Jo Jones Sextet • Jo Jones Sextet

 

Jo Jones shifted the timekeeping role of the drums from the bass drum to the hi-hat cymbal, greatly influencing all swing and bop drummers. Buddy Rich and Louie Bellson were just two who learned from his light but forceful playing, as Jones swung the Count Basie Orchestra with just the right accents and sounds. After growing up in Alabama, Jones worked as a drummer and tap-dancer with carnival shows. He joined Walter Page's Blue Devils in Oklahoma City in the late '20s. After a period with Lloyd Hunter's band in Nebraska, Jones moved to Kansas City in 1933, joining Count Basie's band the following year. He went with Basie to New York in 1936 and with Count, Freddie Green and Walter Page he formed one of the great rhythm sections. Jones was with the Basie band (other than 1944-46 when he was in the military) until 1948 and in later years he participated in many reunions with Basie alumni. He was on some Jazz at the Philharmonic tours and recorded in the 1950s with Illinois Jacquet, Billie Holiday, Teddy Wilson, Lester Young, Art Tatum and Duke Ellington among others; Jones appeared at the 1957 Newport Jazz Festival with both Basie and the Coleman Hawkins-Roy Eldridge Sextet. Jo Jones led sessions for Vanguard (1955 and 1959) and Everest (1959-60), a date for Jazz Odyssey on which he reminisced and played drum solos (1970) and mid-'70s sessions for Pablo and Denon. In later years he was known as "Papa" Jo Jones and thought of as a wise if brutally frank elder statesman - Scott Yanow -All MUsic Guide

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Jo Jones desplazó la función cronométrica de la batería del bombo al platillo hi-hat, influyendo enormemente en todos los bateristas de swing y bop. Buddy Rich y Louie Bellson fueron sólo dos de los que aprendieron de su forma de tocar, ligera pero contundente, mientras Jones hacía vibrar a la orquesta de Count Basie con los acentos y sonidos justos. Tras crecer en Alabama, Jones trabajó como batería y bailarín de claqué en espectáculos de carnaval. Se unió a los Blue Devils de Walter Page en Oklahoma City a finales de los años veinte. Tras un periodo con la banda de Lloyd Hunter en Nebraska, Jones se trasladó a Kansas City en 1933, uniéndose a la banda de Count Basie al año siguiente. Se fue con Basie a Nueva York en 1936 y con Count, Freddie Green y Walter Page formó una de las grandes secciones rítmicas. Jones estuvo con la banda de Basie (aparte de 1944-46, cuando estuvo en el ejército) hasta 1948 y en años posteriores participó en muchas reuniones con antiguos alumnos de Basie. Participó en algunas giras de Jazz at the Philharmonic y grabó en la década de 1950 con Illinois Jacquet, Billie Holiday, Teddy Wilson, Lester Young, Art Tatum y Duke Ellington, entre otros; Jones apareció en el Festival de Jazz de Newport de 1957 tanto con Basie como con el sexteto Coleman Hawkins-Roy Eldridge. Jo Jones dirigió sesiones para Vanguard (1955 y 1959) y Everest (1959-60), una cita para Jazz Odyssey en la que recordó y tocó solos de batería (1970) y sesiones de mediados de los 70 para Pablo y Denon. En sus últimos años se le conocía como "Papa" Jo Jones y se le consideraba un sabio aunque brutalmente franco anciano - Scott Yanow -All MUsic Guide

Tracks:
01 - Vamp 'til Ready (Jo Jones) 3:18
02 - You're Getting to Be a Habit with Me (Harry Warren, Al Dubin) 2:29
03 - Should I (Harry Warren, Arthur Freed) 2:47
04 - Sandy's Body (Harry Warren) 2:56
05 - Thou Swell (Lorenz Hart, Harry Warren) 3:35
06 - Show Time (Jo Jones) 3:33
07 - Liza (Ira Gershwin, Gus Kahn, George Gershwin) 2:39
08 - But Not for Me (Ira Gershwin, George Gershwin) 3:04
09 - Royal Garden Blues (Spencer Williams, Clarence Williams) 3:14
10 - Mozelle's Alley (Jo Jones) 3:00
11 - Sox Trot (Jo Jones) 3:26
12 - In the Forrest (Jo Jones, Jimmy Forrest) 2:38


Creits:
Harry Edison (tp),
Bennie Green (tb),
Jimmy Forrest (ts),
Tommy Flanagan (p),
Tommy Potter (b),
Jo Jones (d)

Total time: 36:39 min.

Note:
Recorded in New York City, April 19, 1960

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