This second installment in the Classics Charlie Parker chronology contains quite a number of Bird's best-loved and most respected recordings. The first 12 tracks, recorded in New York for the Dial label in October and November of 1947, are all masterpieces of modern music, with the ballads, especially "Embraceable You," constituting some of Parker's very best recorded work. This is the classic 1947 quintet with Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Even if his personal life was characteristically chaotic, 1947 was a good year for Charlie Parker's music. It was in November 1947 that this band hit the road to play the El Sino Club on St. Antoine Boulevard in Detroit. Unfortunately, Bird got really snockered and couldn't perform, so the El Sino management canceled the gig. Bird ultimately destroyed his saxophone by throwing it out of a hotel window onto the street below. (A tragic and disturbing image!) Back in New York, the band – now a sextet with the addition of trombonist J.J. Johnson – made six more sides for Dial on December 17, 1947.

Few would argue with the statement that there is not an excess of guitar-trombone duet albums. In fact, in terms of instrumentation, this date may very well be somewhat unique in jazz history. Trombonist J.J. Johnson had already been the pacesetter on his instrument for nearly 40 years at the time, while guitarist Joe Pass proved in the 1970s that he could make his axe fulfill all the roles of an orchestra. Still, the strong success of this inspired outing is a bit of a surprise. While Pass often adds walking lines behind Johnson, the trombonist sometimes plays long tones behind the guitarist's solos. Most exciting are the spots where the two share the lead equally. Other than Bud Powell's "Bud's Blues" and Johnson's "Naked as a Jaybird," the duo sticks to standards. But obviously, these versions sound quite a bit different than usual. Highlights include "Wave," "Limehouse Blues," "Nature Boy," and "When Lights Are Low."

Whatever Norman Granz was using as a thinking man's energy drink in 1957 when he formulated this Jazz at the Philharmonic all-star band should be bottled and sold to the world. This stroke of genius was manifested in pairing Stan Getz with J.J. Johnson, backing them up with pianist Oscar Peterson's legendary trio including bassist Ray Brown and guitarist Herb Ellis, and adding MJQ drummer Connie Kay to this truly classic jazz sextet. Two JATP concerts done in Chicago (in stereo) and Los Angeles (in mono) comprise this expanded edition CD, with some stretched-out jams, repeat tunes, and extra material. Originally tabbed as an unusual teaming of tenor sax and trombone, the two principals sound well-suited, very compatible in their dynamic levels, and especially congruous when they play together, while Peterson is absolutely supportive so that these two giants of jazz can cut loose…

Trombonist J.J. Johnson's 1960 sextet is featured on this Columbia CD. Most notable among the sidemen is a rather young trumpeter named Freddie Hubbard on one of his first sessions; also helping out are tenor saxophonist Clifford Jordan, pianist Cedar Walton, bassist Arthur Harper and drummer Albert "Tootie" Heath. Seven of the compositions (which are joined by Dizzy Gillespie's "Blue 'N' Boogie") are Johnson's and, although none caught on, "Mohawk," "In Walked Horace" and "Fatback" (which is heard in two versions) are all fairly memorable. The six songs on the original LP are joined by three others from the same dates.

J.J. Johnson finds himself at the helm of a dream band here - a full brass orchestra with French horns, euphoniums, tubas, and a harp - and gets to exploit its possibilities wherever they might lead. The results are beyond category, where the veteran trombonist's writing has a feathery richness, urbanity, and a depth charge in the bass reminiscent of, but not really indebted to, Gil Evans. There is plenty of straight-ahead jazz grooving but also several episodes of formal, almost classical writing, as in the suitably joyous "If I Hit the Lottery," and rigorous combinations of both, like the angular tribute to Béla Bartók, "Canonn for Bela." The generous Johnson doesn't even appear on a piece he commissioned from Robin Eubanks called "Cross Currents" - Eubanks performs the sputtering trombone solo - nor on Slide Hampton's blazing "Comfort Zone"…

This exciting CD has 20 diverse performances that were originally produced by Leonard Feather for the Victor label during 1946-47. The first eight selections feature various versions of Esquire's All-American Award Winners and have some unique combinations of musicians. "Long Long Journey" was the first record to match together Duke Ellington (who verbally introduces the song) and Louis Armstrong, and on "Snafu" Armstrong takes a surprisingly modern solo that hints at bebop. Trumpeter Charlie Shavers creates a remarkable improvisation on "The One That Got Away," ltoist Johnny Hodges plays beautifully on "Gone with the Wind" and other key players include tenor saxophonist Don Byas, trumpeter Buck Clayton, trombonist J.J. Johnson and tenor saxophonist Coleman Hawkins. In addition, there are selections featuring trombonist Jack Teagarden, the 52nd Street All-Stars (with Shavers, Hawkins and tenorman Allan Eager), the tenor of Lucky Thompson, trumpeter Neal Hefti, altoist Benny Carter, singer Mildred Bailey and solo piano records by Art Tatum and Erroll Garner. The mid-to-late '40s were a particularly rich period for jazz and this highly recommended CD is filled with gems.

This release contains the complete LP "Plays Mack the Knife" (1961), appearing here on CD for the first time ever. It presents Johnson fronting a quartet that includes Andre Previn on piano, Red Mitchell on bass and Frank Capp on drums -quartet recordings are not especially common in Johnson’s discography- playing songs by the celebrated Kurt Weill.
As a bonus, another complete LP by Johnson, "Trombone and Voices" (1960), which also appears here on CD for the first time.

Although released in the usually consistent Columbia Jazz Masterpieces series, this recording is a mere sampler of trombonist J.J. Johnson's 1957-60 recordings. The nine selections are drawn from four albums and, although there are some fine moments (most notably on "Misterioso," "Blue Trombone" and "What Is This Thing Called Love").

Featuring prime Latin jazz cuts from the heyday of the mambo, Afro Cuban Jazz: 1947-1960 is really a better than average showcase for one of the music's best: Machito. In fact, this disc contains 13 sides by Machito & His Orchestra, including two bebop gems featuring Charlie Parker ("Mango Mangue," "No Noise, Pts. 1-2"). That's not to overlook the presence of one of the supreme champions of Latin jazz, Dizzy Gillespie ("Manteca"), Stan Kenton and his mathematically frenetic bongo jams, and J.J. Johnson and Kai Winding teaming up for a couple of classics. Truthfully, however, the real meat here is heard on such Machito dancefloor fillers as "Oyeme" and "Minor Rama." So, when you've got a jones for jazz in a mambo mood, this disc will provide the needed salve.

The second of two Blue Note CDs contains two complete sessions that showcase trombonist J.J. Johnson. The first six titles (highlighted by "Old Devil Moon" and "Too Marvelous for Words") feature Johnson in a quintet with pianist Wynton Kelly, bassist Charles Mingus, drummer Kenny Clarke and the congas of Sabu. For the later session, there are also six titles (including "Pennies from Heaven" and "Portrait of Jennie") plus three alternate takes; Johnson is joined by Hank Mobley on tenor, pianist Horace Silver, bassist Paul Chambers and drummer Kenny Clarke. Both of these dates offer listeners excellent examples of the talents of the great trombonist who always played his instrument with the fluidity of a trumpet.

The CD reissue of the two volumes titled The Eminent Jay Jay Johnson straighten out his three Blue Note sessions of 1953-55 and add alternate takes. This particular CD concentrates exclusively on the trombonist's 1953 sextet date with the great trumpeter Clifford Brown, Jimmy Heath (who doubles on tenor and baritone), pianist John Lewis, bassist Percy Heath and drummer Kenny Clarke. The six titles (plus three alternates) are highlighted by "It Could Happen to You," "Turnpike" and a classic rendition of "Get Happy."

After the success of Song for My Father and its hit title cut, Horace Silver was moved to pay further tribute to his dad, not to mention connect with some of his roots. Silver's father was born in the island nation of Cape Verde (near West Africa) before emigrating to the United States, and that's the inspiration behind The Cape Verdean Blues. Not all of the tracks are directly influenced by the music of Cape Verde (though some do incorporate Silver's taste for light exoticism); however, there's a spirit of adventure that pervades the entire album, a sense of exploration that wouldn't have been quite the same with Silver's quintet of old…

One can fault this CD for having brief playing time (a dozen selections totaling less than 33 minutes) and for not including the alternate takes, but the music is beyond criticism. When trombonist J.J. Johnson burst on the scene in the mid-'40s, his speed, fluency and quick ideas put him at the top of his field, where he remained for over a half century. This 1992 CD has the trombonist's first three sessions as a leader, music that qualifies as classic bebop. Johnson is matched with either altoist Cecil Payne, baritonist Leo Parker or tenor great Sonny Rollins (on one of his first dates) in quintets that also include Bud Powell, Hank Jones or John Lewis on piano; Leonard Gaskin, Al Lucas or Gene Ramey on bass; and Max Roach or Shadow Wilson on drums…

The J.J. Johnson-Kai Winding quintet became one of the more unlikely successes of the mid-'50s, recording nine albums during their two years of steady collaborations. Their first Columbia LP (there would be five) has such likable songs as "Give Me the Simple Life," "Trombone for Two," "It's Sand Man," "Let's Get Away from It All" and "This Can't Be Love." With pianist Dick Katz, bassist Paul Chambers (who would soon join Miles Davis) and drummer Osie Johnson, the focus is almost entirely on the competitive but complementary trombonists. The results are bop-based but full of surprises, tasteful but not always predictable.