Customer Reviews

Eminent J.J. Johnson 1

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With little fanfare, Blue Note/Capitol (or Amazon) has lowered the price on many of the most essential RVG editions, making it hard to resist picking up both volumes 1 and 2 of this series. If you're limiting yourself to just one, don't assume Vol. 1 has to be better because of the presence of Clifford Brown. He's in predictably top form, as is Jimmy Heath, but Volume 2 is the more satisfying demonstration of J. J.'s singular eminence as a player, featuring him either as the solo horn or joined by the always companionable Hank Mobley. In fact, Vol. 1, with its 3-horn arrangements and harmonic obstacle courses, places less emphasis on J. J.'s melodic inventiveness and unique, burnished sound. Finally, both volumes include 3 gratuitous (for most listeners) retakes, making it tempting to download the master takes from both sessions onto a single disk.

Every time I listen to "Capri", the first track on this fine CD, I have to smile. What a joyful tune! Just try to keep from tapping your foot to the music, or humming along with the band. Go on, I dare ya.

J. J. Johnson's command of the trombone is stunning: fast or slow, high or low, he plays it all with a seemingly effortless mastery. Note how melodic his solos are, even on the uptempo numbers. Jimmy Heath on tenor and Clifford Brown on trumpet play with energy and passion. The rhythm section--John Lewis on piano, Percy Heath (Jimmy's brother) on bass and Kenny Clarke on drums--sounds great but isn't as tight as the Kelly-Mingus-Clarke-Martinez section on Eminent vol 2.

Both vols 1 and 2 were remastered in 2001, with audio much improved over their 1989 CD releases.

Jay Jay Johnson is the only jazz trombonist who produces sounds that are simply beautiful. Here he teams with the trumpeter Clifford Brown and the results are incredible. Both have the ability to articulate notes with accuracy and delicacy, and so can make blue moods haunting and fragile, yet be equally adept in making the up-tempo numbers blaze. Jimmy Heath, on sax, is also in great form, living up to his nickname of 'Little Bird'. The technical sound quality is marvellous too, despite the vintage (recorded June 22nd, 1953).
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Johnson had worked with the big bands of Benny Carter and Count Basie, and recorded with Bud Powell, Sonny Stitt and Miles Davis (available on the RVG series 'Miles Davis, Volume 2'). He went on to work scoring films and eventually retired from performance. He died in 2001.
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If you've heard Curtis Fuller, or Grachan Moncur, and, their virtues nowwithstanding, wondered whether the trombone was truly agile enough for be-bop or post-bop jazz, be prepared to be converted. This record, along with Art Blakey's 'A Night at Birdland' dates, rank as some of my favourite early 50's jazz recordings.

Trombone is definitely not the instrument I think of first when I think of jazz (and I think of jazz a lot). As a pianist, I tend to think rhythm first (piano, bass, drums), then accents (sax, trumpet, guitar). Jay Jay Johnson threatens all that by making the trombone the featured instrument, and if you've never heard trombone sizzle and swing, this is probably the best example of that you'll find. What surprised me, though, is that Clifford Brown shows up to play trumpet on this set, and indeed, he's even listed BEFORE Jay Jay on the back credits. Clifford Brown is one of those guys who really never made a bad record and always contributed a ton to every recording he worked on. This one is no exception. With Clifford and Jay Jay trading licks and solos, this is a classic example of the way jazz is supposed to be: true to the melody, covered over with improvisation, smoothed down with swing, and wrapped in sonic delight. The rest of the band: Percy and Jimmy Heath were no slouches, and with John Lewis on piano and Kenny Clarke on drums, this is on all-star band for sure. This CD has six songs and three alternate takes, with the alternate takes being broken off and tacked on the end. I mention that because all the material on this CD is available on Clifford Brown's The Complete Blue Note & Pacific Jazz Recordings, where the alternate takes come one right after the other. (So note that, if you already have the CB set, you don't need to purchase this volume. Go for The Eminent Jay Jay Johnson, Vol. 2 to spice up your collection instead.) In short, you've got the ever pleasing Clifford Brown's trumpet going up against the stalwart and sure JJ Johnson trombone with solid backing all the way, so this CD is highly recommended, just remember: If you like Clifford Brown, you might do better to spring for the big set instead.

Many consider the two "Eminent J.J. Johnson's" to be the most exceptional of his illustrious career. Volume 2 is more adventurous and forward-thinking while this volume is more grounded in the bop tradition. Johnson, as a composer and one of jazz's most influential trombonists, arguably put out his best albums in these volumes.

"The Eminent J.J. Johnson Volume 1" captures the 29 year old trombonist turning the jazz world green with envy. This was the album to announce the arrival of a trombonist whose music was so remarkable in magnitude that if it were visual, it could be soon from the moon.

An artist on his first recording session for Blue Note as a leader can't ask for a better rhythm section than the modern jazz quartet's section. Jimmy Heath is an underground name in jazz circles, boasting a robust and imaginative sound on the tenor. Clifford Brown, jazz's best trumpeter, eagerly was cutting his teeth at these sessions and on his way to lands never before seen or traveled. The result is an album of perfect music, fair in its radiance, with the leading trombonist standing tall in the center of attention.

The brisk (but not breakneck) Capri is a definition of "the sound of happy" in jazz, "Lover Man" sees Johnson's trombone gleam with silver and gold, and "Get Happy" gets a harmonically quartal uplifting with Johnson's soloing hurling him up to his carven spot on the throne of "jazz's most fluid trombonist."

The album is practically flawless. Johnson, a mature leader, gives generous soloing time to all of his bandmates. He balances the bright and romantic perfectly tempo-wise, and mixes three of his best compositions with three classic standards. Maybe Brownie fans will be disappointed that Brown doesn't sound "absolutely perfect," but give the man a break - he was 22 years old at this session and still stood tall with brilliance (people tend to get spoiled by his later excellence).

Speaking of Clifford, for the most dedicated of Clifford Brown fans, don't look at this. Go for the magisterial "COMPLETE BLUE NOTE AND PACIFIC JAZZ RECORDINGS OF CLIFFORD BROWN", which, while being extremely affordable, includes both volumes of Blakey's NIGHT AT BIRDLAND, EMINENT J.J. JOHNSON Vol. 1, CLIFFORD BROWN MEMORIAL ALBUM, and THE IMMORTAL CLIFFORD BROWN.

The album's best track is easily TURNPIKE. A bright rhythm changes melody with witty syncopation, tritone substitutions, and even the alternate cycle of changes that Bird introduced to the rhythm changes format earlier (this forces the soloists to have more fun with their blowing), Turnpike still stands as Johnson's best composition 54 years later. I love to play this song and get caught up in its intricacies.

In shadow lies this heaped gold - snatch it up and let the music hit you like a jackhammer. EMINENT J.J. JOHNSON VOL. 1 forges hot, red fires that burn with inextinguishable brightness.

This 1953 recording is well worth acquiring by any lover of jazz. The arrangements, musicianship, and sound quality make this a 5-star CD for sure. The occasion provided a big boost to Johnson's musical career; the great trombonist was working a factory job at the time. This was only the third recording date for the outstanding young trumpeter Clifford Brown. Jimmy Heath plays solid tenor and baritone sax, and the rhythm section of John Lewis, Percy Heath, and Kenny Clarke represents ¾ of the soon-to-be Modern Jazz Quartet. Judicious use of horns behind the soloist on several tracks are pleasing and boost the overall quality of the music beyond that of a typical 1950s "blowing session." Given the year of the recording, this is surely one of the better CDs--soundwise--in the Rudy Van Gelder remastered series.