Jay Jay Johnson

J. J. Johnson, also known as Jay Jay Johnson, was an American jazz trombonist, bandleader, arranger and composer. For this release J.J. Johnson teams up with trumpet legend Clifford Brown, saxophonist Jimmy Heath, pianist John Lewis, bassist Percy Heath and drummer Kenny Clarke. The six track EP was originally released in 1953 under Blue Note Records and features tracks "Lover Man", "It Could Happen to You" and "Get Happy". Clifford Brown steals the spotlight from Johnson in this EP with his complex harmonic progressions and up-tempo expertise.

"The Total J.J. Johnson" is an album by jazz trombonist and arranger Jay Jay Johnson and Big Band recorded for the RCA Victor label. The Allmusic review observed it as "the emphasis is on the arranged ensembles, making this project an excellent example of Johnson's often-overlooked writing talents".

James Louis "J. J." Johnson was an American jazz trombonist, composer and arranger. Johnson's work in the 1940s and 1950s demonstrated that the slide trombone could be played in the bebop style; as trombonist Steve Turre has summarized, "J. J. did for the trombone what Charlie Parker did for the saxophone. And all of us that are playing today wouldn't be playing the way we're playing if it wasn't for what he did. And not only, of course, is he the master of the trombone - the definitive master of this century- but, as a composer and arranger, he is in the top shelf as well". From the mid-1950s on, Johnson was a perennial polling favorite in jazz circles, even winning "Trombonist of the Year" in Down Beat magazine during years he was not active. He was voted into the Down Beat Hall of Fame in 1995.

J. J. Johnson, also known as Jay Jay Johnson, was an American jazz trombonist, bandleader, arranger and composer. For this release J.J. Johnson teams up with trumpet legend Clifford Brown, saxophonist Jimmy Heath, pianist John Lewis, bassist Percy Heath and drummer Kenny Clarke.

The first thing you might notice about Jay Coda Walker is his signature hairstyle, which you will see featured in his logo. Love the hair immediately or not, do not stop there, I caution you, because once you start looking deeper you will begin to understand the significance of what exists beneath.

January 2nd, 2023. Aside from being the second of a new year, it was a pretty ordinary night at ETA in Los Angeles, where guitarist Jeff Parker - alongside his ETA IVtet with saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose - had been holding down a regular Monday gig since 2016. At the time, nobody knew it was the first gig of the last year that ETA would be open for business. Over seven years of holding down that residency, Parker’s ETA ensemble evolved from a band that played mostly standards into a group known for its transcendent, long-form (sometimes stretching out for 45 minutes or more) journeys into innovative, often uncharted territories of groove-oriented, painterly, polyrhythmic, minimalist and mantric improvised music. With that musical growth, the crowds for Parker and his band at ETA grew across the years too. What started as a sparse gathering of weeknight drinkers, friends, family, and Chicago expats (coming to get a shot of nostalgia for the atmospheres Parker used to create at Rodan across the ‘00s and early ‘10s) grew into a Los Angeles nightlife staple with a packed house and a line down the block for every show.

January 2nd, 2023. Aside from being the second of a new year, it was a pretty ordinary night at ETA in Los Angeles, where guitarist Jeff Parker - alongside his ETA IVtet with saxophonist Josh Johnson, bassist Anna Butterss, and drummer Jay Bellerose - had been holding down a regular Monday gig since 2016. At the time, nobody knew it was the first gig of the last year that ETA would be open for business. Over seven years of holding down that residency, Parker’s ETA ensemble evolved from a band that played mostly standards into a group known for its transcendent, long-form (sometimes stretching out for 45 minutes or more) journeys into innovative, often uncharted territories of groove-oriented, painterly, polyrhythmic, minimalist and mantric improvised music. With that musical growth, the crowds for Parker and his band at ETA grew across the years too. What started as a sparse gathering of weeknight drinkers, friends, family, and Chicago expats (coming to get a shot of nostalgia for the atmospheres Parker used to create at Rodan across the ‘00s and early ‘10s) grew into a Los Angeles nightlife staple with a packed house and a line down the block for every show.

After working as a writer and producer for such soul music stalwarts as Donny Hathaway and a stint replacing Curtis Mayfield as the lead vocalist in the Impressions, Leroy Hutson embarked on a solo career with 1973's Love Oh Love. The album combines the kind of smooth soul music that Hutson performed with the Impressions with more ambitious and conceptual outings in the vein of Marvin Gaye and Stevie Wonder.

Singer was one of the survivors of the Tulsa massacre in 1921

It seems that Gregg Allman and the city of Macon, GA, will remain inexorably linked together; it is a history that spans over four decades, and one that Gregg is well aware of. “Macon is a beautiful, enchanting place, and it truly was home for the Allman Brothers Band,” stated Gregg. “We played, lived, laughed and cried there, and I wrote many, many songs in that town. It’s always good to play Macon, man.” On January 14, 2014, Gregg Allman brought his solo band to Macon for a performance at the venerable Grand Opera House, a 1,000 seat jewel of a theatre that was built in 1884. It was in this intimate setting that Gregg Allman Live: Back To Macon, GA was recorded.