Coleman Hawkins - Bean And The Boys

Bitrate: 320K/s

Time: 73:05

Size: 167.3 MB

Styles: Saxophone jazz

Year: 1993/2009

Art: Front

[2:54] 1. In The Hush Of The Night

[2:50] 2. Out To Lunch

[2:48] 3. Every Man For Himself

[2:43] 4. Look Out Jack!

[2:39] 5. On The Bean

[2:51] 6. Recollections

[2:47] 7. Flyin' Hawk

[3:02] 8. Drifting On A Reed

[3:02] 9. I Mean You

[2:38] 10. Bean And The Boys

[2:41] 11. Bean And The Boys

[3:03] 12. Cocktails For Two

[3:00] 13. You Go To My Head

[6:06] 14. Stasch

[5:58] 15. Trust In Me

[6:04] 16. Roll 'em Pete

[5:58] 17. Skrouk

[6:56] 18. Since I Fell For You

[4:55] 19. My Babe

BEAN AND THE BOYS is the perfect title for this compilation, for certainly the list of players heard on this disc reads like a virtual "who's who" in jazz. Hawkins is teamed up with swing era players Jonah Jones (trumpet), and Walter "Foots" Thomas (tenor saxophone) on the first four tracks. Tracks nine through 13 highlight The Bean with the then young lions of bebop, J.J. Johnson (trombone), Fats Navarro (trumpet), Milt Jackson (vibes) and others. The final batch of tunes comes from a post-bop period (where Hawk finally settled musically). Songs from this era (late '50s) tend to incorporate stylistic elements from both swing and bebop. Hawkins himself never really became a bebop soloist per se, though he did sometimes "turn" a bop line quite successfully. All this, if nothing else, shows us the interconnection between the various genres of jazz. Mostly, all the styles heard on BEAN AND THE BOYS contain elements of the blues. As well, all styles herein contain highly syncopated rhythmical ideas, and similar song structures. Highlights include the bopish "Bean and the Boys," the bouncy "Out the Lunch," and the boogie woogie inflected "Roll 'em Pete."

Coleman Hawkins (tenor saxophone); Roy Gaines (guitar); Jerome Richardson (flute, alto saxophone); Eddie Barefield (clarinet, alto saxophone); Hilton Jefferson, Hubert Fol, Porter Kilbert (alto saxophone); Walter "Foots" Thomas, Walter Thomas (tenor saxophone); Pepper Adams (baritone saxophone); Fats Navarro, Idrees Sulieman, Jonah Jones (trumpet); Nat Peck, J.J. Johnson (trombone); Clyde Hart, Hank Jones , Jean-Paul Mengeon, Ray Bryant, Thelonious Monk (piano); Milt Jackson (vibraphone); Cozy Cole, Denzil Best, Kenny Clarke, Max Roach, Walter Bolden (drums).

Recording information: Hackensack, NJ (10/19/1944-12/21/1949); New York, NY (10/19/1944-12/21/1949); Paris, France (10/19/1944-12/21/1949).

Bean & the Boys  

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J.J.Johnson - Willie Dynamite

Styles: Vocal
Year: 1974
File: MP3@320K/s
Time: 32:06
Size: 75,1 MB
Art: Front

(4:13) 1. Willie D
(3:07) 2. Willie Chase
(4:53) 3. King Midas
(3:01) 4. Willie Escapes
(3:02) 5. Passion's Dilemma
(3:38) 6. Keep On Movin' On
(3:01) 7. Make It Right
(2:37) 8. Parade Strut
(1:40) 9. Gospel Family
(2:51) 10. Willie D

One of the greatest soundtracks of the blacksploitation era served up with some incredible grooves from maestro JJ Johnson! The album's got a non-stop, hard-hitting groove that ranks it with the best of its time and which is arguably even better, because most of the record isn't nearly as well known as Shaft, Superfly, or other classics. Martha Reeves sings some of the deepest vocals of her career on the great title track "Willie D" an old sample cut that you're sure to recognize and the instrumental tunes are even better, filled with great percussion and jazzy flourishes from JJ in a style that really keeps things interesting! There's plenty of "chase" riffing on the album and titles include "Willie Chase", "Parade Strut", "Make It Right", "Gospel Family", "Keep On Movin", and "Willie Escapes". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/736408/JJ-Johnson-Martha-Reeves:Willie-Dynamite-Original-Soundtrack

Personnel: Martha Reeves, The Sweet Things - Vocal

Willie Dynamite

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J.J. Johnson - Live At The Village Vanguard: 2 Albums: Quintergy / Standards

Quintergy

Recorded: 1988

Released: 1991

Size: 157,2 MB

Time: 68:16

File: MP3 @ 320K/s

Styles: Bop,Instrumental Jazz,Trombone

Art: Front + Tray

01. When The Saints Go Marching In [4:57]

02. Blue Bossa [6:30]

03. Doc Was Here [4:29]

04. Bud's Blues [6:00]

05. Quintergy [3:29]

06. Lament [5:50]

07. Why Indianapolis-Why Not Indianapolis? [8:00]

08. It's All Right With Me [2:46]

09. Coppin' The Bop [9:22]

10. Nefertiti [5:00]

11. You've Changed [5:49]

12. Commutation [5:59]

This is Vol.1 of a 2 part series recorded at the Village Vanguard in 1988.

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.(~~Scott Yanow)

"His clipped style fit the urgency of the music, and hip trombonists have been appropriating it ever since... like a kid who can't wait to play, Johnson is all over the music. Like the mature technician he is, he controls things with a sense of direction and climax." (~~Down Beat Magazine)

Quintergy: Live At The  Village Vanguard

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Standards

Recorded: 1988

Released: 1991

Size: 152,2 MB

Time: 66:21

File: MP3 @ 320K/s

Art: Full

01. See See Rider [6:17]

02. Shortcake [8:51]

03. Sweet Georgia Gillespie [3:22]

04. My Funny Valentine [6:45]

05. Just Friends [6:59]

06. Misterioso [5:53]

07. You Stepped Out Of A Dream [5:49]

08. Misty [5:21]

09. Autumn Leaves (Les Feuilles Mortes) [9:19]

10. What Is This Thing Called Love [7:41]

The second of two CDs coming from the same engagement at the Village Vanguard the first was Quintergy, this set features trombonist J.J. Johnson's quintet with Ralph Moore on tenor and soprano, pianist Stanley Cowell, bassist Rufus Reid and drummer Victor Lewis jamming on nine standards, plus the leader's "Shortcake." Johnson is in top form, particularly on "My Funny Valentine," "Just Friends," "Misterioso" and "Autumn Leaves." A good example of the ageless trombonist's talents. (~~Scott Yanow ,AMG)

This is Vol. 2 of a 2 part series recorded at the Village Vanguard in 1988. I love live performances. They often add an emotional excitement that compliments the spontaneity and extemporaneous of the art form itself. The bad news is that many time recordings of live sessions suffer appreciable loss of sound quality. The recording quality of this session is quite good. Every player in group is heard properly and in good balance. I love Rufus Reid's playing. Thad Jones once said he like a bass player who plays bass notes, not cello notes. I do too and Rufus Reid is a master. One the opener "See See Rider", his playing reminds me of Charlie Mingus. The group treatment of this tune has a sort of Mingus-like feel to it also.I like good swing. I particularly enjoyed the renditions of "Just Friends" and "What is This Thing Called Love". I listened to them over and over. "Just Friends", written by John Klenner in 1931, has become a much loved and recorded song by many fine jazz players. The harmonic changes to this tune are fun to play and good for open blowing. JJ takes full advantage.Ralph Moore has long one of my favorite tenor players. His improvisational skills and strong sense of swing are always a joy to hear and are clearly exemplified on "Friends", "What Is this Thing Called" and the other up tempo standards.The Intro of What is This Thing Called Love uses the ostinato or vamp made famous by Clifford Brown in his well know recording of this tune. Rocking good piano solo here. As always, this solo and all others are well supported by Reid on bass and Lewis on drums. This rhythm section's got a groove that don't move.From the Rogers and Hart Songbook, "Funny Valentine" is outstanding.

After food and shelter, one of my basic needs is for a good blues, "Misterioso" satisfies this need and gratifies me plum up one side and down the other. I particularly like the "feel and style" of Moore on tenor on this tune. Man, he is a fine player. His impeccable articulation and phrasing, along with his "fat sound' knock me out. The rhythm section builds up some heat and intensity behind him and it smokes. JJ Johnson was the most outstanding trombonist and the major influence on other trombonist after the mid 1940s. His early style of playing exhibited the fastest technique imaginable for a slide trombone player. In fact, many people thought he played valve trombone when they first heard him. His later style of playing is uses more "space" and a lot of musical sequences (a melodic idea repeated beginning on different note in the chord changes.) This style is displayed in this recording.He worked and recorded with Charlie Parker, Betty Carter, Dizzy Gillespie, Miles Davis, Stan Getz, Clark Terry, Sonny Stitt, Fats Navarro, Benny Carter and others "Pretty good company" says I. JJ passed away on February 4, 2001, but his wonderful music will be with us forever.

Line-Up:

J.J Johnson - Trombone

Ralph Moore - saxophones

Stanley Cowell - Piano

Rufus Reid - Bass

Victor Lewis - Drums

Standards: Live At The Village Vanguard

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Milt Jackson, J.J. Johnson, Ray Brown - Jackson, Johnson, Brown & Company

Styles: Vibraphone, Trombone, Bop
Year: 1983
File: MP3@VBR ~253K/s
Time: 38:36
Size: 75,8 MB
Art: Front

(8:27) 1. Jaybone
(5:04) 2. Lament
(5:49) 3. Our Delight
(5:34) 4. Bags' Groove
(4:48) 5. Watch What Happens
(5:10) 6. My One And Only Love
(3:41) 7. The Jumpin' Blues

The interplay between vibraphonist Milt Jackson and trombonist J.J. Johnson is the main reason to acquire this set. With fine backup from pianist Tom Ranier, guitarist John Collins, bassist Ray Brown and drummer Roy McCurdy, Jackson and Johnson are in top form on a variety of bop standards, including Johnson's "Lament," "Our Delight," "Bags Groove" and "My One and Only Love." Enthusiastic, consistently swinging music from some of the best.~Scott Yanow https://www.allmusic.com/album/jackson-johnson-brown-company-mw0000188200

Personnel: Trombone – J.J. Johnson; Vibraphone – Milt Jackson; Bass, Producer – Ray Brown; Drums – Roy McCurdy; Guitar – John Collins; Piano – Tom Ranier

Jackson, Johnson, Brown & Company

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Joe Pass, J.J. Johnson - We'll Be Together Again

Styles: Guitar And Trombone Jazz
Year: 1983
File: MP3@320K/s
Time: 45:04
Size: 106,6 MB
Art: Front

(3:39) 1. Wave
(4:25) 2. We'll Be Together Again
(5:03) 3. Naked As A Jaybird
(4:10) 4. Blue Bossa
(5:47) 5. Limehouse Blues
(5:29) 6. How Long Has This Been Going On?
(4:25) 7. Bud's Blues
(2:33) 8. Nature Boy
(4:23) 9. Solar
(5:07) 10. When Lights Are Low

Few would argue with the statement that there is not an excess of guitar-trombone duet albums. In fact, in terms of instrumentation, this date (which has been reissued on CD) may very well be somewhat unique in jazz history. Trombonist J.J. Johnson had already been the pacesetter on his instrument for nearly 40 years at the time, while guitarist Joe Pass proved in the 1970s that he could make his axe fulfill all the roles of an orchestra. Still, the strong success of this inspired outing is a bit of a surprise. While Pass often adds walking lines behind Johnson, the trombonist sometimes plays long tones behind the guitarist's solos. Most exciting are the spots where the two share the lead equally. Other than Bud Powell's "Bud's Blues" and Johnson's "Naked as a Jaybird," the duo sticks to standards. But obviously, these versions sound quite a bit different than usual. Highlights include "Wave," "Limehouse Blues," "Nature Boy," and "When Lights Are Low." Highly recommended.~Scott Yanow https://www.allmusic.com/album/well-be-together-again-mw0000267680

Personnel: Guitar – Joe Pass; Trombone – J.J. Johnson

We'll Be Together Again

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Hank Jones, Oliver Nelson - Happenings

Bitrate: MP3@320K/s
Time: 33:44
Size: 77.2 MB
Styles: Soul-jazz, Bop
Year: 1966/2001
Art: Front

[2:55] 1. Broadwalk Samba
[2:23] 2. Winchester Cathedral
[2:35] 3. Mas Que Nada (Pow, Pow Pow)
[2:31] 4. Lullaby Of Jazzland
[2:18] 5. Jazztime, U.S.A
[3:03] 6. Cul-De-Sac
[3:09] 7. Happenings
[4:21] 8. Lou's Good Dues Blues
[4:24] 9. Fugue Tune
[3:10] 10. Spy With A Cold Nose
[2:50] 11. Funky But Blues

Bass – George Duvivier, Ron Carter; Drums – Ed Shaugnessy, Grady Tate; Harpsichord [Electric] – Hank Jones; Percussion – Joe Venuto; Piano – Hank Jones; Trombone – Britt Woodman, J.J. Johnson, Jimmy Cleveland, Tom Mitchell; Trumpet – Clark Terry, Ernie Royal, Snooky Young, Joe Newman; Woodwind – Danny Bank, Jerome Richardson, Jerry Dodgion, Phil Woods, Robert Ashton, Romeo Penque. Recorded October 19, 1966 - October 21, 1966.

The combination of Hank Jones and Oliver Nelson, along with sidemen such as Clark Terry, Ernie Royal, and Jerry Dodgion, would normally have one expecting a great release. Unfortunately, Jones plays an electric harpsichord on seven of the 11 tracks from this mid-1960s LP, plus there are several dated pop numbers from the era, including "Winchester Cathedral" (though it has a campy pesudo-Satchmo vocal by Terry) and the bland "Mas Que Nada (Pow Pow Pow)," which has long since worn out its welcome. Jones' playing, Nelson's arrangements and his originals (including "Happenings" and "Lou's Good Due Blues"), and the work of the various sidemen is all first rate. But the forgettable sound of the electric harpsichord (an instrument that thankfully didn't catch on, contrary to liner note writer Stanley Dance's prediction that it was here to stay along with earlier electronic instruments) keeps this release from achieving the heights it would have if Jones had only stuck to the piano throughout the sessions. This disc will be sought only by those fans who must have everything Hank Jones has recorded. ~Ken Dryden

Happenings mc
Happenings zippy

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Miles Davis - Birdland 1951

Bitrate: MP3@320K/s
Time: 67:23
Size: 154.3 MB
Styles: Bop, Trumpet jazz
Year: 2004
Art: Front

[ 6:11] 1. Move
[ 7:31] 2. Half Nelson
[ 7:11] 3. Down
[ 5:51] 4. Out Of The Blue
[ 7:40] 5. Half Nelson
[ 6:42] 6. Tempus Fugit
[12:08] 7. Move
[ 8:36] 8. The Squirrel
[ 5:29] 9. Lady Bird

Bass – Charles Mingus, Tommy Potter; Drums – Art Blakey; Piano – Billy Taylor, Kenny Drew; Tenor Saxophone – Big Nick Nicholas, Eddie "Lockjaw" Davis, Sonny Rollins; Trombone – J.J. Johnson; Trumpet – Miles Davis.

These nine tracks, taken from radio broadcasts from the legendary Birdland in 1951, represent a particularly fruitful period in Miles Davis' development as a bandleader. There are three different broadcasts included here; two comprising six cuts in total were from June and September and have been issued in various forms on bootlegs over the decades. Four cuts, however, taken from a broadcast on February 17, have never been available in any form and it is these as well the marginally better fidelity of the entire set that makes this worth owning for Miles freaks -- and only Miles freaks. The sextet on the February and June dates included J.J. Johnson, Sonny Rollins, Art Blakey, Tommy Potter, and Kenny Drew. In September, Charles Mingus, Eddie "Lockjaw" Davis, Billy Taylor, and Big Nick Nicholas joined Davis and Blakey. The fidelity here is listed on the sleeve as "primitive." That's a nice way to say it sucks bad. These are better than Charlie Parker's Dean Benedetti recordings, but not by much. Soundwise, the best that can be said is that one can hear all of the instruments. The performances, however, particularly as delineated in the three different versions of the cut "Move," are stellar. They are inspired, furious, and cutting. Rollins outdoes himself in the June performance of the cut, and the latter band transforms it entirely. For the record, it is the only duplicate selection. Also, the live version of "Tempus Fugit," with its knotty head and punched-up rhythm, is revelatory in the manner of arrangement for those days and points a solid direction for the immediate future -- check the tempos and structure of the solo breaks on the September session for evidence. While this set is exclusively for those Miles fans who have to have absolutely everything, it is nonetheless worth it for those who have the bootlegs because of the heightened fidelity and the new session. ~Thom Jurek

Birdland 1951

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Milt Jackson, J.J. Johnson, Ray Brown - Jackson, Johnson, Brown & Company

Bitrate: MP3@320K/s
Time: 38:36
Size: 88.4 MB
Styles: Bop, Vibraphone jazz
Year: 1983/2006
Art: Front

[8:28] 1. Jaybone
[5:04] 2. Lament
[5:49] 3. Our Delight
[5:35] 4. Bags' Groove
[4:47] 5. Watch What Happens
[5:09] 6. My One And Only Love
[3:41] 7. The Jumpin' Blues

The interplay between vibraphonist Milt Jackson and trombonist J.J. Johnson is the main reason to acquire this set. With fine backup from pianist Tom Ranier, guitarist John Collins, bassist Ray Brown and drummer Roy McCurdy, Jackson and Johnson are in top form on a variety of bop standards, including Johnson's "Lament," "Our Delight," "Bags Groove" and "My One and Only Love." Enthusiastic, consistently swinging music from some of the best. ~Scott Yanow

Jackson, Johnson, Brown & Company

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Various - The J.J. Johnson Memorial Album

Bitrate: MP3@320K/s
Time: 77:02
Size: 176.3 MB
Styles: Bop, Trombone jazz
Year: 2003
Art: Front

[3:02] 1. Coleman Hawkins - I Mean You
[3:06] 2. J.J. Johnson - Elysee
[3:43] 3. J.J. Johnson's Boppers - Blue Mode (Take 1)
[4:57] 4. J.J. Johnson - Chazzanova
[8:14] 5. Miles Davis Sextet - Blue 'n' Boogie
[3:10] 6. J.J. Johnson - Bags' Groove
[4:32] 7. Coleman Hawkins - Laura
[4:10] 8. Benny Golson Sextet - Hymn To The Orient
[7:05] 9. J.J. Johnson - Horace
[6:39] 10. J.J. Johnson - Pinnacles
[7:13] 11. Count Basie - Jaylock
[7:56] 12. J.J. Johnson - Concepts In Blue
[3:13] 13. J.J. Johnson - Misty
[3:01] 14. J.J. Johnson - What's New
[2:29] 15. J.J. Johnson - Nature Boy
[4:23] 16. J.J. Johnson - Soft Winds

When J.J. Johnson passed away in 2001, he left a legacy as simply the greatest technically gifted and most admired jazz trombonist in history without much valid argument to the contrary. This compilation features some very good tracks with Johnson as a sideman in or leader from the late '40s up to 1957, as a full-blown frontman in the '70s and '80s, and in small duos or trios up to 1983. Discographical sleuths will note this is not an all-time greatest-"hits" package, due to the absence of his great Savoy, Blue Note, Bethlehem, RCA Bluebird, Columbia, Impulse or 1990s Verve label efforts. These tracks are collected from the family of Prestige, Riverside, Milestone, and Pablo recordings, and while all selections here are quite good, they are not his definitive works. Still, everything here is well rendered, and a few pieces are indeed definitive. The pre-1957 tracks include the Coleman Hawkins deeply rich, horn-saturated septet from 1946 tackling Thelonious Monk's "I Mean You" with Johnson, Fats Navarro, Hank Jones, Max Roach, and the completely obscure alto saxophonist Porter Kilbert. Johnson is teamed with Sonny Rollins and Kenny Dorham in the swirling lines of "Elysee," and Sonny Stitt in the slow "Blue Note" both featuring John Lewis. The Charles Mingus film noir style obscurity "Chazzanova," with four trombonists, the true bop classic "Blue 'n' Boogie" with Miles Davis, Lucky Thompson, and Horace Silver, Johnson, and Kai Winding's take of "Bags Groove," and Benny Golson's unusual harmonics during "Hymn to the Orient" with Dorham and Roach -- all have to be considered standouts. The compilation leaps to 1977 as "Horace" is a soul-jazz bopper with Nat Adderley on trumpet and Billy Childs playing Fender Rhodes electric piano. The memorable post-bop "Pinnacles" has what must be an all-time great configuration with Joe Henderson, Tommy Flanagan on piano and clavinet, bassist Ron Carter, and drummer Billy Higgins in tow. The CD ends with "Concepts in Blue," marred by a synthesizer add-on, three intimate sessions, two of them duets with Joe Pass and a trio featuring Pass and Oscar Peterson, plus the finale "Soft Winds" in a sextet featuring tinkling percussion, a great contribution from Kenny Barron, and Johnson alongside fellow 'bonist Al Grey. Though the first half of this collection is pretty solid, the second is hit or miss. Though all cuts remain credible, the uneven nature of this collection, and its lack of a comprehensive focus, makes this an incomplete but still tasteful look at the mighty career of the great J.J. Johnson. ~Michael G.Nastos

The J.J. Johnson Memorial Album mc
The J.J. Johnson Memorial Album zippy

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J.J. Johnson, Kai Winding - The Great Kai And J.J.

Bitrate: MP3@320K/s
Time: 41:43
Size: 95.5 MB
Styles: Bop, Trombone jazz
Year: 1960/1997
Art: Front

[3:09] 1. This Could Be The Start Of Something Big
[3:48] 2. Georgia On My Mind
[4:28] 3. Blue Monk
[4:03] 4. Judy
[3:34] 5. Alone Together
[3:02] 6. Side By Side
[3:59] 7. I Concentrate On You
[4:01] 8. Theme From Picnic
[5:07] 9. Trixie
[3:08] 10. Going Going Gong
[3:18] 11. Just For A Thrill

Bass – Paul Chambers (3) (tracks: 1, 3 ,6, 7), Tommy Williams (3) (tracks: 2, 4, 5, 8 to 11); Drums – Art Taylor (tracks: 2, 4, 5, 8 to 11), Roy Haynes (tracks: 1, 3 ,6, 7); Piano – Bill Evans; Trombone – J.J. Johnson, Kai Winding. Recorded in 1961. Digitally remastered at MCA Music Media Studios, using 20-Bit Super Mapping.

This lively Impulse! set was the first recorded reunion of trombonists J.J. Johnson and Kai Winding. With pianist Bill Evans, either Paul Chambers or Tommy Williams on bass, and Roy Haynes or Art Taylor on drums, the two trombonists are in melodic and witty form on such tunes as "This Could Be the Start of Something Big," "Blue Monk," "Side by Side," and "Theme from Picnic." Recommended. ~Scott Yanow

The Great Kai And J.J. mc
The Great Kai And J.J. zippy

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Stan Getz, J.J. Johnson - Stan Getz & J.J. Johnson At The Opera House

Bitrate: MP3@320K/s
Time: 73:02
Size: 167.2 MB
Styles: West Coast jazz
Year: 1960/1987
Art: Front

[9:45] 1. Billie's Bounce (Stereo Vers.)
[8:08] 2. My Funny Valentine
[7:59] 3. Crazy Rhythm (Stereo Vers.)
[9:01] 4. Blues In The Closet (Stereo Vers.)
[7:57] 5. Billie's Bounce (Mono Vers.)
[8:28] 6. My Funny Valentine (Mono Vers.)
[7:47] 7. Crazy Rhythm (Mono Vers.)
[3:43] 8. Yesterdays (Mono Vers.)
[3:52] 9. It Never Entered My Mind (Mono Vers.)
[6:17] 10. Blues In The Closet (Mono Version)

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. The shorter concert in Chi-Town has the band absolutely on fire from the get-go, burning up the definitive bop flag-waver "Billie's Bounce" over ten minutes of hard-swinging perfection. Neither Getz nor Johnson had ever played the Charlie Parker evergreen before, nor had either of them done "My Funny Valentine," offered here with Getz's lead line as the trombonist follows gently in his footsteps via a midtempo pace. The swing-era standard "Crazy Rhythm" is cranked up very fast, and features a clever harmony from Johnson, while "Blues in the Closet" closes the show with the simplest bop idea turned into a brilliant, long-winded discourse from all the participants. For the L.A. show, the program also starts with "Billie's Bounce," done differently on the harmonic end just for kicks, while "My Funny Valentine" uses a completely different introduction from the horns. Peterson charges up "Crazy Rhythm" as the sax and 'bone play more in sync, while "Blues in the Closet" again closes the set, but is much shorter, faster, and a bit sloppy at the outset. The add-ons include a short (under four-minute) and easygoing feature for Johnson on "Yesterdays" and another brief rendering of the ballad "It Never Entered My Mind," exclusively for the soulful Getz and a more pronounced Ellis. The extraordinary playing by these expert jazzmen elevates this album to legendary status. It is some of their best work (from a pivotal year in modern jazz recording), and a shining example of how professionally Granz could mix and match musicians to form optimal results. ~Michael G. Nastos

Stan Getz & J.J Johnson At The Opera House mc
Stan Getz & J.J Johnson At The Opera House zippy

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Miles Davis All Stars - Walkin'

Bitrate: MP3@320K/s
Time: 37:27
Size: 85.7 MB
Styles: Bop, Trumpet jazz
Year: 1957/2014
Art: Front

[13:21] 1. Walkin'
[ 8:13] 2. Blue 'n' Boogie
[ 4:39] 3. Solar
[ 4:19] 4. You Don't Know What Love Is
[ 6:52] 5. Love Me Or Leave Me

Alto Saxophone – Davey Schildkraut; Bass – Percy Heath; Drums – Kenny Clarke; Piano – Horace Silver; Tenor Saxophone – Lucky Thompson; Trombone – Jay Jay Johnson; Trumpet – Miles Davis.

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'n' Boogie," adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music -- as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'n' Boogie." The improvisation yields some truly memorable solos and exchanges between Davis and Johnson -- who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning." "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me," gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort. ~Lindsay Planer

Walkin'

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Benny Golson - The Modern Touch

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 40:11
Size: 92,3 MB
Art: Front

( 6:28)  1. Out of the Past
( 7:20)  2. Reunion
( 5:41)  3. Venetian Breeze
( 4:14)  4. Hymn to the Orient
( 4:48)  5. Namely You
(11:37)  6. Blues on Down

Benny Golson's second album as a leader (reissued on CD in the OJC series) is a solid hard bop date featuring the tenorman in a quintet with trumpeter Kenny Dorham, pianist Wynton Kelly, bassist Paul Chambers and drummer Max Roach. The all-star group performs three Golson originals (none of which really caught on), a pair of Gigi Gryce tunes (best known is "Hymn to the Orient") and the standard "Namely You." Excellent playing on an above-average set that defines the modern mainstream of 1957 jazz. ~ Scott Yanow http://www.allmusic.com/album/the-modern-touch-mw0000099791

Personnel:  Benny Golson (tenor saxophone);  Kenny Dorham (trumpet);  J.J. Johnson (trombone);  Wynton Kelly (piano);  Paul Chambers (bass);  Max Roach (drums).

The Modern Touch

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J.J. Johnson - The Trombone Master

Bitrate: MP3@320K/s
Time: 46:19
Size: 106.0 MB
Styles: Trombone jazz
Year: 1989
Art: Front

[6:34] 1. Misterioso
[3:51] 2. Laura
[5:56] 3. What Is This Thing Called Love
[4:38] 4. My Old Flame
[9:08] 5. Blue Trombone
[4:46] 6. What's New
[4:27] 7. Satin Doll
[4:46] 8. Cry Me A River
[2:08] 9. Goodbye

Bass – Paul Chambers, Sam Jones); Cornet – Nat Adderley; Drums – Albert Heath, Lou Hayes, Max Roach; Piano – Tommy Flanagan, Victor Feldman; Trombone – J.J. Johnson; Vibraphone – Victor Feldman.

This selection of Columbia recordings is from 1958-1960. Mr Johnson was THE trombonist of the time and plays to such a consistently high standard that it would be impossible to pick out highlights in his playing. The first four tracks are from the album `J.J. In Person' and they benefit from the presence of Nat Adderley (cornet) whose exciting solo on the opening number always turns heads. Next two selections are from `Blue Trombone' and the track bearing that name is a 9-minute classic with terrific support from Tommy Flanagan (piano), Paul Chambers (double bass) and Max Roach (drums). The remaining tracks seem less remarkable but still worthwhile. Young listeners who are not familiar with J.J. would find this CD a good introduction. ~Colin Jones

The Trombone Master

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J.J. Johnson - J.J. Johnson's Jazz Quintets

Bitrate: MP3@320K/s
Time: 33:05
Size: 75.7 MB
Styles: Bop, Trombone jazz
Year: 1996/2003
Art: Front

[3:01] 1. Jay Bird
[2:57] 2. Coppin' The Bop
[3:06] 3. Jay Jay
[2:39] 4. Mad Be Bop
[2:58] 5. Boneology
[2:32] 6. Down Vernon's Alley
[2:46] 7. Audobon
[2:46] 8. Don't Blame Me
[2:23] 9. Goof Square
[2:25] 10. Bee Jay
[3:00] 11. Yesterdays
[2:26] 12. Riffette

Alto Saxophone – Cecil Payne; Baritone Saxophone – Leo Parker; Bass – Al Lucas, Gene Ramey, Leonard Gaskin; Drums – Max Roach, Hank Jones, John Lewis; Tenor Saxophone – Sonny Rollins; Trombone – J.J. Johnson. This limited edition CD reissue is part of the "Savoy Jazz 20 Bit Master Transfer Collection", a series that utilizes Denon's 20-bit digital remastering console which they refer to as the Mastersonic.

One can fault this CD for having brief playing time (a dozen selections totaling 33 minutes) and for not including the alternate takes, but the music is beyond criticism. When trombonist J.J. Johnson burst on the scene in the mid-'40s, his speed, fluency and quick ideas put him at the top of his field, where he remained for over a half century. This 1992 CD has the trombonist's first three sessions as a leader, music that qualifies as classic bebop. Johnson is matched with either altoist Cecil Payne, baritonist Leo Parker or tenor great Sonny Rollins (on one of his first dates) in quintets that also include Bud Powell, Hank Jones or John Lewis on piano; Leonard Gaskin, Al Lucas or Gene Ramey on bass; and Max Roach or Shadow Wilson on drums. Other than the ballads "Don't Blame Me" and "Yesterdays," the repertoire is comprised of originals (including Rollins' "Audobon") containing lots of tricky lines, concise but heated solos, and virtuosic playing. Until a more complete reissue takes its place, bop fans not owning the music (plus the alternates) on earlier LPs will definitely find this CD valuable. ~Scott Yanow

J.J. Johnson's Jazz Quintets

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Coleman Hawkins - The Hawk Flies High

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 39:19
Size: 90,6 MB
Art: Front

( 5:08)  1. Chant
(11:17)  2. Juicy Fruit
( 3:25)  3. Think Deep
( 4:34)  4. Laura
( 5:44)  5. Blue Lights
( 9:10)  6. Sancticity

Many of the great improvisers from the swing era were unable to hurdle the bebop fence into relevance in the fifties, but Coleman Hawkins continued to create worthwhile records up until the end of his life. How? Not by changing his style to suit the times, but by demonstrating that his approach could fit into a variety of contexts. Thus he was able to gig with Coltrane and Monk where others might have faltered. But Hawkins also continued to lead sessions, often with the benefit of selecting the sidemen himself.  The Hawk Flies High, recorded in 1957, was the first in a series of dates that reaffirmed Hawkins as one of the greatest tenor players of all time. Joined by the powerful JJ Johnson and the lesser known but still scrappy Idrees Sulieman in the front line and an equally gifted rhythm section behind them, Hawk and company tear through a selection of tunes that blend both the small group Kansas City swing where Hawkins cut his teeth and the more modern soul jazz beginning to emerge through the efforts of younger players. There are only six cuts here, which allows everyone plenty of room to stretch out (with this much talent, it would be a crime to leave anyone out).  Although everyone solos well, Hawkins is clearly the main attraction, spitting out the raspy gusts and sweeping waves that make his solos such a delight to hear. While Hawkins can handle a ballad as prettily as anyone, the real show is on the blues numbers, like "Juicy Fruit," which features bold and assertive soloing from the tenor man and inspires everyone else to rise to the occasion as well. Although remastered in 20 bits, somehow the balance still seems off at times, with Hank Jones virtually inaudible when all three horns are playing and Pettiford a murky presence when he solos. Despite this flaw, The Hawk Flies High is a terrific record that brought Hawkins back into the spotlight after a long period of obscurity. It kicked off a series of great records for Riverside and Prestige and even better ones for Verve. He lost little of his edge throughout his life, and the later sessions like this one are small treasures. ~ David Rickert https://www.allaboutjazz.com/the-hawk-flies-high-coleman-hawkins-riverside-review-by-david-rickert.php
 

Personnel: Coleman Hawkins - tenor sax; Idrees Sulieman - trumpet; JJ Johnson - trombone; Hank Jones - piano; Barry Galbraith - guitar; Oscar Pettiford - bass; Jo Jones - drums.

The Hawk Flies High

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J.J.Johnson - Concepts In Blue

Styles: Trombone Jazz

Year: 1980

File: MP3@320K/s

Time: 43:52

Size: 100,7 MB

Art: Front

(5:07)  1. Blue Nun

(6:14)  2. Nermus

(5:09)  3. Villlage Blues

(6:03)  4. Azure

(7:14)  5. Coming Home

(8:00)  6. Concepts In Blue

(6:01)  7. Mohawk

This is a fun set of straightahead jazz. The colorful frontline (trombonist J.J. Johnson, flugelhornist Clark Terry, and Ernie Watts on tenor and alto) obviously enjoyed playing the blues-oriented repertoire and the solos are consistently rewarding. Nothing all that innovative occurs but the results are pleasing. ~ Scott Yanow  http://www.allmusic.com/album/concepts-in-blue-mw0000615288

Personnel:  Producer, Trombone, Liner Notes – J.J. Johnson;   Bass – Ray Brown, Tony Dumas;  Drums – Kevin Johnson;  Keyboards – Billy Childs, Pete Jolly;  Tenor Saxophone, Alto Saxophone – Ernie Watts;  Trumpet, Flugelhorn – Clark Terry;  Vibraphone, Keyboards – Vic Feldman

Concepts In Blue

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The Horace Silver Quintet (feat. J.J. Johnson) - The Cape Verdean Blues

Styles: Piano Jazz
Year: 1965
File: MP3@320K/s
Time: 43:44
Size: 101,0 MB
Art: Front

(4:58)  1. The Cape Verdean Blues
(9:36)  2. The African Queen
(7:31)  3. Pretty Eyes
(7:15)  4. Nutville
(8:37)  5. Bonita
(5:45)  6. Mo' Joe

After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with some of his roots. Silver's father was born in the island nation of Cape Verde (near West Africa) before emigrating to the United States, and that's the inspiration behind The Cape Verdean Blues. Not all of the tracks are directly influenced by the music of Cape Verde (though some do incorporate Silver's taste for light exoticism); however, there's a spirit of adventure that pervades the entire album, a sense of exploration that wouldn't have been quite the same with Silver's quintet of old. 

On average, the tracks are longer than usual, and the lineup -- featuring tenor saxophonist Joe Henderson (a holdover from the Song for My Father sessions) and trumpeter Woody Shaw  is one of the most modernist-leaning Silver ever recorded with. They push Silver into more advanced territory than he was normally accustomed to working, with mild dissonances and (especially in Henderson's case) a rawer edge to the playing. What's more, bop trombone legend J.J. Johnson appears on half of the six tracks, and Silver sounds excited to finally work with a collaborator he'd been pursuing for some time. Johnson ably handles some of the album's most challenging material, like the moody, swelling "Bonita" and the complex, up-tempo rhythms of "Nutville." Most interesting, though, is the lilting title track, which conjures the flavor of the islands with a blend of Latin-tinged rhythms and calypso melodies that nonetheless don't sound quite Caribbean in origin. Also noteworthy are "The African Queen," with its blend of emotional power and drifting hints of freedom, and "Pretty Eyes," Silver's first original waltz. Yet another worthwhile Silver album. ~ Steve Huey  http://www.allmusic.com/album/the-cape-verdean-blues-mw0000204335

Personnel:  Bass – Bob Cranshaw;  Drums – Roger Humphries;  Piano – Horace Silver;  Tenor Saxophone – Joe Henderson;  Trombone – J.J.Johnson (tracks: 4 to 6);  Trumpet – Woody Shaw 

The Cape Verdean Blues

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Kai Winding & J.J. Johnson - Nuf Said

Styles: Trombone Jazz
Year: 1959
File: MP3@320K/s
Time: 69:37
Size: 160,1 MB
Art: Front

(2:24)  1. Out of This World
(2:58)  2. Thou Swell
(5:38)  3. Lover
(3:34)  4. Lope City
(2:59)  5. Stolen Bass
(5:08)  6. It's Alright with Me
(3:34)  7. Mad about the Boy
(4:09)  8. Yes Sir, That's My Baby
(4:02)  9. That's How I Feel about You
(3:25) 10. Gong Rock
(5:34) 11. It's Alright with Me (Alt. Take 15)
(5:42) 12. Lover (Alt. Take 13
(3:29) 13. Gong Rock (Alt. Take 1)
(3:47) 14. Lope City (Alt. Take 11)
(6:28) 15. It's Alright with Me (Alt. Take 11)
(2:30) 16. Out of This World (Alt. Take 8)
(4:07) 17. That's How I Feel about You (Alt. Take 7)

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. In addition to impressively arranged covers like "Mad About the Boy" and "Out of This World," Johnson and Winding each contribute two attractive originals  Winding's "Gong Rock" gets special note not only for its then-exotic incorporation of gong sounds, but also for the title's evocation of a time-travel meeting between the trombonist and glam rocker T. Rex. 

Musical fantasy aside, this Bethlehem reissue by Avenue Jazz pads the original set with seven worthwhile alternate takes and tops things off with superb sound and helpful liner notes. And though some might find the music here a bit thin (a common criticism of the West Coast sound which, ironically, gets turned on its ear this time around since all the musicians involved are from the East Coast), the arrangements and playing are so engaging and of such high quality that categorization dilemmas disappear. A fine disc. ~ Stephen Cook  http://www.allmusic.com/album/nuf-said-mw0001881976

Personnel: Kai Winding, J.J. Johnson (trombone); Dick Katz (piano); Milt Hinton, Wendell Marshall (bass); Al Harewood (drums).

Nuf Said

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J.J. Johnson & Kai Winding - Jay & Kay + 6

Styles: Trombone Jazz
Year: 2010
File: MP3@320K/s
Time: 34:28
Size: 80,6 MB
Art: Front

(2:57)  1. Night In Tunisia
(2:38)  2. Piece For Two Tromboniums
(2:18)  3. Rise 'N' Shine
(2:34)  4. All At Once You Love Her
(3:26)  5. No Moon At All
(2:04)  6. Surrey With The Fringe On Top
(2:28)  7. The Peanut Vendor
(3:00)  8. You're My Thrill
(2:35)  9. Jeanne
(3:58) 10. Four Plus Four
(3:30) 11. You Don't Know What Love Is
(2:53) 12. The Continental

It was around the years when this recording was made that trombone groups, whether they be choirs, quartets, septets, or some other configuration, were in vogue. Kai Winding recorded several during the 1950s with his own group and with his oftentimes playing partner, J.J. Johnson. This album is the product of one of those occasions. Recorded over a three-day period in 1956 and originally issued on a Columbia LP, Johnson and Winding are joined by fellow slide instrumentalists Bob Alexander, Eddie Bert, Urbie Green, Jimmy Cleveland, Tom Mitchell, and Bart Varsalona, the latter two on bass trombone, plus an all-star rhythm section of Hank Jones, Milt Hinton, and Osie Johnson. Also somewhat of an item during this period was the trombonium, an upright valve trombone resembling a euphonium. Johnson and Winding use this instrument on some of the cuts, including "A Night in Tunisia" and "Piece for Two Tromboniums." 

The playing here is simply terrific, as one would expect from this eminent cast of trombonists. The only problem is that after a while, one begins to yearn for some other horns, especially the sax, to get a change in the harmonics and voicings. Nonetheless, the playing, both solo and in ensemble, is brilliant and is a prime example of how the trombone had evolved from essentially a tailgate to an instrument that could execute fast-moving bop tunes and use a controlled vibrato and enveloping tone on slower numbers. There's plenty to choose from both categories on this session. The players on this album were in the vanguard of that metamorphosis. This LP richly deserved to be reissued on CD.~ Dave Nathan http://www.allmusic.com/album/jay-and-kai-6-the-jay-and-kai-trombone-octet-mw0000965548

Personnel:  J.J. Johnson - Trombone, Trombonium;  Kai Winding - Trombone, Trombonium;  Urbie Green – Trombone;  Bob Alexander – Trombone;  Eddie Bert – Trombone;  Jimmy Cleveland - Trombone; Tom Mitchell - Bass Trombone;  Bart Varsalona - Bass Trombone;  Hank Jones – Piano;  Milt Hinton – Bass;  Ray Brown – Bass;  Osie Johnson – Drums;  Candido Camero - Conga, Bongo

Jay & Kay + 6

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