J.J. Johnson

Trombone · born 22 January 1924 died 4 February 2001

Click for Richard Cook Bio

Although he was born James Louis Johnson, he answered to 'JJ', a nickname picked up from his habit of initialling his arrangements, and he subsequently made JJ his legal name. He had begun writing charts while with Benny Carter's band in the early 40s, his first important engagement, although he had previously played with Fats Navarro in a touring group led by Snookum Russell. After leaving Carter in 1945, he spent a period with Count Basie and then settled in New York, working at the heart of the new bebop scene. By this time his trombone playing had matured from a fast, full-toned and declamatory manner into a very fast, light-bodied, supremely targeted delivery: nobody got around the horn with the same agility and on-the-nose accuracy as JJ. He mixed with the best of the boppers, turning up on some of Parker's Dial titles and leading his own dates for Savoy, while also touring with Illinois Jacquet's group (where Johnson was surprised to find the leader very interested in the new music and encouraging of the trombonist's adventures). He joined Dizzy Gillespie's big band in 1949 and was a part of the Miles Davis nonet, but music wasn't paying his bills and he stopped playing for a time to work as a blueprint inspector. On his return, in 1954, he cut some outstanding sessions for Blue Note, as well as playing masterful solos on Davis's Walkin' session for Prestige. But what turned his career around was forming a trombone duo with Kai Winding, the band coming to be called Jay and Kai. It lasted for only a couple of years (besides occasional reunions in the 60s), yet records for Prestige, Savoy and Columbia were all warmly received and the music — though rather blandly conceived around the simpatico tones of the two leaders — struck a chord with audiences. After this, Johnson led his own band and recorded for Columbia, wrote some large-scale works (Perceptions was one such, recorded with Dizzy Gillespie as principal soloist in 1961) and taught. After 1970, when he moved to Los Angeles, he became much more involved in film and TV scoring, and largely left jazz performance behind, though he sometimes played for fun. The price Johnson paid for his peerless virtuosity on the trombone was a soupçon of blandness: in his bebop heyday he often sounds as if he is improvising as some sort of academic exercise, and with the rise of a new expressionism on the trombone in recent years, his methods have to some extent gone out of style. Yet his choice of notes and the warmth of his delivery in his late-50s and early-60s music overcomes any worry that he is coasting through it, and there is much to be rediscovered in the records he made in this period. It was a pleasure to find him returning to more active duty as a leader-performer in the late 80s, and though there was a cloud cast over this time with the illness and subsequent death of his wife Vivian in 1992, his final records, including the lovely The Brass Orchestra (1996), find him in suitably magisterial voice. Sadly, depressed by a worsening illness of his own, he took his own life in 2001.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.

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