The Eminent Jay Jay Johnson, Vol. 2
J.J. Johnson adapted the language of bebop to the trombone winning the admiration of Fats Navarro, Dizzy Gillespie, and Charlie Parker. After appearing on Miles Davis' first Blue Note session in 1952, Alfred Lion gave Johnson the chance to lead several of his own dates including a 1953 sextet date featuring trumpeter Clifford Brown, saxophonist Jimmy Heath, pianist John Lewis, bassist Percy Heath, and drummer Kenny Clarke; a 1954 quintet date featuring Wynton Kelly on piano, Charles Mingus on bass, conguero Sabu Martinez, and Clarke on drums; and a 1955 quintet date featuring Hank Mobley on tenor saxophone, Horace Silver on piano, Paul Chambers on bass, and Clarke once again on drums. In 1956, Blue Note transitioned from the 10-inch to the 12-inch LP and began the 1500 Series releasing two expanded collections of the trombonist's recordings including 'The Eminent Jay Jay Johnson, Vol. 2'.
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J.J. Johnson adapted the language of bebop to the trombone winning the admiration of Fats Navarro, Dizzy Gillespie, and Charlie Parker. After appearing on Miles Davis' first Blue Note session in 1952, Alfred Lion gave Johnson the chance to lead several of his own dates including a 1953 sextet date featuring trumpeter Clifford Brown, saxophonist Jimmy Heath, pianist John Lewis, bassist Percy Heath, and drummer Kenny Clarke; a 1954 quintet date featuring Wynton Kelly on piano, Charles Mingus on bass, conguero Sabu Martinez, and Clarke on drums; and a 1955 quintet date featuring Hank Mobley on tenor saxophone, Horace Silver on piano, Paul Chambers on bass, and Clarke once again on drums. In 1956, Blue Note transitioned from the 10-inch to the 12-inch LP and began the 1500 Series releasing two expanded collections of the trombonist's recordings including 'The Eminent Jay Jay Johnson, Vol. 2'.
