Centennial tribute to J.J. Johnson: John Fedchock's tasty quartet CD, recorded here

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 Why not start at home with "Justifiably J.J." (Summit Records), John Fedchock's tribute to a master

Light and shadow of top trombone: John Fedchock

trombonist? Here is my impression of the last of eight tracks, recorded when Fedchock came to town to celebrate the centenary of J.J. Johnson last March at the Jazz Kitchen.

The new disc closes with "Ten 85," memorializing the house number of  Johnson's last residence in his hometown. It's one of those compositions as  confirming of Johnson's immortality as his trombone playing.

It zips along as the theme unfolds, bright and life-affirming, before yielding to an exhibition of the fleet style Johnson developed as he showed that the nimbleness of bebop could be adapted to an instrument not by nature suited to it. He displayed the agility of the trumpet, without the need to extend the trombone's range ever upward.

In heading a quartet of Indiana jazz masters — pianist Steve Allee, bassist Jeremy Allen, drummer Sean Dobbins — the New York-based trombonist is fully up to the Johnson standard  as he surveys some major Johnson compositions (plus Manny Albam's "Lullaby of Jazzland") in this personal memorial. His three local colleagues are in step with the spirit and articulation of the originals.

The quartet's internal compatibility can be readily cited with its account of "Kenya," an African-inspired modal blues. It opens with some spirited, concisely idiomatic drumming by Dobbins before the band completely revels in the piece, with one of Allee's typically imaginative solos. 

I was struck several times by Fedchock's expansive phrasing, in which normal breaks between phrases are elided in order to give way to fresh ideas. They just seem to pour out of Fedchock's horn without strain or any evidence of having to search for something new.

Also impressive was the recording quality, not only in conveying the authentic Jazz Kitchen environment but also in putting all four instruments in balanced but formidable positions in the mix. It was especially fun to savor Allee's accompaniment skills. I have also sensed such competence in the club, but it was nice to have the piano boosted just enough so that Allee's logical, inventive harmonies and rhythmic support for the front man can be enjoyed.

The bassist comes through consistently well, too. Allen's solos have a crystalline cogency and zest that "Justifiably J.J." represents expertly. He is not among the bassists tempted to lay down too many notes. His playing is judicious, but never stilted or formulaic.

Fans of J.J. Johnson are legion, and not just in his hometown. Fedchock's suave tribute ought to be among several centennial salutes to the master trombonist-composer that will have special validity for a long time to come.



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