J.J. Johnson

J. J. Johnson (January 22, 1924 – February 4, 2001), born James Louis Johnson and also known as Jay Jay Johnson, was an American jazz trombonist, composer and arranger.

Johnson was one of the earliest trombonists to embrace bebop.

After studying the piano beginning at age 9, Johnson decided to play trombone at the age of 14.

In 1941, he began his professional career with Clarence Love, and then played with Snookum Russell in 1942.

In Russell's band, he met the trumpeter Fats Navarro, who influenced him to play in the style of the tenor saxophonist Lester Young.

Johnson played in Benny Carter's orchestra between 1942 and 1945, and made his first recordings in 1943 under Carter's leadership, recording his first solo (on "Love for Sale") in October 1943.

In 1944, he took part in the first Jazz at the Philharmonic concert, presented in Los Angeles and organized by Norman Granz.

In 1945, he joined the big band of Count Basie, touring and recording with him until 1946.

While the trombone was featured prominently in dixieland and swing music, it fell out of favor among bebop musicians, largely because instruments with valves and keys (trumpet, saxophone) were believed to be more suited to bebop's often rapid tempos and demand for technical mastery.

In 1946, bebop co-inventor Dizzy Gillespie encouraged the young trombonist's development: "I've always known that the trombone could be played different, that somebody'd catch on one of these days. Man, you're elected."

After leaving Basie in 1946 to play in small bebop bands in New York clubs, Johnson toured in 1947 with Illinois Jacquet.

During this period, he also began recording as a leader of small groups featuring Max Roach, Sonny Stitt and Bud Powell.

He performed with Charlie Parker at the 17 December 1947 Dial Records session, following Parker's release from Camarillo State Mental Hospital.

Following the mid-1950s collaboration with Winding, J. J. Johnson began leading his own touring small groups for about three years, covering the United States, United Kingdom and Scandinavia.

These groups (ranging from quartets to sextets) included tenor saxophonists Bobby Jaspar and Clifford Jordan, cornetist Nat Adderley, trumpeter Freddie Hubbard, pianists Tommy Flanagan and Cedar Walton, and drummers Elvin Jones, Albert "Tootie" Heath, and Roach.

From the mid-1950s, but especially the early 1960s on, Johnson dedicated more and more time to composition.

He became an active contributor to the Third Stream movement in jazz, (which included such other musicians as Gunther Schuller and John Lewis), and wrote large-scale works which incorporated elements of both classical music and jazz.

In 1951, with bassist Oscar Pettiford and trumpeter Howard McGhee, Johnson toured the military camps of Japan and Korea, before returning to the United States and taking a day job as a blueprint inspector.

Johnson admitted later he was still thinking of nothing but music during that time, and indeed, his Blue Note recordings as both a leader and with Miles Davis date from this period.

Johnson's compositions "Enigma" and "Kelo" were recorded by Davis for Blue Note, and Johnson was part of the Davis studio session band that recorded the jazz standard "Walkin'" in 1954 (the title track of a Davis album issued by Prestige).

In 1954, producer Ozzie Cadena, then with Savoy Records, convinced Johnson to set up a combo with trombonist Kai Winding: the "Jay and Kai Quintet".

The trombone styles and personalities of the two musicians, although very different, blended so well that the pairing, which lasted until August 1956, was a success both musically and commercially.

They toured U.S. nightclubs and recorded numerous albums.

In 1957, he recorded the quartet albums First Place and Blue Trombone, with Flanagan, Paul Chambers and Roach.

He also toured with the Jazz at the Philharmonic show in 1957 and 1960, the first tour yielding a live album, featuring Johnson and tenor saxophonist Stan Getz.

He contributed his "Poem for Brass" to a Third Stream compilation titled Music for Brass in 1957, and composed a number of original works which were performed at the Monterey Jazz Festival in the late 1950s and early 1960s.

The duo reunited again in 1958 for a tour of the UK, an Impulse! studio album in 1960 and, in 1968–1969, (two albums for CTI/A&M Records).

In 1958–59, Johnson was one of three plaintiffs in a court case which hastened the abolition of the cabaret card system.

This period overlaps with the beginnings of Johnson's serious forays into Third Stream music (see below).

Periods of writing and recording his music would alternate with tours demanding attention to his playing.

Following the six months he spent writing Perceptions (see below), Johnson entered the studio for a date with André Previn's trio (adding Johnson as the only horn).

They recorded an entire album of the music of Kurt Weill, released as Andre Previn and J. J. Johnson Play 'Mack The Knife' and Other Kurt Weill Songs.

The late 1960s saw a radical downturn in the fortunes of many jazz musicians, and Johnson was consequently heard almost exclusively on big band-style studio records, usually backing a single soloist.

In 1961, he composed a suite in six movements, titled Perceptions, with Gillespie as soloist.

In 1962, Johnson toured for a number of months with Davis' sextet of that year, which went unrecorded.

Johnson's 1963 album J. J.'s Broadway is an example of both his mature trombone style and sound, and his arranging abilities.

Johnson's album Proof Positive (1964) was the last recording of his working band for over 20 years.

Beginning in 1965, Johnson recorded a number of large group studio albums under his name, featuring many of his own compositions and arrangements.

In January 1967, Johnson and Winding were in an all-star line-up (alongside the likes of Clark Terry, Charlie Shavers and Joe Newman) backing Sarah Vaughan on her last sessions for Mercury Records, released as the album Sassy Swings Again, with three of the cuts, including Billy Strayhorn's "Take the "A" Train", being arranged by Johnson himself.

The duo also made some jazz festival appearances in Japan in the early 1980s, the last shortly before Winding died in May 1983.