Review by Scott Yanow
One of tenor saxophonist Budd Johnson's best showcases, Let's Swing! finds him featured in a quintet with his brother Keg Johnson on trombone, pianist Tommy Flanagan, bassist George Duvivier, and drummer Charlie Persip. Budd starts off with the ballad feature "Serenade in Blue," then performs three originals, including "Downtown Manhattan" and "Uptown Manhattan," as well as three other veteran standards. Throughout, Johnson sounds both modern, as if he had come of age as one of the "cool school," and timeless, since he was a major player by the mid-'30s. A fine set.
https://www.allmusic.com/album/lets-swing%21-mw0000094001
Artist Biography by Scott Yanow
Budd Johnson was a talented and valuable jazz musician for many decades, a behind-the-scenes player and writer who uplifted a countless number of sessions from the 1930s into the '80s. Johnson started off playing in Kansas City in the late '20s, including with the bands of Terrence Holder, Jesse Stone, and George E. Lee. He made his recording debut while with Louis Armstrong's big band (1932-1933), and gained attention for his work as tenor soloist and arranger during three stints with the Earl Hines Orchestra (1932-1942). One of the first tenor saxophonists to be influenced by Lester Young (although by the 1940s, he had a distinctive tone of his own), Johnson had brief stints with Gus Arnheim (1937) and the bands of Fletcher and Horace Henderson (1938) between his periods with Hines. He contributed arrangements to several big bands, including those of Woody Herman, Buddy Rich, Boyd Raeburn, and Billy Eckstine, and was partly responsible for Hines hiring young modernists during 1942-1943. He recorded with Coleman Hawkins on the first bebop session (1944), worked with Dizzy Gillespie and Sy Oliver (1947), and in the 1950s led his own groups, in addition to touring with Snub Mosley (1952) and Benny Goodman (1957). Johnson was with the big bands of Quincy Jones (1960) and Count Basie (1961-1962) before renewing ties with Earl Hines, who he played with on and off again starting in 1964. He formed the JPJ Quartet, which worked on an occasional basis, during 1969-1975; held his own at the 1971 Newport in New York jam sessions; became a jazz educator; and recorded an excellent album with Phil Woods eight months before his death. Budd Johnson led some obscure sessions during 1947-1956, in addition to notable albums for Felsted (1958), Riverside, Swingville, Argo, Black & Blue, Master Jazz, Dragon, and Uptown.
https://www.allmusic.com/artist/budd-johnson-mn0000640725/biography
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Reseña de Scott Yanow
Uno de los mejores espectáculos del saxofonista tenor Budd Johnson, Let's Swing! lo encuentra en un quinteto con su hermano Keg Johnson al trombón, el pianista Tommy Flanagan, el bajista George Duvivier y el baterista Charlie Persip. Budd comienza con la balada "Serenade in Blue" y luego interpreta tres originales, incluyendo "Downtown Manhattan" y "Uptown Manhattan", así como otros tres estándares de veteranos. En todo momento, Johnson suena moderno, como si hubiera alcanzado la mayoría de edad como una de las "escuelas geniales", e intemporal, ya que era un jugador importante a mediados de los años 30. Un buen conjunto.
https://www.allmusic.com/album/lets-swing%21-mw0000094001
Biografía del artista por Scott Yanow
Budd Johnson fue un talentoso y valioso músico de jazz durante muchas décadas, un intérprete y escritor entre bastidores que elevó un sinnúmero de sesiones desde la década de 1930 hasta la de 1980. Johnson comenzó tocando en Kansas City a finales de los años 20, incluyendo con las bandas de Terrence Holder, Jesse Stone y George E. Lee. Debutó en la grabación con la big band de Louis Armstrong (1932-1933), y ganó atención por su trabajo como tenor solista y arreglista durante tres períodos con la Earl Hines Orchestra (1932-1942). Uno de los primeros saxofonistas tenor en ser influenciado por Lester Young (aunque en la década de 1940 tenía un tono distintivo propio), Johnson tuvo breves estancias con Gus Arnheim (1937) y las bandas de Fletcher y Horace Henderson (1938) entre sus períodos con Hines. Contribuyó con arreglos para varias grandes bandas, incluyendo las de Woody Herman, Buddy Rich, Boyd Raeburn y Billy Eckstine, y fue en parte responsable de que Hines contratara a jóvenes modernistas durante 1942-1943. Grabó con Coleman Hawkins en la primera sesión de bebop (1944), trabajó con Dizzy Gillespie y Sy Oliver (1947), y en la década de 1950 dirigió sus propios grupos, además de viajar con Snub Mosley (1952) y Benny Goodman (1957). Johnson estuvo con las grandes bandas de Quincy Jones (1960) y Count Basie (1961-1962) antes de renovar los lazos con Earl Hines, con quien tocaba una y otra vez a partir de 1964. Formó el Cuarteto JPJ, que trabajó ocasionalmente, durante 1969-1975; se desempeñó en las jam sessions de Newport en Nueva York en 1971; se convirtió en un educador de jazz; y grabó un excelente álbum con Phil Woods ocho meses antes de su muerte. Budd Johnson dirigió algunas sesiones oscuras durante 1947-1956, además de notables álbumes para Felsted (1958), Riverside, Swingville, Argo, Black & Blue, Master Jazz, Dragon y Uptown.
https://www.allmusic.com/artist/budd-johnson-mn0000640725/biographyTracklist:
1 - Serenade In Blue - 3:36
2 - I Only Have Eyes For You - 4:26
3 - Downtown Manhattan - 7:45
4 - Someone To Watch Over Me - 4:43
5 - Falling In Love With Love - 5:42
6 - Blues By Budd - 9:56
7 - Uptown Manhattan - 6:24
Credits:
Bass – George Duvivier
Drums – Charlie Persip
Piano – Tommy Flanagan
Tenor Saxophone – Budd Johnson
Trombone – Keg Johnson
Notes
Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey; December 2, 1960.
Engineer – Rudy Van Gelder
Label: Prestige Swingville – SVLP 2015
Released: 1960
Genre: Jazz
Style: Post Bop, Swing
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