidemen is a rather young trumpeter named Freddie Hubbard on one of his first sessions; also helping out are tenor saxophonist Clifford Jordan, pianist Cedar Walton, bassist Arthur Harper and drummer Albert "Tootie" Heath. Seven of the compositions (which are joined by Dizzy Gillespie's "Blue 'N' Boogie") are Johnson's and, although none caught on, "Mohawk," "In Walked Horace" and "Fatback" (which is heard in two versions) are all fairly memorable. The six songs on the original LP are joined by three others from the same dates.

This 1963 album is more than just another set of jazz variations on Broadway show tunes. The carefully chosen repertoire mixes the familiar and the little-known. The arrangements – for the unusual instrumentation of five bones and rhythm section-are distinctive. And the Trombone work of J.J. Johnson is, as always in a class by itself.