Reissue with the latest 2015 remastering. Comes with liner notes. One of the hippest, hardest albums that trombonist JJ Johnson ever cut for Columbia – a session we'd rank right up there with his amazing JJ Inc record, and like that one a really cooking hardbop record that maybe even rivals the best on Blue Note and Prestige at the time! As with that gem, the strength here is really the group – not just tremendous trombone from JJ, but great work from Nat Adderley on trumpet, Bobby Jaspar on tenor and flute, Cedar Walton on piano, Spanky DeBrest on bass, and Albert Heath on drums – all working with a soaring, soulful energy that's a lot more hardbop heavy than you might expect from JJ Johnson on some of his other projects for the label.
Reissue with the latest remastering. Comes with liner notes. One of JJ's best from the late 50s – a tightly crackling hardbop set, recorded very much in the manner of his classic JJ Inc album! The sound here is a bit more compact overall – with some shorter tracks that really allow Johnson to display his keen sense of economy on his horn, while working in a burning mode that recalls some of his best bop sides from the early years – particularly his work on Blue Note.
Reissue with the latest 2015 DSD remastering. Comes with liner notes. Not J.J. Johnson's initial public offering by any means, First Place was done with only a quartet in 1957 for Columbia Records, where other efforts by the legendary jazz trombonist were set in a larger ensemble format. Long out of print, this is now on CD with bonus tracks from 1954 featuring Charles Mingus. Playing standards and originals, Johnson assembled a mighty band with pianist Tommy Flanagan, bassist Paul Chambers, and especially on-fire drummer Max Roach, a group you'd be hard-pressed to top.
This is one of the more obscure J.J. Johnson LPs. On six of the ten songs, the great trombonist is joined by four others, while the remaining four tracks (the main reasons to search for this album) feature him in a quartet with pianist Hank Jones, bassist Richard Davis and drummer Walter Perkins. Johnson's writing on the larger group pieces lifts the material, which is all taken from Broadway shows, while his playing on the quartet tracks is up to his usual level.
Reissue with latest remastering. Comes with liner notes. JJ Johnson's greatest album – without a doubt! This gem of a session was recorded in 1960 in New York, with an incredibly hip sextet that includes Cedar Walton, Clifford Jordan, and Freddie Hubbard. The tracks are all long, hip, and very much in a Blue Note soul jazz mode – very unusual not only for Johnson, but for Columbia records as well. The album feels like it should have been issued on Epic, with those killer Dave Bailey sides from 1961 – which might be why it has frequently gotten lost in Johnson's career, hidden amidst some of the sleepier material that seems to see the light of day more often than this one. The album's a stone winner all the way through – and features Johnson playing some of his gutsiest solos ever. Tracks include "Minor Mist", "In Walked Horace", "Fatback", "Aquarius", and "Shutterbug".
Reissue with latest DSD remastering. Comes with liner notes. A great small group session from trombonist JJ Johnson – a record that sets him up with a crack rhythm section, then really lets him open up on his solos! The approach is a great change from some of the more tightly arranged Johnson albums for Columbia – and is a great reminder of the sharp, soulful hardbop style that first made folks take note of JJ during his early work for Blue Note and Prestige Records! The set cooks nicely – thanks to piano from Tommy Flanagan, bass from Paul Chambers, and drums from Max Roach – and titles include "Kev", "100 Proof", and "What's New". Including the two part "Blue Trombone," and shows listeners why he is still considered one of the greatest jazz trombonists of all time.
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.
Sonny Stitt (2006 Japanese exclusive limited edition 17-track 'K2 High Definition Coding' CD album, originally released in 1956, also featuring Bud Powell & J.J. Johnson with THREE BONUS TRACKS, presented in mini LP-style cardsleeve reproducing the original album artwork with 'Jazz' obi-strip.) Three classic Sonny Stitt sessions from 1949-50 are heard here in full. Stitt, who had been out of action due to his "personal problems," not only made a full-fledged comeback on these dates but debuted on (and stuck exclusively to) tenor rather than playing alto, where he was being assailed as a Charlie Parker imitator.
This seven-CD limited-edition box set from Mosaic is another mind-boggling collection. The masterful trombonist J.J. Johnson recorded steadily for Columbia during the 1956-61 period, heading groups that ranged from quartets to sextets that performed solid hard bop. Johnson is joined on various selections by tenors Bobby Jaspar (doubling on flute) and Clifford Jordan; cornetist Nat Adderley; the young trumpeter Freddie Hubbard; pianists Hank Jones, Tommy Flanagan, Cedar Walton, and Victor Feldman; bassists Percy Heath, Wilbur Little, Paul Chambers, Spanky DeBrest, Arthur Harper, and Sam Jones; and drummers Elvin Jones, Max Roach, Albert "Tootie" Heath, and Louis Hayes.
Among the many tributes paid to Bird’s memory was a tour by a sextet including musicians closely related to Parker. The leaders were Sonny Stitt, a saxophonist of enormous talent and brilliant technique, and trombonist J.J. Johnson, one of the fathers of bebop. Apart from their associations with Parker, all of the musicians on this sextet were well known stars in their own right, and it is refreshing to see more footage of rarely filmed jazzmen like Johnson, Stitt and Howard McGhee.