The Trombone Master - No Lie!

2/27/11 – The Trombone Master (J. J. Johnson)

Sometimes you need to stand with your nose to the window and have a good look at jazz. And I've done that on many occasions.

 – J. J. Johnson

Little known fact – I, for a brief and equally futile time in college studied trombone.  This is not to say that I at any point considered myself to be a trombonist.  Rather, as a music composition major that had already passed his piano proficiency exam, I was encouraged to “float” my instrumental secondary classes – that is to take a different instrument.  The idea was that, as a composer, this would give me a feel for the different instruments that at one time or another I would be writing for.  In practice, this turned out to be a waste of my time and that of the poor teaching fellows that had to deal with me.  While I appreciated the exposure, the practicality of picking up a new instrument every semester or so and studying it at the largest music school in the country is absurd.  Had I to do it all over again, I probably should have stuck to organ or mallet percussion or something like that.  Ah well,

Listening to J. J. Johnson’s collection of works gathered here, I’m taken back to those days at UNT.  Trombones, while an integral part of the jazz large ensemble, are the most rarely featured member of the ensemble.  Especially in bebop and post-swing music, the forte of the UNT jazz program, the slide mechanism was simply too cumbersome and lacked the agility of the valved or keyed winds.  Johnson, however defies that assessment and creates such fluid melodies with the deft skill of any saxophonist or jazz trumpeter.  And man, can he blow!  When he digs into the opening track here, “Misterioso,” he holds his own opposite coronetist Nat Adderley.  His facility with the slide trombone is unlike anyone I have heard before.

While Johnson is considered to be one of the few bebop trombonists, his sense of harmony and rhythm almost feel cool or post-bop.  They play closer to the tonal center, and the notes have plenty of time to “sing” on their own.  For example on the mild swinging “Laura,” his articulation says “bebop,” but his harmonic language says “swing era” all the way.  The combination of the two styles works rather well I must say.

“What is This Thing Called Love” seems to feature Johnson less (although he does solo for a brief bit,) and moreso on the whole ensemble, delegating solos also to his pianist and drummer.  The latter goes on a bit too long, but it’s the very rare percussion solo that keeps me rapt at attention.  “My Old Flame” starts with a luscious piano solo before Johnson joins with an equally smoky and rich tone.  And of course, if you hadn’t pcked up on my affinity for ballads, then you may not as readily understand why I love this piece.

“Blue Trombone” is obviously the focal point of the album (given both it’s central location in the listing nd the sheer length – easily 3 times or so easier to find.  Still it’s glorified 12-bar blues structure just seems a bit over-played at times.  “What’s New,” however, brings the ballad a new twist, at least timbraly.  Johnson’s solo through both the head and solos thereafter is exclusively performed with a muted trombone.  (Cup I believe, but don’t quote me on that.)  The slightly more “stuffed” tone seems to age the instrument artificially, as if one were listening to the performance over an old RCA victrola.

“Satin Doll” has never been one of my favorite tunes, and there is nothing in this performance that’s going to change that status any time soon.  The treatment is “correct” enough, but not earth shattering.  It just lacks depth I guess.  Not so with “Cry Me a River.”  While faster and more aggressive than the ballad I’m used to hearing this tune as, it works remarkably well here.

The closing track, simply entitled “Goodbye” is a brief piece, and a genuine send off for the album.  Again, the muted trombone sings a gentle tune, this time accompanied by bass, drums, and vibraphone.  A lovely piece and a soft, gentle end to the recording.

Perhaps if I had been exposed to J. J. during my semester of trombone, I would have accomplished more that semester.  Perhaps not.  But at any rate, hearing it now increases greatly my respect for this oft neglected instrument in the jazz realm.  A solid work here by another true virtuoso on his instrument.  

Tomorrow – Tchaikovsky: The Nutcracker

Next week – The Very Best of Manhattan Transfer