J.J. Johnson • A Touch Of Satin

 

Biography by Scott Yanow
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 1941-1942, and then spent 1942-1945 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 plenty of solo space during his stay with Count Basie's Orchestra (1945-1946). During 1946-1950, 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 (1947-1949), 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. Johnson, 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 (1952-1954). 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 Johnson and Winding 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 1961-1962, led some more 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 Downbeat polls in the 1970s, even though he was not playing at all. However, starting with a Japanese tour in 1977, Johnson gradually returned to a busy performance schedule, leading a quintet in the 1980s that often featured Ralph Moore. In the mid-'90s, he remained at the top of his field, but by the late '90s and early into the 2000s, the legendary musician fell ill with prostate cancer, and sadly took his own life on February 4, 2001.
https://www.allmusic.com/artist/jj-johnson-mn0000119111#biography

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Biografía de Scott Yanow
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 torpe, tocando con tanta velocidad y facilidad engañosa que en un momento algunos oyentes asumieron que estaba tocando trombón valvular (en lugar de slide). Johnson realizó una gira con las bandas territoriales de Clarence Love y Snookum Russell durante 1941-1942, y luego pasó de 1942 a 1945 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 tuvo mucho espacio como solista durante su estadía con la Orquesta de Count Basie (1945-1946). Durante 1946-1950, tocó con todos los mejores músicos de bop, incluido Charlie Parker (con quien grabó en 1947), la Dizzy Gillespie big band, Illinois Jacquet (1947-1949) y Miles Davis Birth of the Cool Nonet. Sus propias grabaciones de la época incluían acompañantes como Bud Powell y un joven Sonny Rollins. Johnson, 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 (1952-1954). 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 Johnson y Winding se separaran (más tarde tendrían algunas reuniones), Johnson dirigió un quinteto que a menudo incluía a Bobby Jaspar. Comenzó a componer obras ambiciosas, comenzando con "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 1961-1962, dirigió algunos grupos más pequeños propios y, a fines de los 60, se mantuvo ocupado escribiendo bandas sonoras para televisión y cine. J. J. Johnson era tan famoso en el mundo del jazz que siguió ganando encuestas pesimistas en la década de 1970, a pesar de que no tocaba en absoluto. Sin embargo, comenzando con una gira japonesa en 1977, Johnson regresó gradualmente a una apretada agenda de presentaciones, liderando un quinteto en la década de 1980 que a menudo presentaba a Ralph Moore. A mediados de los 90, se mantuvo en la cima de su campo, pero a fines de los 90 y principios de la década de 2000, el legendario músico enfermó de cáncer de próstata y lamentablemente se quitó la vida el 4 de febrero de 2001.
https://www.allmusic.com/artist/jj-johnson-mn0000119111#biography

Tracks:
A1 - Satin Doll
Written-By – D. Ellington - 4:28
A2 - Flat Black
Written-By – J.J. Johnson - 4:17
A3 - Gigi
Written-By – A. J. Lerner - F. Loewe - 3:19
A4 - Bloozineff
Written-By – J.J. Johnson - 3:38
B1 - Jackie-ing
Written-By – T. Monk - 4:19
B2 - Goodbye
Written-By – G. Jenkins - 2:08
B3 - Full Moon And Empty Arms
Composed By – S.Rachmaninoff - Written-By – B. Kaye*, T. Mossman - 4:30
B4 - Sophisticated Lady
Written-By – D. Ellington*, I. Mills*, M. Parish - 2:33
B5 - When The Saints Go Marching In 6:10


Credits:
Bass – Sam Jones
Drums – Lou Hayes -
Piano – Victor Feldman
Producer – Teo Macero
Trombone, Liner Notes – J.J. Johnson

Label: Columbia – CS 8537
Format:
Vinyl, LP, Album, Stereo
Country: US
Released: 1961
Genre: Jazz
Style: Swing, Post Bop
https://www.discogs.com/release/2992499-JJ-Johnson-Quartet-A-Touch-Of-Satin

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