J.J. Johnston - The Trombone Master

© Copyright ® Steven Cerra, copyright protected; all rights reserved.

For the most part, the Columbia Masterworks Series [CMS] was Sony’s way of representing classic or iconic Jazz recordings in its catalogue in a CD format. Or as they advertised it in an early media release:

“Columbia Records is proud to present the legends who created that uniquely American art form called "jazz." Throughout the development of jazz, Columbia has recorded performances of jazz's greatest artists. Now these recordings can be experienced as never before, through the exciting Columbia Jazz Masterpieces series.

This series signifies a complete dedication to bringing the listener the finest sound quality possible. All recordings in the series have been digitally remastered from the original analog tapes using state-of-the-art equipment and original producers when possible. Every selection is available on compact disc, cassette, and Lp.

The packaging meets an equally high standard, in many cases retaining and enhancing the original artwork. Liner notes document the historical importance of these masterpieces, using original notes and new research.

There are 75 titles available right now. In coming months there will be landmark works and new compilations from many other giants — keeping the history of jazz alive for all time.”

Generally the CMS releases focused on a single recording - Louis Armstrong: The Hot Fives, Volume I, Benny Goodman: Live at Carnegie Hall, Miles Davis: Kind of Blue - but occasionally the series included compilations such as Buck Clayton: Jam Sessions from the Vaults, The Dave Brubeck Quartet: Plays Music from West Side Story and Other Shows and Films, and J.J. Johnston: Trombone Master.

Columbia describes the Johnson anthology this way:

“J. J. Johnson: "The Trombone Master" [CK,CJ,CJT: 444431]

There is little argument to J. J. Johnson's being 'the' master of the

trombone. The variety of sounds that he can evoke from the

instrument are startling. This brand new collection showcases his

virtuosity.

I’ve always enjoyed these samplers as they provide a chance to hear the artist in a variety of settings with different front line partners, rhythm sections, and song/tune selections. Since its costly to own all the recordings by a major artist, compilations provide a vehicle to hear some of their music from many of their notable recordings.

As an example “J. J. Johnson: "The Trombone Master" brings together tracks from four of J.J.’s Columbia LPs: J.J. In Person [CS 8009], Blue Trombone [CS8109], A Touch of Satin [CS 8537], and First Place [CL 1030].

And since there are no “original notes” to these collections, another great feature is that the label usually contracts with knowledgeable and experienced writers to provide an overview of the music. 

Thus, we get the following insights about J. J. Johnson: "The Trombone Master from Ira Gitler who is deservedly legendary in Jazz writing circles.

“I first heard J.J. Johnson in 1946 sitting in with Dizzy Gillespie’s group at the Spotlite on 52nd Street. A couple of months later, in the late spring, at the same club, I heard him again this time with a quartet which included Bud Powell on piano. I hung out all night and listened to as many sets as possible. That is how taken I was with the startlingly fluid stylist who was translating the language of Gillespie and Parker to the trombone. “My original influences were Prez and Roy, then Bird and Diz,” J.J. once explained.

Adding Cecil Payne's alto saxophone to the quartet, Johnson cut four sides for Savoy in June, probably right around the time he was at the Spotlite. Those two 78s, particularly "Coppin' the Bop" and "Jay Jay,'' the first to be issued, quickly become part of every young trombonist's consciousness. I remember playing it for a trombonist in Raymond Scott's band one night after a dance gig at the University of Missouri where I was in attendance. "That's not a slide trombone, it's got to be a valve," he exclaimed, as he asked me to play both sides again. By this time I was a confirmed and serious J.J. fan. I remain one to this day. 

One of my biggest disappointments as an A&R man for Prestige was in 1953 when J.J., who had opted out of music and gone to work as a blueprint inspector for Sperry Gyroscope, made several of the rehearsals for a Miles Davis record date but then couldn't do the actual session because of the Sperry job. It was a record date with Kai Winding that brought him out of retirement in 1954. This led to the formation of the Jay & Kai group which stayed together into mid-1956. The two eventually recorded for Columbia, and when J.J. formed his own group, it was on this label that it made its debut. The material in this collection comes from four of the outstanding albums J.J. taped with several of his groups for Columbia between 1957 and 1960. There are actually three different combinations represented, two quartets and a quintet with cornetist Nat Adderley as the other horn in the front line, with Tommy Flanagan as a constant.

At the end of August 1988, I was sitting in a dressing room with J.J. before he and Stan Getz went on at the Chicago Jazz Festival to reprise their celebrated Opera House appearance with Jazz at the Philharmonic from 1957. I told him that Columbia was planning to reissue some tracks from three decades ago. This led him to tell me about a project of Jamey Aebersold's which included a recording of Johnson and an accompanying book with the solos written out. "He asked me to rate my solos on a scale from 1 to 10," recounted J.J. "There were no 10s, one 91/2, a couple of 9s, an 8 and a 7." Since I gave up the star system when I left down beat in 1970, I won't attempt to place any numerical rating on the nine selections which comprise The Trombone Master. 

Thelonious Monk's "Misterioso" is the opener, a blues in steps that J.J. recorded a year before (1957) as a sideman with Sonny Rollins. Flanagan is first; then he and J.J. state the theme. Adderley has a fiery lead-off solo combining elements of Diz and Clark Terry with his own funky self. J.J., the smoothie, eases in and proceeds to heat up with rhythmic variations that alternate between stutter stops and flying starts (and finishes).

'Laura,' from the same date, is not balladized, but swings easily with Albert 'Tootie' Heath's brushes. Johnson's velvet sound and compositional structuring are outstanding in his solo, which stretches over two choruses. Flanagan's elegant swing enters for a half-chorus before Johnson returns with the melody. 

Flanagan again sets the table with a hard-digging solo, as the quintet is up once more. Johnson and Adderley do some riffing as Heath plays some fills. Then J. J. takes the bridge before both horns finally reveal the melody of Cole Porter's "What Is This Thing Called Love." In solo, Nat displays prime chops and J.J., the great technician, uses his considerable t-bone resources to spin a mesmerizing story. Wilbur (Little) walks and Tootie gets in a few licks. 

The lovely old ballad, "My Old Flame," is warmed like a fine brandy in Johnson's hands. This one is all J.J. and makes for thoughtful, as

well as easy listening.

Tommy sets the tone of "Blue Trombone" with some hip blues choruses. J.J. is fully into it from bar one of his solo, the rhythm trio of Flanagan, Paul Chambers and Max Roach grooving him along os he combines intense concentration and total relaxation, wording in a quote of "Side walks of Cuba" along the way. After a typically musical solo by Max, J.J. comes back for a second solo helping, this time quoting "The Hymn," "The Jumpin' Blues" and a Lester Young via Dexter Gordon riff paraphrased into a closing board fade.

In Bob Haggart's evergreen, a muted J.J. answers the musical question "What's New?" with an oblique reference to "Everything Happens To Me." Flanagan has a half-chorus before Johnson returns.

A quasi-"For Dancers Only" intro brings "Satin Doll'' into the spotlight. J.J. is backed here by Cannonball Adderley's rhythm section of that time: Victor Feldman, piano; Sam Jones, bass,- and Louis Hayes, drums. He had toured Europe with them in 1959 and wanted to record in their company. J.J. displays a pleasant burr in his sound as he goes about his no-nonsense swinging. Feldman has a short, but romping, two-handed solo bit before Johnson trades thoughts with Hayes and Jones. 

"Cry Me A River," a song popularized by vocalist Julie London, first appeared on J.J.'s album First Place but only in the monaural version. This is the first time it has been issued in stereo. Johnson is muted as the theme is backed alternately with a Latin beat and 4/4 brushed neatly along by Roach. Flanagan weaves some minor-key magic with JJ. murmuring underneath. Then J.J. and Max alternate "eights," and the Latin backing of the lament is topped with a funky ending.

Gordon Jenkins' "Goodbye '' is this collection's two-minute closer. Cannonball's rhythm section is the accompanying unit once more, but this time Feldman lends his vibraphone to J.J.'s muted, melancholy mood, a succinct, signature statement.

In 1960, Johnson disbanded his sextet of that year out of a need for personal revaluation and a desire to spend more time with his wife and two sons. He played again with Winding, and then toured for a while with Miles Davis, but as the '60s progressed, he began to devote his time to composing and arranging more extended works. In 1970, J.J. moved from New Jersey to California, and by 1975 he was concentrating almost exclusively on writing for films and television. In 1984, he traveled the European festival circuit and, from mat time, has continued to become increasingly active as a player once again. In 1988, he relocated to his home town of Indianapolis, using it as a base to take off for all global points.

The title of this collection reminds me that it was my downbeat piece on J.J. (May 11,1961) which formed the basis for the sample chapter of Jazz Masters of the Forties, the book I wrote that Macmillan published in 1966. Trombone master he was then, as he is now, a truth he reinforces every time he picks up his horn.”

- Ira Gitler, author Swing To Bop: Jazz Masters of the Forties, Oxford University Press