Jay Jay Johnson
Released - 1953
Recording and Session Information
WOR Studios, NYC, June 22, 1953
Clifford Brown, trumpet #1-4,6; Jay Jay Johnson, trombone; Jimmy Heath, tenor, baritone sax #1-4,6; John Lewis, piano; Percy Heath, bass; Kenny Clarke, drums.
BN503-3 tk.4 Capri
BN504-0 tk.5 Lover Man
BN505-0 tk.6 Turnpike
BN506-2 tk.11 Sketch One
BN507-0 tk.12 It Could Happen To You
BN508-0 tk.14 Get Happy
Session Photos
 |
| Rehearsal |
Photos: Francis Wolff
Track Listing
| Side One | ||
| Title | Author | Recording Date |
| Get Happy | Koehler-Arlen | June 22 1953 |
| Lover Man | Ramirez | June 22 1953 |
| Capri | Gigi Gryce | June 22 1953 |
| Side Two | ||
| Sketch 1 | John Lewis | June 22 1953 |
| Turnpike | Jay Jay Johnson | June 22 1953 |
| It Could Happen To You | Burke-Van Heusen | June 22 1953 |
Liner Notes
Notes from 5070
Jay Jay's companions on this date are Clifford Brown, the extraordinary young trumpet star from Wilmington, Delaware, already familiar to Blue Note listeners from numerous other LP appearances; Jimmy "Little Bird" Heath on tenor and baritone sax and his brother Percy Heath on bass; John Lewis, the brilliant pianist and arranger; and Kenny Clarke, paterfamilias of the modern drum school.
Get Happy is the 1929 Harold Arlen composition long familiar as a standard among jazzmen. Note the particularly happy blend on the release of the opening chorus and the loose agility of Jay Jay's two solo choruses. An interesting feature is the rhythmic suspension effect in the last eight measures of each chorus. Clifford Brown's solo shows a superb sense of continuity; John Lewis, too, turns in two fine choruses.
Lover Man, has been recorded dozens of times, but never more charmingly than in this trombone solo version, played by Jay Jay throughout except for an eight-bar piano interlude.
Capri is a fast original by former Hampton saxophonist Gigi Gryce. built on a rising and falling phrase. All four soloists handsomely; a special point of interest is the Jimmy Heath tenor solo which seems to suggest how he got his nickname. for his style is strongly reminiscent of the rare tenor saxophone contributions of Charlie Parker.
Sketch 1 might aptly be titled John Lewis' Mind At work. An ingenious sample of Lewis' ability to make the most out of a modest instrumentation. it employs a variety of approaches: Jimmy Heath playing a melodic baritone line against brass unison. Clifford Brown playing muted double-time effects against abrupt punctuations. a typical Jay Jay solo, then a return to the original slow mood and a simple unison horn ending.
By way of contrast Turnpike is built on a simple, jumping phrase around the tonic. Observe Clifford Brown's use of the "cycle of fifths" chord pattern on his second solo chorus; the others follow suit in their solos.
It Could Happen to You. Jay Jay performs this beautiful tune in a style that combines a respect for the melody with a reflection of his individual personality.
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