Nat Adderley • Sayin' Somethin'

 

Review
by Scott Yanow
Cornetist Nat Adderley was at the peak of his powers in the mid-1960's. This Atlantic issue has four quintet numbers with tenor-saxophonist Joe Henderson (three also feature pianist Herbie Hancock) plus four tunes in which Nat is part of an 11-piece group. He plays quite well on such songs as "Cantaloupe Island," "Hippodelphia," "Gospellete" and even the then-current pop tune "Call Me," making this set one to search for.
https://www.allmusic.com/album/sayin-somethin-mw0000870948

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Revisión
por Scott Yanow
El cornetista Nat Adderley estaba en la cima de sus poderes a mediados de los años 60. Esta edición de Atlantic tiene cuatro números de quinteto con el tenor-saxofonista Joe Henderson (tres también cuentan con el pianista Herbie Hancock) más cuatro melodías en las que Nat es parte de un grupo de 11 piezas. Toca muy bien canciones como "Cantaloupe Island", "Hippodelphia", "Gospellete" e incluso el tema pop de entonces "Call Me", lo que hace que este conjunto sea uno de los que hay que buscar.
https://www.allmusic.com/album/sayin-somethin-mw0000870948

Sonny Rollins • Original Music From The Score ''Alfie''

  

Review by Rovi Staff
Tenor saxophonist Sonny Rollins loaned his flair for the dramatic to the score for the film Alfie, accompanying the story of what the liner notes describe as "the involuntary education of a hipster." Arranged by Oliver Nelson, the soundtrack follows the character's evolution from the carefree, rakish Lothario of "Alfie's Theme" to the contemplative, somewhat broken man reflected in "Alfie's Theme Differently." Rollins attempts to capture the textures of life through his incisive and energetic playing, his coherent improvisations, and variations on musical themes. While "Alfie's Theme" and its variants make the most lasting impression, "He's Younger Than You Are" is touching, laced with regret. And the sensual, relaxed "On Impulse" has a nice sense of immediacy.
https://www.allmusic.com/album/alfie-1966-original-music-from-the-score-mw0000142392

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Reseña de la plantilla de Rovi
El saxofonista tenor Sonny Rollins prestó su talento dramático a la partitura de la película Alfie, acompañando la historia de lo que las notas de presentación describen como "la educación involuntaria de un hipster". Arreglada por Oliver Nelson, la banda sonora sigue la evolución del personaje desde el despreocupado y desenfadado Lothario de "Alfie's Theme" hasta el hombre contemplativo y algo roto que se refleja en "Alfie's Theme Differently". Rollins intenta capturar las texturas de la vida a través de su incisiva y enérgica forma de tocar, sus coherentes improvisaciones y sus variaciones sobre temas musicales. Mientras que "Alfie's Theme" y sus variantes causan la impresión más duradera, "He's Younger Than You Are" es conmovedora y está llena de arrepentimiento. Y la sensual y relajada "On Impulse" tiene una agradable sensación de inmediatez.
https://www.allmusic.com/album/alfie-1966-original-music-from-the-score-mw0000142392


sonnyrollins.com ...

Sonny Stitt - Bud Powell - J.J. Johnson • Sonny Stitt - Bud Powell - J.J. Johnson

www.sonnystitt.com ...

   

Cal Tjader • Hip Vibrations

Tjader's group is augmented by a brass section featuring such heavyweights as J.J. Johnson and Marvin Stamm. Herbie Hancock's on piano, Ron Carter and Richard Davis alternate on bass, Ray Barretto is on conga and Benny Golson arranged most of the tracks.

The brass gives the 'Tjader sound' an additional kick, while the typical Verve formula is retained with a mixture of jazz standards and pop hits of the day. Highlights are a feel-good version of Windy, which adapts perfectly to the latin jazz treatment, a nice arrangement with some Brazilian percussion for the Baden Powell/Vinicius de Moraes standard Canto de Ossanha and some great soloing from Hancock on the longer pieces Django and Blues March.

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El grupo de Tjader se amplía con una sección de latón que incluye a pesos pesados como J.J. Johnson y Marvin Stamm. Herbie Hancock está en el piano, Ron Carter y Richard Davis se alternan en el bajo, Ray Barretto está en la conga y Benny Golson arregló la mayoría de los temas.

Los metales le dan al 'sonido Tjader' un toque adicional, mientras que la fórmula típica de Verve se mantiene con una mezcla de estándares de jazz y éxitos pop del día. Lo más destacado es una versión para sentirse bien de Windy, que se adapta perfectamente al tratamiento del jazz latino, un bonito arreglo con algo de percusión brasileña para el Canto de Ossanha del estándar de Baden Powell/Vinicius de Moraes y algunos grandes solos de Hancock en las piezas más largas Django y Blues March.

 

 

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

 

VA • Be-Bop And Post Bop

 

Dizzy Gillespie, Charlie Parker, Bud Powell, J.J. Johnson, Wardell Gray, Stan Getz, Lennie Tristano, Thelonious Monk, Gerry Mulligan, Charles Mingus, Clifford Brown, Art Blakey, Miles Davis.

Woody Shaw • Dark Journey

 

Review
by Scott Yanow  
Woody Shaw was one of the greatest jazz trumpeters of all time and all of his music deserves to be reissued and studied. This two-CD set is merely a sampling of his works, and despite some excellent liner notes from Michael Cuscuna, the programming is a bit odd. The second disc has the earliest recordings including two items ("Nutville" and "The Moontrane") that were leased and originally part of sessions led by pianist Horace Silver and organist Larry Young. In addition, there are four selections from the 1965 recording Cassandranite (which, like the rest of the material, was originally issued by Muse) and two numbers from 1974. The first disc has "Jitterbug Waltz" from the 1977 recording The Iron Men, and draws its six other selections (dating from 1983-87) from the Setting Standards, Imagination and Solid albums. The music is quite rewarding and the sidemen include Anthony Braxton on clarinet (for "Jitterbug Waltz"); pianists Cedar Walton, Kenny Barron and Herbie Hancock; trombonist Steve Turre; altoist Kenny Garrett; and tenor saxophonist Joe Henderson, among many others. But true Woody Shaw fans will prefer to get the original sessions in full, and fortunately 32 Jazz has also been gradually reissuing all of their Shaw Muse albums.
https://www.allmusic.com/album/dark-journey-mw0000232458

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Reseña
por Scott Yanow  
Woody Shaw fue uno de los mejores trompetistas de jazz de todos los tiempos y toda su música merece ser reeditada y estudiada. Este conjunto de dos CD es simplemente una muestra de sus obras, y a pesar de algunas excelentes notas de Michael Cuscuna, la programación es un poco extraña. El segundo disco contiene las primeras grabaciones, incluidos dos temas ("Nutville" y "The Moontrane") que fueron alquilados y que originalmente formaban parte de sesiones dirigidas por el pianista Horace Silver y el organista Larry Young. Además, hay cuatro selecciones de la grabación de 1965 Cassandranite (que, como el resto del material, fue publicado originalmente por Muse) y dos números de 1974. El primer disco contiene "Jitterbug Waltz" de la grabación de 1977 The Iron Men, y extrae sus otras seis selecciones (que datan de 1983-87) de los álbumes Setting Standards, Imagination y Solid. La música es muy gratificante y entre los acompañantes figuran Anthony Braxton al clarinete (para "Jitterbug Waltz"); los pianistas Cedar Walton, Kenny Barron y Herbie Hancock; el trombonista Steve Turre; el contralto Kenny Garrett; y el saxofonista tenor Joe Henderson, entre muchos otros. Pero los verdaderos fans de Woody Shaw preferirán conseguir las sesiones originales al completo y, afortunadamente, 32 Jazz también ha ido reeditando poco a poco todos sus discos Shaw Muse.
https://www.allmusic.com/album/dark-journey-mw0000232458


woodyshaw.com ...

J.J.Johnson • Stockholm Sweden, 1957-06-14

 

J.J. Johnson is an NEA Jazz Master Considered by many to be the finest jazz trombonist of all time, J.J. Johnson somehow transferred the innovations of Charlie Parker and Dizzy Gillespie to his more awkward instrument, playing with such speed and deceptive ease that at one time some listeners assumed he was playing valve (rather than slide) trombone! Johnson toured with the territory bands of Clarence Love and Snookum Russell during 1941-42 and then spent 1942-45 with Benny Carter's big band.

He made his recording debut with Carter (taking a solo on "Love for Sale" in 1943) and played at the first JATP concert (1944). Johnson also had led plenty of solo space during his stay with Count Basie's Orchestra (1945-46). During 1946-50, he played with all of the top bop musicians including Charlie Parker (with whom he recorded in 1947), the Dizzy Gillespie big band, Illinois Jacquet (1947-49) and the Miles Davis Birth of the Cool Nonet. His own recordings from the era included such sidemen as Bud Powell and a young Sonny Rollins. J.J., who also recorded with the Metronome All-Stars, played with Oscar Pettiford (1951) and Miles Davis (1952) but then was outside of music, working as a blueprint inspector for two years (1952-54).

His fortunes changed when in August 1954 he formed a two -trombone quintet with Kai Winding that became known as Jay and Kai and was quite popular during its two years. After J.J. and Kai went their separate ways (they would later have a few reunions), Johnson led a quintet that often included Bobby Jaspar.

He began to compose ambitious works starting with 1956's "Poem for Brass" and including "El Camino Real" and a feature for Dizzy Gillespie, "Perceptions"; his "Lament" became a standard. Johnson worked with Miles Davis, during part of 1961-62, led some small groups of his own, and by the late '60s was kept busy writing television and film scores. J.J. Johnson was so famous in the jazz world that he kept on winning DOWN BEAT polls in the 1970s even though he was not playing at all! However, starting with a Japanese tour in 1977, J.J. gradually returned to a busy performance schedule, leading a quintet in the 1980s that often featured Ralph Moore.
https://www.allaboutjazz.com/musicians/jj-johnson/

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J. J. Johnson es un Maestro del Jazz NEA Considerado por muchos como el mejor trombonista de jazz de todos los tiempos. ¡J. J. Johnson transfirió de alguna manera las innovaciones de Charlie Parker y Dizzy Gillespie a su instrumento más incómodo, tocando con tanta velocidad y facilidad engañosa que en un momento algunos oyentes asumieron que estaba tocando trombón de válvula (en lugar de slide)! Johnson realizó una gira con las bandas territoriales de Clarence Love y Snookum Russell durante 1941-42 y luego pasó 1942-45 con la big band de Benny Carter.

Hizo su debut discográfico con Carter (haciendo un solo en" Love for Sale " en 1943) y tocó en el primer concierto de JATP (1944). Johnson también había liderado mucho espacio en solitario durante su estadía con la Orquesta de Count Basie(1945-46). Durante 1946-50, tocó con todos los mejores músicos de bop, incluido Charlie Parker (con quien grabó en 1947), la Dizzy Gillespie big band, Illinois Jacquet (1947-49) y Miles Davis Birth of the Cool Nonet. Sus propias grabaciones de la época incluían acompañantes como Bud Powell y un joven Sonny Rollins. J. J., quien también grabó con Metronome All-Stars, tocó con Oscar Pettiford (1951) y Miles Davis (1952), pero luego estuvo fuera de la música, trabajando como inspector de planos durante dos años (1952-54).

Su suerte cambió cuando en agosto de 1954 formó un quinteto de dos trombones con Kai Winding que se conoció como Jay y Kai y fue bastante popular durante sus dos años. Después de que J. J. y Kai tomaran caminos separados (más tarde tendrían algunas reuniones), Johnson dirigió un quinteto que a menudo incluía a Bobby Jaspar.

Comenzó a componer obras ambiciosas a partir de "Poem for Brass" de 1956 e incluyendo "El Camino Real" y un largometraje para Dizzy Gillespie, "Perceptions"; su "Lamento" se convirtió en un estándar. Johnson trabajó con Miles Davis, durante parte de 1961-62, dirigió algunos pequeños grupos propios y, a fines de los 60, se mantuvo ocupado escribiendo partituras para televisión y cine. ¡J. J. Johnson era tan famoso en el mundo del jazz que siguió ganando en las encuestas A LA BAJA en la década de 1970 a pesar de que no tocaba en absoluto! Sin embargo, comenzando con una gira japonesa en 1977, J. J. poco a poco volvió a una apretada agenda de presentaciones, liderando un quinteto en la década de 1980 que a menudo presentaba a Ralph Moore.
https://www.allaboutjazz.com/musicians/jj-johnson/

Chico O'Farrill • Nine Flags

 

Review
by Scott Yanow
One of arranger Chico O'Farrill's few jazz recordings of the 1954-94 period, this LP pays tribute to nine different countries, which were represented at the time by Nine Flags fragrances. The ten pieces (which include "The Lady from Nine Flags") have originals influenced by the music of Brazil, England, France, Germany, Hong Kong, Ireland, Italy, Spain and Sweden. The overall music is quite different from O'Farrill's usual Afro-Cuban jazz outings. He features three different groups ranging from a septet to a 15-piece orchestra, assigning solo space to such fine players as trombonist J.J. Johnson, flugelhornists Art Farmer and Clark Terry and guitarist Larry Coryell (one of his earliest recordings). None of the individual songs caught on, and the interpretations are usually quite concise, but this LP (which has not yet been reissued) is generally quite fun.
https://www.allmusic.com/album/nine-flags-mw0001881421


Biography
by Richard S. Ginell
Chico O'Farrill was right in the thick of the Afro-Cuban and Latin waves that hit jazz in the late '40s and '50s. His sophisticated writing for Latin big bands of the early '50s was often bold, brassy, and tense, yet he could also achieve a delicate, almost classical ambience in such pieces as "Angels' Flight" and work capably in larger forms (the groundbreaking "Afro-Cuban Jazz Suites").

O'Farrill took up the trumpet while in military school in Georgia, returning to Cuba as a full-fledged jazz fan after hearing the top American big bands. He studied composition in his native Havana and led his own band there before moving to New York City in 1948, where he soon made a name for himself writing music for Benny Goodman ("Undercurrent Blues"), Stan Kenton ("Cuban Episode"), and Machito ("Afro-Cuban Jazz Suite"). From 1950 to 1954, O'Farrill made six fiery 10" albums of Latin and American big band jazz for Clef and Norgran, all of which have been reissued on a Verve two-CD set, Cuban Blues. He also appeared with his own band at Birdland and toured the U.S. Toward the end of the decade, he moved to Mexico City, returning to New York in 1965 to work as arranger and music director of the TV series Festival of the Lively Arts and to write arrangements for Count Basie. O'Farrill also put his classical training to use by writing pieces for symphony orchestra such as "Three Cuban Dances" and "Symphony No. 1." Though he continued to write pieces for Machito, Kenton, Gato Barbieri, and Dizzy Gillespie into the '70s, there were no recording sessions under O'Farrill's name from 1966 until 1995, when he came roaring back on the scene, his imagination and vigor miraculously intact, with the outstanding Pure Emotion CD (Milestone). He recorded two more strong albums for Milestone, the last being Carambola, released in October 2000. Eight months later, on June 27, 2001, Arturo "Chico" O'Farrill died while hospitalized in New York.
https://www.allmusic.com/artist/chico-ofarrill-mn0000111794/biography

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Revisión
por Scott Yanow
Una de las pocas grabaciones de jazz del arreglista Chico O'Farrill del período 1954-94, este LP rinde homenaje a nueve países diferentes, que estaban representados en la época por las fragancias de Nine Flags. Las diez piezas (entre las que se incluye "The Lady from Nine Flags") son originales con influencia de la música de Brasil, Inglaterra, Francia, Alemania, Hong Kong, Irlanda, Italia, España y Suecia. La música en general es bastante diferente de las salidas habituales de O'Farrill del jazz afrocubano. Presenta tres grupos diferentes que van desde un septeto hasta una orquesta de 15 piezas, y asigna espacio para solistas como el trombonista J.J. Johnson, los flugelhornistas Art Farmer y Clark Terry y el guitarrista Larry Coryell (una de sus primeras grabaciones). Ninguna de las canciones individuales se puso de moda, y las interpretaciones suelen ser bastante concisas, pero este LP (que aún no se ha reeditado) es en general bastante divertido.
https://www.allmusic.com/album/nine-flags-mw0001881421


Biografía
por Richard S. Ginell
Chico O'Farrill estaba justo en el centro de las olas afrocubanas y latinas que afectaron al jazz a finales de los años 40 y 50. Sus sofisticadas composiciones para las big bands latinas de principios de los 50 eran a menudo atrevidas, descaradas y tensas, pero también podía lograr un ambiente delicado, casi clásico, en piezas como "Angels' Flight" y trabajar con habilidad en formas más amplias (las revolucionarias "Afro-Cuban Jazz Suites").

O'Farrill empezó a tocar la trompeta cuando estudiaba en la escuela militar de Georgia, y regresó a Cuba como un auténtico aficionado al jazz después de escuchar a las principales big bands estadounidenses. Estudió composición en su Habana natal y dirigió allí su propia banda antes de trasladarse a Nueva York en 1948, donde pronto se hizo un nombre escribiendo música para Benny Goodman ("Undercurrent Blues"), Stan Kenton ("Cuban Episode") y Machito ("Afro-Cuban Jazz Suite"). De 1950 a 1954, O'Farrill grabó seis ardientes álbumes de 10" de big band jazz latino y americano para Clef y Norgran, todos los cuales han sido reeditados en un conjunto de dos CD de Verve, Cuban Blues. También actuó con su propia banda en Birdland y realizó giras por Estados Unidos. Hacia el final de la década, se trasladó a Ciudad de México, y regresó a Nueva York en 1965 para trabajar como arreglista y director musical de la serie de televisión Festival of the Lively Arts y para escribir arreglos para Count Basie. O'Farrill también puso en práctica su formación clásica escribiendo piezas para orquesta sinfónica como "Tres danzas cubanas" y "Sinfonía nº 1". Aunque continuó escribiendo piezas para Machito, Kenton, Gato Barbieri y Dizzy Gillespie hasta los años 70, no hubo sesiones de grabación con el nombre de O'Farrill desde 1966 hasta 1995, cuando volvió a aparecer en escena, con su imaginación y vigor milagrosamente intactos, con el excelente CD Pure Emotion (Milestone). Grabó dos discos más para Milestone, el último de los cuales fue Carambola, publicado en octubre de 2000. Ocho meses después, el 27 de junio de 2001, Arturo "Chico" O'Farrill falleció mientras estaba hospitalizado en Nueva York.
https://www.allmusic.com/artist/chico-ofarrill-mn0000111794/biography

Dizzy Gillespie And His Orchestra • Afro

 

Review by Ken Dryden
Pairing Dizzy Gillespie with Cuban arranger/composer Chico O'Farrill produced a stunning session which originally made up the first half of a Norgran LP. O'Farrill conducts an expanded orchestra which combines a jazz band with a Latin rhythm section; among the participants in the four-part "Manteca Suite" are trumpeters Quincy Jones and Ernie Royal, trombonist J.J. Johnson, tenor saxophonists Hank Mobley and Lucky Thompson, and conga player Mongo Santamaria. "Manteca," written during the previous decade, serves as an exciting opening movement, while the next two segments build upon this famous theme, though they are jointly credited to O'Farrill as well. "Rhumba-Finale" is straight-ahead jazz with some delicious solo work by Gillespie. A later small-group session features the trumpeter with an all-Latin rhythm section and flutist Gilberto Valdes, who is heard on "A Night in Tunisia" and "Caravan." Both of the Latin versions of these pieces are far more interesting than "Con Alma," as the excessive percussion and dull piano accompaniment add little to this normally captivating theme. Long out of print, this 2002 CD reissue will only be available until May 2005; it is well worth acquiring.
https://www.allmusic.com/album/afro-mw0000216146

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Reseña de Ken Dryden
El emparejamiento de Dizzy Gillespie con el arreglista/compositor cubano Chico O'Farrill produjo una impresionante sesión que originalmente constituía la primera mitad de un LP de Norgran. O'Farrill dirige una orquesta ampliada que combina una banda de jazz con una sección rítmica latina; entre los participantes en la "Manteca Suite" de cuatro partes están los trompetistas Quincy Jones y Ernie Royal, el trombonista J.J. Johnson, los saxofonistas tenores Hank Mobley y Lucky Thompson, y el conguero Mongo Santamaria. "Manteca", escrita durante la década anterior, sirve como emocionante movimiento de apertura, mientras que los dos segmentos siguientes se basan en este famoso tema, aunque se acreditan conjuntamente a O'Farrill también. "Rhumba-Finale" es un jazz directo con algunos deliciosos solos de Gillespie. Una sesión posterior en grupo pequeño presenta al trompetista con una sección rítmica totalmente latina y el flautista Gilberto Valdés, que se escucha en "A Night in Tunisia" y "Caravan". Ambas versiones latinas de estas piezas son mucho más interesantes que "Con Alma", ya que la excesiva percusión y el aburrido acompañamiento de piano aportan poco a este tema normalmente cautivador. Agotada desde hace tiempo, esta reedición en CD de 2002 sólo estará disponible hasta mayo de 2005; merece la pena adquirirla.
https://www.allmusic.com/album/afro-mw0000216146

Charlie Parker With Lennie Tristano • Complete Recordings

 

Charlie Parker and Lennie Tristano had mutual admiration and understanding for each other, and were good friends. However, their recorded output together is far from extensive and this CD contains the whole of it. Both were great jazz innovators, although Tristano was the fi rst to admit Bird’s pre-eminence among all musicians of that period. Their collaborative recordings consist of a variety of broadcasts, studio sessions, and even a couple of amazing duets recorded by Bird on his tape machine at Lennie’s house (presenting the only known recording that Charlie Parker ever made of “I Can’t Believe That You’re in Love with Me” and his only complete version of “All of Me”). Also featured throughout this CD are great stars such as Dizzy Gillespie, Fats Navarro, Miles Davis, Sarah Vaughan and Max Roach.
https://www.jazzmessengers.com/es/83590/charlie-parker/completerecordingsw-lennietristano

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Charlie Parker y Lennie Tristano se admiraban y comprendían mutuamente, y eran buenos amigos. Sin embargo, su producción discográfica conjunta no es muy extensa y este CD la recoge en su totalidad. Ambos fueron grandes innovadores del jazz, aunque Tristano fue el primero en admitir la preeminencia de Bird entre todos los músicos de la época. Sus grabaciones en colaboración consisten en una variedad de emisiones, sesiones de estudio e incluso un par de duetos asombrosos grabados por Bird en su grabadora en casa de Lennie (presentando la única grabación conocida que Charlie Parker hizo de «I Can't Believe That You're in Love with Me» y su única versión completa de «All of Me»). También aparecen a lo largo de este CD grandes estrellas como Dizzy Gillespie, Fats Navarro, Miles Davis, Sarah Vaughan y Max Roach.
https://www.jazzmessengers.com/es/83590/charlie-parker/completerecordingsw-lennietristano

Sonny Stitt • The Matadores Meet The Bull

 

Urbie Green • Twenty-One Trombones

 

Count Basie, Joe Turner • The Bosses

 

Review by Scott Yanow
Count Basie and an all-star band (including trumpeter Harry Edison, trombonist J.J. Johnson and the tenors of Eddie Davis and Zoot Sims) back up veteran Kansas City blues singer Big Joe Turner on one of his better later albums. The many fine solos inspire Turner, who is in top form on such tunes as "Night Time Is the Right Time," "Wee Baby Blues" and "Roll 'Em Pete." https://www.allmusic.com/album/the-bosses-mw0000674645

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Crítica de Scott Yanow
Count Basie y una banda de estrellas (incluyendo el trompetista Harry Edison, el trombonista J.J. Johnson y los tenores de Eddie Davis y Zoot Sims) respaldan al veterano cantante de blues de Kansas City Big Joe Turner en uno de sus mejores últimos álbumes. Los numerosos y excelentes solos inspiran a Turner, que está en plena forma en temas como «Night Time Is the Right Time», «Wee Baby Blues» y «Roll 'Em Pete». https://www.allmusic.com/album/the-bosses-mw0000674645

J.J. Johnson & Kai Winding • The Jay & Kai + 6, The Jay And Kai Trombone Octet

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.

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Fue alrededor de los años en que se hizo esta grabación que los grupos de trombones, ya sean coros, cuartetos, septetos, o alguna otra configuración, estaban de moda. Kai Winding grabó varias durante los años 50 con su propio grupo y con su compañero de juego, J.J. Johnson. Este álbum es el producto de una de esas ocasiones. Grabado durante un período de tres días en 1956 y publicado originalmente en un LP de Columbia, Johnson y Winding se unen a sus compañeros instrumentistas de diapositivas Bob Alexander, Eddie Bert, Urbie Green, Jimmy Cleveland, Tom Mitchell, y Bart Varsalona, estos dos últimos en el trombón bajo, además de una sección rítmica estelar de Hank Jones, Milt Hinton, y Osie Johnson. También algo de este período fue el trombón, un trombón de válvula vertical que se asemeja a un eufonio. Johnson y Winding utilizan este instrumento en algunos de los cortes, incluyendo "Una noche en Túnez" y "Pieza para dos trombones". La interpretación aquí es simplemente genial, como uno esperaría de este eminente elenco de trombonistas. El único problema es que después de un tiempo, uno comienza a anhelar algunas otras trompas, especialmente el saxo, para obtener un cambio en los armónicos y las voces. Sin embargo, la interpretación, tanto en solitario como en conjunto, es brillante y es un buen ejemplo de cómo el trombón ha evolucionado de ser esencialmente una puerta trasera a un instrumento que puede ejecutar melodías bop rápidas y usar un vibrato controlado y un tono envolvente en los números más lentos. Hay mucho para elegir de ambas categorías en esta sesión. Los músicos de este álbum estaban a la vanguardia de esa metamorfosis.

 

 

 

J.J. Johnson - Al Cohn • The Birdlanders

 

www.freshsoundrecords.com ...

J.J. Johnson • J.J.'s Broadway

Review of Scott Yanow

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. Some of the songs are now forgotten, but "My Favorite Things," "Make Someone Happy" and "Put on a Happy Face" are exceptions. This album has some good music, but it will be very difficult to find.

Review of C. Andrew Hovan

One of the key trombone innovators of the be-bop era, J.J. Johnson's recordings as a leader while small in number have been relatively hard to track down over the years. While his early Blue Note sides are easily obtainable, his later work for Verve and RCA has been much less widely disseminated. One of his finest works of the '60s,  J.J.'s Broadway had been long overdue for reissue and it ranks as one of the better albums of show tunes done up in a jazz style thanks to Johnson's smart arrangements. While the quartet tracks offer Johnson full range to blow at will, it's the arrangements for trombone choir (Urbie Green, Lou McGarity, Tommy Mitchell, and Paul Faulise) that come off the strongest with some of Johnson's best writing in the offing. While not as well known as John Coltrane's iconic version, Johnson's take on "My Favorite Things" joins the ranks of inspired jazz fare based on the tune's workable structure.

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Reseña de Scott Yanow

Este es uno de los LPs más oscuros de J.J. Johnson. En seis de las diez canciones, el gran trombonista está acompañado por otras cuatro, mientras que las cuatro canciones restantes (las principales razones para buscar este álbum) lo presentan en un cuarteto con el pianista Hank Jones, el bajista Richard Davis y el baterista Walter Perkins. La escritura de Johnson en las piezas más grandes del grupo eleva el material, que es tomado de los espectáculos de Broadway, mientras que su interpretación en los temas del cuarteto está a su nivel habitual. Algunas de las canciones ya están olvidadas, pero "My Favorite Things", "Make Someone Happy" y "Put on a Happy Face" son excepciones. Este álbum tiene buena música, pero será muy difícil de encontrar.


Reseña de C. Andrew Hovan
Uno de los principales innovadores del trombón de la era del be-bop, las grabaciones de J.J. Johnson como líder, mientras que las de un número pequeño han sido relativamente difíciles de rastrear a lo largo de los años. Si bien sus primeras versiones de Blue Note son fáciles de obtener, su trabajo posterior para Verve y RCA ha tenido una difusión mucho menor. Uno de sus mejores trabajos de los años 60, J.J.'s Broadway se había retrasado mucho en su reedición y es uno de los mejores álbumes de melodías para espectáculos con un estilo jazzístico gracias a los elegantes arreglos de Johnson. Mientras que los temas del cuarteto ofrecen a Johnson un rango completo para tocar a voluntad, son los arreglos para el coro de trombones (Urbie Green, Lou McGarity, Tommy Mitchell, y Paul Faulise) los que salen más fuertes con algunos de los mejores escritos de Johnson en perspectiva. Aunque no es tan conocida como la versión icónica de John Coltrane, la versión de Johnson de "My Favorite Things" se une a las filas del jazz inspirado en la estructura de la melodía.

VA • Jazz At The Philharmonic In Europe

 

Horace Silver + J.J. Johnson • The Cape Verdean Blues

 

 

Review
by Steve Huey
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.
https://www.allmusic.com/album/the-cape-verdean-blues-mw0000204335

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Review
by Steve Huey
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.
https://www.allmusic.com/album/the-cape-verdean-blues-mw0000204335

Dave Brubeck and Jay & Kai • At Newport

 

 

Brubeck and Jay & Kai at Newport Review
by Scott Yanow
This historic LP finds the Dave Brubeck Quartet performing two standards ("Take the 'A' Train" and "I'm in a Dancing Mood") along with the pianist/leader's "In Your Own Sweet Way" and "Two-Part Contention." Altoist Paul Desmond is in fine form as is the supportive drummer Joe Dodge who would soon leave the Quartet; Joe Morello was his eventual replacement. The second part of this LP is the final performance by the two-trombone J.J. Johnson-Kai Winding Quintet before they broke up after two years of steady work. Overall, this album gives one a good look at two of the most popular jazz groups of 1956.
https://www.allmusic.com/album/dave-brubeck-and-jay-kai-at-newport-mw0000892147?1635361318841

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Brubeck y Jay & Kai en Newport Review
por Scott Yanow
Este histórico LP encuentra al Dave Brubeck Quartet interpretando dos estándares ("Take the 'A' Train" y "I'm in a Dancing Mood") junto con "In Your Own Sweet Way" y "Two-Part Contention" del pianista/líder. El contralto Paul Desmond está en buena forma, al igual que el batería Joe Dodge, que pronto dejaría el cuarteto; Joe Morello fue su eventual sustituto. La segunda parte de este LP es la última actuación del quinteto de dos trombones J.J. Johnson-Kai Winding antes de que se disolviera tras dos años de trabajo constante. En general, este álbum ofrece una buena visión de dos de los grupos de jazz más populares de 1956.
https://www.allmusic.com/album/dave-brubeck-and-jay-kai-at-newport-mw0000892147?1635361318841