Jay & Kai - J. J. Johnson / Kia Winding

 

Jay & Kai

Jay & Kai

J. J. Johnson / Kai Winding

Savoy MG-12010

1955

J. J. Johnson - Trombone

Kai Winding - Trombone

Billy Bauer - Guitar *

Charlie Mingus - Bass

Wally Cirillo - Piano **

Kenny Clarke - Drums

Ozzie Cadena

From the back cover: In Savoy's distinguished recording history, which precedes these notes by fifteen years, there have been many select moments when the all-elusive greatness of jazz has been captured, and, needless to say, the supervisors and directors here were quite proud of their achievements. These notable moments include, among others, the brilliant CHARLIE PARKER catalogue, the FATS NAVARRO sessions, the American debut of GEORGE SHEARING, the initial STAN GETZ recordings, ERROLL GARNER'S romps, and, of late, a marvelous PHIL URSO-BOB BROOKMEYER collaboration and a recent JOHNNY MEHEGAN pressing with CHUCK WAYNE. The list has been impressive; the finest artists have flourished under the Savoy aegis, and now we proudly offer to jazzdom another "great", in the fullest sense of the word's meaning.

Perhaps, as all things must have a prime cause, this album should be dedicated to its director, OZZIE CADENA, for certainly he, above all others, was the dominant force behind its formation. OZ is the newest and among the most "hip" A. & R. men in jazz today. As a former musician (piano and bass) he understands their dilemmas, the enigma of contribution and commercialism, and offers sympathetic assistance to the creative artist. It was he who first saw the potential of the groups assembled. OZ believed that in the search for "new" sounds, the trombone and guitar had been most overlooked, and resolved to do something about it. Not one, but two trombones were mentioned, and some guidnunc looked askance, but OZ repeated, "I can hear it, it'll be great." So, two trombones are heard. Then, the guitar was selected, omitting the standard piano, and eyebrows raised again. And again the same argument, "I can hear it." Finally, to compliment the group, the accepted bass and drums were added. After the group assembled and began to blow, we could all "hear it", and as Cadena predicted, "It's great."

Still further evidence of the Directors foresight can be found by scanning the personnel list:

Trombones: What, JOHNSON and WINDING in the same group? Yes, a record rarity indeed, listing the two foremost trombonists jazz has offered in the last decade. JAY and KAI are great friends, and welcomed the chance to play side-by-side, surely benefiting one another by the double advantage of combined talents. In describing these two peers, words seem to lack the power to convey their triumphs here but, as a sincere "fan" of both, I can truthfully say I've seldom heard them better.

Guitar: BILLY BAUER. For years the most trained ear and even the casual observer has been startled by the impeccable taste and beauty of BILLY's guitar, and both seem to agree his is the most mature guitar-voice to appear in jazz, comparable to the classicist Segovia. Suffice to say that BILLY maintains his apex-level here.

Bass: CHARLIE MINGUS. Anent MINGUS one thinks of a plexus of energy, his bristling activity, his wit, his sincerity, his ability and his genius. CHARLIE's work on this record demonstrates all these qualities, and his composition "REFLECTIONS," the most advanced structurally, marks his arrival as composer.

Drums: KENNY CLARKE. KENNY swings as though it were his own peculium, and on virtually all the numbers he acted as the fillip with the rest moving accordingly. Recognition has been long coming to "KLOOK" but his day arrived long after the "drum-clods" and "bombers" descended into the drummer's limbo.

Piano: WALLY CIRILLO. WALLY was one of the stars of a recent Jazz Workshop Concert, and very impressive with his melodic enterprise. As Commitments kept BAUER from the second session, this young pianist was selected, and he ably filled his role. WALLY's talent is evidenced in MINGUS' abstract work with its difficult piano part which WALLY sight-read, quite an achievement!

Of the themes employed, four are either originals or arrangements by J. J., "BERNIE'S TUNE," "LAMENT," "WHAT IS THIS THING CALLED LOVE" and "BLUES FOR TROMBONES;" two are WINDING expressions, "CO-OP" and "BLUES IN TWOS;" "THE MAJOR" is CIRILLO's and finally there is MINGUS' pensive abstraction, "REFLECTIONS." They are all played either with a happy zest, with excitement king for the moment, or with tender pathos. Overall the performances are outstanding contributions to our jazz culture, offered to those aware, the cogniscenti, who comprise the listening audience to music's most inspirational and eristic branch. – JACK MCKINNEY

Bernies Tune **

Lament *

Blues For Trombones *

The Major *

Co-op **

Reflections **

Blues In Twos **

What Is This Thing Called Love *