Album Review: Justifiably JJ from John Fedchock

Album:  Justifiably J.J.
Artist:  John Fedchock
Label:  Summit Records
Website:  Johnfedchock.com
Facebook.com/JohnFedchockMusic
IG: @Johnfedchockofficial
Youtube.com/@JohnFedchockMusic
Summitrecords.com

For trombonist John Fedchock's eleventh album as a leader, he showcases a tribute to the trombone master J.J. Johnson’s Justifiably J.J., marking its centennial. The release is a collection of eight swinging compositions either written by or associated with Johnson. Rather than “re-imagining” Johnson’s music, Fedchock performs Johnson’s original arrangements in honor of the pioneer.

Johnson is noted for effectively fashioning the trombone's booming flair to be applied to the flexible tempo changes of the bebop style at a time when the trombone was popular in Dixieland and swing music.  Johnson is considered the first trombonist to adapt the trombone to the complexities of bebop, honing a legacy that has influenced jazz trombonists since. In 2024, in celebration of his 100th birthday, trombonists around the world have performed tributes dedicated to Johnson’s enduring contributions.

Performing with Fedchock on the recording are Steve Allee on piano, Jeremy Allen on bass, and Sean Dobbins on drums.  The jazz quartet creates a cozy after hours atmosphere on the recording that underscores their intuitive repartee and harmonious interplay.

The opening tune, “Naptown USA,” written and recorded by Johnson in 1956, is a contrafact of “Back Home Again in Indiana,” originally written in 1917.  The snapping drum strikes and bass pulls piping along the arrangement are dovetailed by the bopping pulse of Fedchock's trombone puffs and Allee's pulsating keys.  

The smooth cruising stride of “Short Cake” is trellised in Fedchock's flouncy trombone swirls then negotiates the swinging rhythm of "Lullaby of Jazzland," the only track not written by Johnson but by Manny Albam.  The fluid pumping in Allen's playing acts as a catalyst for the improvised phrasing of Fedchock's trombone and Allee's keys.

“Say When" has a joyful tempo buttoned up in the brisk shuffle of Fedchock's trombone and Allee's gyrating keys. The quartet slows the rhythm down to a languid gait along “Lament,” Johnson’s most famous composition, likely for the ruminating wails of the trombone, which Fedchock performs touchingly.  

“Minor Mist,” written in 1960, is a blissful piece that interpolates a sedate carriage with the ruffling rivulets of Fedchock's trombone, bringing the journey to an end with “Ten 85.” The title of track was derived from the house number of Johnson’s last Indianapolis address where he lived until his passing in 2001.  The unbridled energy of the rhythm section is high octane, rippling, surging, burning brightly, producing a forward motion throughout the track.

Though Fedchock means to bring the works of J.J. Johnson's into the modern jazz spotlight, the arrangements showcase Fedchock's own flexibility and dexterity to play these composed works with affection and reverence.  His approach creates harmony and unbridled energy while continually keeping the music in a forward motion, which has the effect of keeping the listener moving forward.  Interpolating improvisations with composed music is his true artistry.

Musicians:
John Fedchock - trombone
Steve Allee - piano
Jeremy Allen - bass
Sean Dobbins - drums