Decision
Really Livin'
The J. J. Johnson Sextet
Columbia CL 1383
1959
J. J. Johnson - Trombon
Nat Adderley - Trumpet (Courtesy Riverside Records)
Bobby Jasper - Flute and Tenor Sax
Cedar Walton - Piano
James (Spanky) De Brest - Bass
Albert Heath - Drums
From the back cover: J. J. Johnson is undisputedly a giant of jazz. Few musicians have received the continuing acclaim and honors which J.J. has earned through his trombone sensitivity and virtuosity. To achieve greatness is a beautiful thing when done in the honest fashion of a true man, and this has been the Johnson route. To have the respect and admiration of your colleagues as well as of your more distant audience is the supreme compliment. Determined in his beliefs and direction in jazz, and continually gathering greater momentum, J. J. Johnson is Mr. Trombone of today.
The J. J. Johnson Sextet brings together for the first time on a J. J. album two men who have been featured on recent J. J. recordings, Nat Adderley and Bobby Jaspar. Nat has rightfully reached big name status on his instrument and will be setting new standards for jazz trumpet in the months and years ahead. "Cannonball's" brother really is moving, and he doesn't hesitate to prove a few more points with taste and skill on these selections. Soft-spoken Bobby Jaspar, Belgian jazz artist, completes the front line. If you were fortunate enough to hear him recently at New York's "Five Spot," you know he has quite a few continental things to say to us, not to repeat to us. Bobby is a perfect courier of the fine new jazz that is coming out of Europe.
The man with the intense and unyielding cymbal tap is Albert Heath, Percy's little brother. Familiar to J. J. audiences, Albert is metrically teamed with newcomer to the group, bassman "Spanky" De Brest on piano for J. J., rounding out this great young rhythm section. Red Cross, a Charlie Parker tune, features this trio, a tribute to them and to J. J.'s ability to spot the new stars. J. J.'s group is constantly reaching a wider and wider audience and without bending to the temptations of commercialism, a practice which he is willing to condone in others but which has no attraction for him. In aiming high, J. J. has experienced the reward of accumulating quite a list of new cities and clubs which he has recently visited, including his triumphant return to New York clubs after winning his and all musicians' battles against antique licensing systems. J.J. is widening his scope even further as a writer-arranger in the preparation of major jazz pieces such as those presented by him at the Monterey Jazz Festival.
The J. J. Johnson Sextet brings together for the first time on a J. J. album two men who have been featured on recent J. J. recordings, Nat Adderley and Bobby Jaspar. Nat has rightfully reached big name status on his instrument and will be setting new standards for jazz trumpet in the months and years ahead. "Cannonball's" brother really is moving, and he doesn't hesitate to prove a few more points with taste and skill on these selections. Soft-spoken Bobby Jaspar, Belgian jazz artist, completes the front line. If you were fortunate enough to hear him recently at New York's "Five Spot," you know he has quite a few continental things to say to us, not to repeat to us. Bobby is a perfect courier of the fine new jazz that is coming out of Europe.
The man with the intense and unyielding cymbal tap is Albert Heath, Percy's little brother. Familiar to J. J. audiences, Albert is metrically teamed with newcomer to the group, bassman "Spanky" De Brest on piano for J. J., rounding out this great young rhythm section. Red Cross, a Charlie Parker tune, features this trio, a tribute to them and to J. J.'s ability to spot the new stars. J. J.'s group is constantly reaching a wider and wider audience and without bending to the temptations of commercialism, a practice which he is willing to condone in others but which has no attraction for him. In aiming high, J. J. has experienced the reward of accumulating quite a list of new cities and clubs which he has recently visited, including his triumphant return to New York clubs after winning his and all musicians' battles against antique licensing systems. J.J. is widening his scope even further as a writer-arranger in the preparation of major jazz pieces such as those presented by him at the Monterey Jazz Festival.
The tunes in this album range from standards given the J. J. touch to a couple of stimulating J. J. originals. Me Too and Sidewinder fall into the latter category. J. J. gives a beautiful reading on a lightly swinging Stardust. The pace is up on Speak Low and Almost Like Being in Love, while Duke Ellington's I've Got It Bad and That Ain't Good lies just where it means the most. The unusual staccato figures of Decision belong to Sonny Rollins, and God Bless the Child will always belong to the great Lady who so recently left us. – Bob Morgan
Me Too
Decision
I've Got It Bad And That Ain't Good
Red Cross
Almost Like Being In Love
Stardust
Sidewinder
God Bless The Child
Speak Low
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