J.J. Johnson

小簡(jiǎn)介
長(zhǎng)號(hào)可以說(shuō)是最難適應(yīng)變化快速的bebop。但是神乎其技的J.J JOHNSON克服重重難題，證明了自己可以用這種別人看來(lái)笨重的樂(lè)器，也可以這樣快速，而且對(duì)細(xì)節(jié)又可以加以精準(zhǔn)的處理。他的表現(xiàn)讓人們對(duì)長(zhǎng)號(hào)另眼相看，不僅獲得廣大的樂(lè)迷，也受到樂(lè)評(píng)的欣賞。J.J JOHNSON 9歲的時(shí)候向教堂的管風(fēng)琴師學(xué)習(xí)音樂(lè)，到了中學(xué)時(shí)對(duì)音樂(lè)非常有興趣，當(dāng)時(shí)他最能接近的是低音薩克斯風(fēng)，在15歲時(shí)選擇了長(zhǎng)號(hào)。1940年與BennyCarter和Coun Basie的大樂(lè)團(tuán)做巡回演出，此時(shí)他也常在當(dāng)時(shí)紐約市的五十二街的俱樂(lè)部做演奏。他也曾參與Miles Davis的幾張經(jīng)典唱片的錄音。50年代初期曾短暫退出樂(lè)壇，1954年再與Kai Winding的伍重奏演出，他們之間密切的合作，專(zhuān)集Jay and Kai （Sony唱片）就是非常出色的作品。J.J JOHNSON 在作曲方面的表現(xiàn)也是很出色的。60年代時(shí)他開(kāi)始代自己的樂(lè)團(tuán)時(shí)，才專(zhuān)心開(kāi)始作曲的工作。1970年他來(lái)到加州定居，也為電視和電影作了不少曲子，他也一直保持自己的高質(zhì)的品味。J.J JOHNSON 對(duì)歌曲的細(xì)節(jié)有相當(dāng)?shù)拿翡J度，這是為何他會(huì)受到如此重視的另一個(gè)主要原因之一。J.J JOHNSON 是位偉大的爵士長(zhǎng)號(hào)大師，為長(zhǎng)號(hào)領(lǐng)域做出巨大貢獻(xiàn)。被譽(yù)為“伸縮號(hào)之王”。
by Scott Yanow
Considered by many to be the finest jazz trombonist of all time, J.J. Johnson somehow transferred the innovations of Charlie Parker and Dizzy Gillespie to his more awkward instrument, playing with such speed and deceptive ease that at one time some listeners assumed he was playing valve (rather than slide) trombone. Johnson toured with the territory bands of Clarence Love and Snookum Russell during 1941-1942, and then spent 1942-1945 with Benny Carters big band. He made his recording debut with Carter (taking a solo on Love for Sale in 1943), and played at the first JATP concert (1944). Johnson also had plenty of solo space during his stay with Count Basies Orchestra (1945-1946). During 1946-1950, he played with all of the top bop musicians, including Charlie Parker (with whom he recorded in 1947), the Dizzy Gillespie big band, Illinois Jacquet (1947-1949), and the Miles Davis Birth of the Cool Nonet. His own recordings from the era included such sidemen as Bud Powell and a young Sonny Rollins. Johnson, who also recorded with the Metronome All-Stars, played with Oscar Pettiford (1951) and Miles Davis (1952), but then was outside of music, working as a blueprint inspector for two years (1952-1954). His fortunes changed when, in August 1954, he formed a two-trombone quintet with Kai Winding that became known as Jay and Kai and was quite popular during its two years.
After Johnson and Winding went their separate ways (they would later have a few reunions), Johnson led a quintet that often included Bobby Jaspar. He began to compose ambitious works, starting with 1956s Poem for Brass, and including El Camino Real and a feature for Dizzy Gillespie, Perceptions; his Lament became a standard. Johnson worked with Miles Davis during part of 1961-1962, led some more small groups of his own, and by the late 60s was kept busy writing television and film scores. J.J. Johnson was so famous in the jazz world that he kept on winning Downbeat polls in the 1970s, even though he was not playing at all. However, starting with a Japanese tour in 1977, Johnson gradually returned to a busy performance schedule, leading a quintet in the 1980s that often featured Ralph Moore. In the mid-90s, he remained at the top of his field, but by the late 90s and early into the 2000s, the legendary musician fell ill with prostate cancer, and sadly took his own life on February 4, 2001.