J.J. Johnson’s Exercises and Etudes for the Jazz Instrumentalist is probably not as celebrated an etude book as it should be. On the cover, the publisher Hal Leonard promotes it as “Easy to advanced,” and “Great for sight reading.” Certainly true, but J.J., after dedicating the book to Fred Beckett inside, makes this better explanation:

This method book is based primarily on my own personal experiences and career as a jazz trombonist, and therefore has very little to do with dogma or tenets…In my opinion, if jazz improvisation is the heart and soul of jazz music, then a clear and basic understanding of jazz syntax (or the language of jazz) is the necessary heart and soul of jazz improvisation. With this book I am committed to helping you get a basic and clear understanding of jazz syntax .

Naturally, it won’t be a surprise to see Johnson drawing on the blues as a musical form. He also sometimes uses the be-bopper’s idea of “contrafact,” or writing a new melody over an existing chord progression. You’ll have to guess — or hear — which tunes are used as underpinning, though. No chord progressions are given.

J.J. also sneaks in good advice, too. Over one etude, a reminder:

“How do you feel? Don’t overdue it. When your body is trying to tell you something, LISTEN !!! AND OBEY !!!

To sum up quickly, this is a fun, worthwhile, and thoroughly modern take on the traditional etude book. It’s available for all instruments, and is highly recommended.

• Originally named Weldon Leo, Jack Teagarden was born in Vernon, Texas, on August 20, 1905.
• Teagarden began studying music early in life. First came piano, then peckhorn. (The peckhorn looks like a small baritone horn, pitched in Eb rather than Bb.) Jack took up the trombone at the age of eight, and was reportedly proficient by the time he was eleven.
• The Teagarden family household was a musical one, mostly because of the influence of Jack’s mother, although Jack’s father did play (apparently weak) cornet in the town band. As the family grew, each of Jack’s new siblings took up a different instrument: Younger brother Charlie played trumpet, sister Norma became a pianist, and the youngest brother, “Cubby,” played the drums.

• Jack had perfect pitch and could, as sister Norma remembered, “Call off the overtones in a thunderclap.”
• Jack discovered his own way of playing trombone, making use of a flexible embouchure and alternate positions to get around the inherent clumsiness of the trombone slide. This general way of “getting around the horn” influenced many contemporaries of Jack, as well as future jazz trombonists such as Carl Fontana. The trombone sound Jack began to develop has often been described as a “jug tone,” slightly nasal and hoarse.
• While still a teenager, Jack began gigging around the Southwest with “barnstorming” bands, including Doc Ross’s “Jazz Bandits” and a band run by the famous but reclusive pianist Peck Kelley. Still unrecorded, Jack arrived in New York in 1927 with Doc Ross.
• While with Kelley, Jack created a way of playing the slide alone with a water glass in place of the bell. The technique, which changed all the usual slide positions, created a muted and earthy sound that Teagarden used expressively on a variety of tunes, especially the blues. One of the best examples of this amazing slide-with-glass playing is St. James Infirmary, from a 1947 concert recorded at New York City’s Town Hall.

• Jack became known as a masterful blues trombonist, and by his own account he became familiar with the sound of “blue notes” by listening to the African American holy-roller-tent-revival meetings that took place near his childhood home in Vernon.
• Louis Armstrong became a musical hero early on when Jack discovered the trumpeter’s records. Supposedly, Jack and trumpeter Wingy Manone buried a copy of Armstrong’s Oriental Strut in the Southwestern desert, hoping the record would become petrified for the benefit of future generations. Later, Teagarden would go on to perform with Armstrong many times.
• Jack first recorded with Louis Armstrong in 1929 — one of the earliest racially mixed sessions. The tune was a blues, Knockin’ a Jug.
• In 1944, Jack, with the help of his band, provided the soundtrack for two Walter Lantz Universal Cartoons: The Pied Piper of Basin Street and the Sliphorn King of Polaroo.
• Jack eventually recorded and performed with most of the major jazz musicians of his time, which kept him on the road throughout his life.
• Jack played with the following groups, among numerous others:

1. Ben Pollack, 1928-1932.
2. Paul Whiteman, 1933-1938.
3. Various editions of his own — sadly, mostly mis-managed and perpetually in-debt — big band, 1939-1946.
4. The Louis Armstrong All-Stars, 1947-1951.
5. His own small quasi-dixieland groups, one of which did a tour for the state department in 1958.

• Jack’s singing was just as beguiling as his trombone playing to many. Like his trombone sound, his voice had a distinctive timbre, “Between croon and moan,” as critic Nat Hentoff described it.
• Teagarden enjoyed tinkering with mechanical things. He designed mutes and mouthpieces, occasionally taking a lathe on the road with him. He owned and worked on two Stanley Steamers during his life, although one was stolen when he let a prospective buyer take it for a test drive.
• Teagarden supposedly originated the use of Ponds cold cream as a lubricant on trombone slides.

Teagarden Recordings

During his career, Teagarden recorded prolifically, and today you’ll find many compilations featuring “Big Tea.” If you’re looking for a good cross-section of Jack’s entire discography, this boxed set is a good one. The Complete Fifties Studio Recordings, with Bobby Hackett, are also not to be missed. For downloadable music, Jack Teagarden Greatest Hits is a great value.

Afro-Cuban

Leader: Kenny Dorham, Recording date: March 28, 1955

1. Afrodisia
2. Basheer’s Dream
3. Lotus Flower
4. Minor’s Holiday

• J.J. Johnson, trombone
• Kenny Dorham, trumpet
• Hank Mobley, tenor saxophone
• Cecil Payne, bass sax
• Horace Silver, piano
• Oscar Pettiford, bass
• Art Blakey, drums
• Carlos Valdez, percussion

Volume 2

Leader: Sonny Rollins, Recording date: April 14, 1957

Page for this recording at Wikipedia

1. Why Don’t I?
2. Wail March
3. You Stepped Out of a Dream
4. Poor Butterfly
5. Misterioso

• J.J. Johnson, trombone
• Sonny Rollins, Tenor saxophone
• Horace Silver, piano
• Paul Chambers, bass
• Art Blakey, drums

Cape Verdean Blues

Leader: Horace Silver, Recording date: October 22, 1965

Page for this recording at Wikipedia

1. Nutville
2. Bonita
3. Mo’ Joe

• J.J. Johnson, trombone
• Horace Silver, piano
• Woody Shaw, trumpet
• Joe Henderson, tenor saxophone
• Bob Cranshaw, bass
• Roger Humphries, drums

• Louis Armstrong
• John Coltrane
• Miles Davis

Of course, there’s also a Times Topic devoted to Sarah Palin, consuming valuable space that could be devoted to something else.

Incidentally, you might wonder how NPR came up with the great title, “A Blog Supreme.” Well, they had a contest to name the blog, but they conducted the contest after they had already come up with the obviously-fantastic “A Blog Supreme” name. Go figure.

Click to Play

Click to Play

There’s also a version of Jay and Kai playing It’s All Right With Me with a rhythm section that includes Tommy Flanagan on piano and Roy Haynes on drums. On what seems to be the same occasion, Dexter Gordon and Clark Terry join for I’ll Remember April, and Milestones. There are a few awkward Lost in Translation moments during the show as the musicians smile and “play along” with whatever is being said by the show hosts.

When I first saw and heard the YouTube clip, I thought the performance sounded familiar. Sure enough, I found that a CD I own contains the sound portion of the performance. Just to see if I could improve the sound of the video, I removed the original sound track in iMovie and applied the CD’s sound instead. The result does make the sound clearer, and the project is posted here in Quicktime form. Fortunately, J.J. “stomped” the tune off loudly enough on stage to make a fairly good audio sync possible, although it isn’t perfect.

Note that the video clip doesn’t include the entire performance. For that reason, you’ll hear the music continue after the clip ends.

(click movie to play)