STREAM JOHN FEDCHOCK is one of the most accomplished trombonists on the scene today. The International Trombone Journal has said, “As a soloist, Fedchock’s playing is simply phenomenal. Flawless technique, a melodic approach, and a warm, lush tone are trademarks of his improvisational style. Fedchock achieves a sense of freedom and ease in his playing that defines true artistry.”
For his eleventh album as leader, Fedchock is releasing a tribute to innovative trombone master J.J. Johnson’s centennial. JUSTIFIABLY J.J. is a collection of eight swinging compositions either written by or associated with Johnson. And rather than “re-imagining” Johnson’s music, Fedchock opted to perform Johnson’s original arrangements in honor of the trombone giant.
JUSTIFIABLY J.J. was recorded live in Indianapolis, Indiana, the city where Johnson was born and died. Fedchock, who lives in New York City, also hails from the Midwest. He was born and raised in Ohio and feels a connection to the down-home soulfulness shared by all Midwest players. Joining him on this opus are three top players based in the Indianapolis area -- STEVE ALLEE on piano (Rufus Reid, Randy Brecker, David “Fathead” Newman, John Clayton), JEREMY ALLEN on bass (George Garzone, Jeff Rupert), and SEAN DOBBINS on drums (Benny Golson, Dr. Lonnie Smith, Frank Morgan, Joey DeFrancesco, George Cables). Fedchock says, “When the opportunity arose to celebrate J.J.'s life and music in Indianapolis, and to do it in the city's acclaimed jazz club, The Jazz Kitchen, I couldn't pass it up. Indy has produced a storied lineage of jazz icons, so I decided to enlist some of the top players in the area to insure an authentic hometown celebration. I was lucky enough to get the cream of the crop.”
Relatively few musicians have had such a wide-ranging impact on their instrument as Johnson. Although the trombone was popular in Dixieland and swing music, it lost its popularity among bebop musicians who believed it was not fit to negotiate the style’s rapid tempos. Johnson was the first trombonist to adapt the complexities of bebop to the trombone, creating a legacy that has influenced every trombonist since. It is not surprising that in 2024, in celebration of his 100th birthday, trombonists around the world have performed tributes dedicated to Johnson’s enduring contributions.
When Fedchock whole-heartedly agreed to celebrate Johnson’s life and music in Johnson’s hometown, he wasn’t thinking of making a tribute album. When the club's sound engineer asked Fedchock if he would like him to record the show live from the mixing board, Fedchock assumed it was simply to document the night. To his surprise, the engineer created a high-quality, multi-track recording of the show. Without the self-consciousness that sometimes seeps in when musicians know they are being recorded, JUSTIFIABLY J.J. benefits from the unbridled energy that comes from an uninhibited live performance.
Although Fedchock wanted to stay true to the spirit of Johnson’s music, it was not his intention to try to play like him. The music will sound familiar to jazz fans and aficionados of Johnson’s music, but it is clearly Fedchock’s imagination and mastery of his instrument that drives the music.
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. Fedchock has always liked the vibe of “Short Cake” because the harmonic key centers circle around throughout, revealing the composition’s actual key in the final measures. Recorded by J.J. in 1964, “Lullaby of Jazzland” by Manny Albam is the only tune on the album not penned by Johnson, but ingeniously composed in J.J.’s signature style. Fedchock says, “This tune proved to be a perfect vehicle for Jeremy's fluid bass playing. His wonderful phrasing led the whole group to follow in kind.”
The band gives Johnson’s “Kenya” an Afro-Cuban feel. Dobbin’s drum solo opens the number before the band joins in with a deep groove. Fedchock with Allee on piano give listeners a lesson in swing. “Say When,” which appeared on one of Johnson’s big band albums, is a joyful tune with bright harmony coupled with a brisk tempo. The band slows things down on “Lament,” Johnson’s most famous composition. Originally performed by Johnson and Kai Winding, the tune has been recorded by many musicians, most notably by Miles Davis.
“Minor Mist,” written in 1960, is a serene, understated tune. Its modal quality, which dwells on sounds and colors for lengthier periods of time, reflects the influence of Davis’ Kind of Blue album, which was released one year before. The tune provides a respite before launching into the album closer, “Ten 85.” The title of this barnburner was derived from the house number of Johnson’s last Indianapolis address where he lived until his passing in 2001. The song was included on his final recording in 1998, Heroes. Fedchock says, “With this tune being one of his final compositions and recorded on J.J.’s last album, the amount of life, energy, and forward motion is so significant, especially considering how close J.J. was to the end of his life. A true testament to the vitality of his inner spirit even at this late stage.”
The response from the audience and the high-energy performance by Fedchock and his band is palpable. JUSTIFIABLY J.J. is a fitting tribute from one trombone master to another, the innovative, definitive master of the trombone of the 20th century, J.J. Johnson.
JUSTIFIABLY J.J. will be available on selected platforms on all platforms on September 6, 2024. Physical copies will be available at www.summitrecords.com.
Online: Johnfedchock.com Facebook.com/JohnFedchockMusic IG: @Johnfedchockofficial Youtube.com/@JohnFedchockMusic
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