Cashbox : 02/25/1961

Am-Par unveils its new Impulse jazz line with the wonderful reuniting of the popular trombone duo of a few years ago. If billing means anything, the group’s title should be reversed (as it was originally) for Johnson is still by far the most articulate and original trombone voice in jazz today. Together, and with top assistance from Bill Evans, Paul Chambers, Roy Haynes and others, they provide exciting jazz moments on Georgia On My Mind, Just For A Thrill, Trixie and eight others. Should be a top-selling item.

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Charlotte News
Jerry Reece : 02/11/1961

For Homebodies: More and more, good and better jazz are arriving in town daily. The array and selection is becoming dizzying.

We mentioned last week a new label, Impulse, that’s kicking off with four really find packages. Ray Charles Genius Plus Soul and Gil Evans Out of the Cool were reviewed here.

The remaining two albums contain work by a hornman who’s become somewhat a local favorite – Kai Winding.

Kai visited Charlotte twice during 1960, once for a J.C. Smith concert and the second for a week’s stand at the Starlite supper club.

Kai and J.J. Johnson, a combination that was very popular several years ago, have joined forces again in one called The Great Kai & J.J..

These two outstanding trombonists take up right where they left off. It’s really amazing how great a sound their horns make whether played in counterpoint or harmony.

And what is even rarer – that two outstanding soloists can share a mike to do such close-knit duets.

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Down Beat : 04/27/1961
John S. Wilson : 3.5 stars

The reunion of Kai and J.J. is full of the rich, burnished sound that they can both produce, particularly in an ensemble. But it also has some of the rather desperate trading of fours while switching mutes that they were reduced to when they were jointly leading their own group several years ago.

The amount of variety that can be produced by two trombones is limited, and quite obviously something has to be done to sustain two sides of an LP. To that end, there is some good material here, several light, unprepossessing spots of Bill Evans‘ piano and a lot of polished blowing by both Winding and Johnson. But since both men are stylistically both quite similar, the constant tromboniness can become oppressive. If you can’t get too much tromboning, add another star to the rating, for these are well played, thoughtfully conceived performances.

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Liner Notes by Dick Katz
December, 1960

“I don’t know anything about music, but I know what I like.”

This bon mot is usually attributed to the celebrated Common Man, and while the sophisticate might wince upon hearing such a bromide, an element of truth is present. The sentence often indicates that knowing how music is made does not necessarily assure one’s enjoyment, or even enlightenment. The intellectual, armed with the tools of musical analysis, will not experience music any more intensely than someone not blessed with musical scholarship – if the conditions for being “moved,” or emotionally stimulated, do not occur in the music. Indeed, knowing too much can actually interfere with hearing the music. You see, music has to do with feelings and the knowledge of what makes it tick should be a bonus that adds to or enhances the listener’s understanding. It should never be a substitute for emotional involvement.

Now, the “conditions” referred to above are what concern us here. Good jazz does not come out of the air like magic. True, a genius sometimes creates this illusion, but in the main, it is the result of an artistic balance between the planned and the unplanned. Even the great improvisor is very selective, and constantly edits himself.

Throughout the relatively short history of jazz, many of the great performances have been ensemble performances where the improvised solo was just a part of the whole. This tradition of group playing, as exemplified by Henderson, Basie, Ellington, Lunceford, John Kirby, Benny Goodman‘s small groups, the great midwestern and southwestern bands, big and small (Kansas City, et. al), almost came to a rather abrupt halt with The Revolution. And that is exactly the effect Charlie Parker, Dizzy Gillespie and their colleagues (J.J. Johnson among them) had on jazz music. Their extreme improvising virtuosity seemed to take the focus off the need to play as a group. But herein lies the irony – the precision with which they played their complex tours de force was due in large measure to the extensive ensemble experience they gleaned as members of disciplined bands like Hines, Eckstine, etc. It was their talented, and not-so-talented, followers who often missed the point. Musically stranded without the opportunity to get the type of experience their idols had (due to many factors, economic and otherwise), they resort to all they know hw to do – wait their turn to play their solos. This type of waiting-in-line-to-play kind of jazz has nearly dominated the scene for many years. Although it has produced an abundance of first-rate jazzmen, many excellent performances, and has advanced some aspects of jazz, the lack of organization has often strained the poor listener to the point where he doesn’t “know what he likes.”

So, in 1954, when J.J. Johnson and Kai Winding formed their now celebrated partnership, one of their prime considerations was to help remedy this chaotic state of affairs. Both men, in addition to being the best modern jazz trombone stylists around, were fortunate enough to have had considerable big and small band experience. They astutely realized that a return to time-tested principles was in order.

Variety, contrast, dynamics, structure (integrating the improvised solos with the written parts) – these elements and many others which give a musical performance completeness – were accepted by Kai and J.J. as both a challenge and an obligation to the listener. This awareness, combined with their individual composing and arranging talents, plus an uncanny affinity for each other’s playing, made their success almost a certainty. That success is now a happy fact. From their Birdland debut in 1954 to their climactic performance at the 1956 Jazz Festival at Newport, they built up an enviable following. Also, they have created an impressive collection of impeccable performances on records. That they overcame the skeptical reaction to the idea of two trombones is now a near-legend. One only need listen to any of these performances to demonstrate once again the old adage – “It ain’t what you do, but the way that…”

The respective accomplishments of J.J. and Kai have been lauded in print many times before. Their poll victories, festival and jazz-club successes are well known. Not so obvious, however, is the beneficial effect they have had on jazz presentation. Their approach to their audience, the variety of their library (a good balance between original compositions and imaginative arrangements of jazz standards and show tunes), together with their marvelous teamwork, helped to wake up both musicians and public alike to the fruits of organized presentation. With the jazz of the future, organization will be an artistic necessity; the future of jazz will be partially dependent on it, as is every mature art form.

Hearing this album, one could easily be led to believe that J.J. and Kai have been working together all along. The precision with which they perform is usually found only in groups that have worked together for a long time. Actually, they have played together very little in the last few years, both having been occupied with their respective groups – J.J. with his quintet, and Kai with his four-trombone and rhythm combination. However, it is quite evident from these performances that both have continued to grow musically and bring an even greater finesse and seasoning to their work. This is a welcome reunion.

What can’t be verbalized are the feelings expressed in the music. That’s where you, the listener, are on your own.

The supporting players on this album are exceptional. Considering their respective musical importance, their work here should be no surprise.

Bill Evans is, in my opinion, probably the finest jazz pianist to rise to prominence in recent years. He is one of the few pianists since Art Tatum to incorporate successfully elements usually associated with European music into a completely personal and natural style. His work with Miles Davis, and more recently with his own trio, has brought him well-deserved acclaim from every corner of the jazz world.

Bassist Paul Chambers enjoys similar status. He has been the rhythmic and harmonic keystone of some of the most important jazz performances of the last five years – mostly with the Miles Davis Quintet-Sextet. Not yet out of his twenties, Paul is already a far-reaching musical influence, not only on other bassists, but on other instrumentalists as well.

Bassist Tommy Williams is relatively new to the recording scene. This writer had the good fortune to be associated with him when we were both part of the trio that accompanied singer Carmen McRae during 1959. It is my conviction that Tommy is almost without peer among the newer bass players. He plays with great sensitivity, finesse and authority. Currently featured with the Benny Golson–Art Farmer Jazztet, the reader is advised to remember his name.

Roy Haynes is unquestionably one of the five or six greatest drummers in this history of modern jazz. He combines a shimmering light touch on the cymbals (a real rarity) and an adroit left hand with a very fast ear, to express a unique and extremely creative style. He has the poise and grace of a fine dancer and his work is often characterized by this kind of dance-like effect. He was associated with singer Sarah Vaughan for many years, and has been with Thelonious Monk much of the time recently. He is currently leading his own group. Ironically, he is grossly underrated, and it’s about time the jazz public, critics included, recognized a great talent.

Arthur Taylor, who shares drum duties on this album with Haynes, is coming into his own as one of the most sought-after drummers on the scene. He has had much experience with innumerable jazz greats such as Coleman Hawkins, Bud Powell, Miles Davis and Thelonious Monk, and enjoys high esteem among his fellow practitioners. His playing is characterized, among other qualities, by a powerful beat.

The Music
Side One

1. This Could Be the Start of Something
This fine arrangement by Kai could start something à la It’s All Right With Me, which was a hit Kai & J.J. record. It features a typical Kai and J.J. “chase” and a good Bill Evans solo. Note also, Roy Haynes’ floating quality on the opening ensemble.

2. Georgia On My Mind
A deft arrangement by Kai of the beautiful Hoagy Carmichael standard, reminiscent of the hit record by Ray Charles, complete with gospel-like effects. After a fine Bill Evans intro, Kai plays the first chorus, J.J. the release, Kai the last eight bars, and then J.J. plays a moving obbligato to Kai’s lead.

3. Blue Monk
This is a favorite of the jazz connoisseur… a Thelonious Monk classic. A beautiful Bill Evans piano intro leads into an ingenious arrangement by J.J. Note the beautiful voice leading. Kai takes the first chorus, then J.J. solos.

4. Judy
This song is named after J.J. Johnson’s niece, and is a really beautiful piece composed and arranged by him. Jay takes the first chorus, followed by Kai. Take notice of the interesting bass figures behind the solo.

5. Alone Together
This exceptionally pretty ballad by Arthur Schwartz and Howard Dietz is given an unusually sensitive rendition here. J.J. wrote the arrangement, and he solos first. Kai follows, J.J. returns, and then Kai plays lead melody while J.J. plays an obbligato.

6. Side By Side
Real Kai and J.J. fans will be reminded of their version of Yes, Sir, That’s My Baby! which was a favorite not too many years ago. Kai also did this whimsical arrangement as he did the aforementioned tune. It’s J.J.’s solos to the release. Kai takes it through the last eight bars. Then J.J. again, then Kai.

Side Two

1. I Concentrate On You
This arrangement by Kai features ingenious and endless diversity in use of different mutes. The tonal variety achieved is amazing. There is another excellent solo by Bill Evans.

2. Theme From Picnic
Two contrasting melodies arranged by Kai. J.J. and Kai solo in that order. Note Bill Evans’ effective use of block chords in carrying out his melodic scheme.

3. Trixie
A very imaginative sojourn into 3/4 time, composed and arranged by J.J. It has overtones of the gospel-like feeling now prevalent in a lot of today’s jazz. Note how the meter seems to “turn around” in places. J.J. solos first, then Kai.

4. Going, Going, Going!
This bit of humor from Kai could be a sequel to his successful Gong Rock from a previous album. Let your imagination loose and conjure up your own program. Note Bill Evans’ mysterioso scales during the first ensemble. I have been assured that J. Arthur Rank had nothing to do with the authentic gongs used on this tune.

5. Just For A Thrill
This fine Lil Armstrong tune was arranged by Kai, who plays the lead, followed by J.J. playing the lead while Kai accompanies on a mute.