JOHAH
JONES - MASTERWORKS
Muted Jazz and Hit Me Again
Blue Moon BMCD 845
Collective personnel
Jonah Jones ( tpt / vocal ) George Rhodes ( pno ) Teddy Brannon ( pno ) Hank Jones ( pno ) John Brown ( bass ) Harold Austin ( drs ) George “Pops” Foster ( drs )
Recorded New York City, December 1957, January, April, September & November 1958, August 1959 & 1960
Swingin’ at the cinema & I dig chicks
Blue Moon BMCD 846
Collective personnel
Jonah Jones ( tpt / vocal ) George Rhodes ( pno ) Teddy Brannon ( pno )John Brown ( bass ) Harold Austin ( drs ) George “Pops” Foster ( drs )
Recorded New York City, June, July & November 1958
Jumpin’ with Jonah & Jonah jumps again
Blue Moon BMCD 847
Collective personnel - Jonah Jones ( tpt / vocal ) George Rhodes ( pno ) Hank Jones ( PNO ) Teddy Brannon ( pno ) John Brown ( bass ) Harold Austin ( drs ) George “Pops” Foster ( drs )
Recorded New York City, January, April & September 1958
Swingin’ round the world & Jumpion’ with a shuffle
Blue Moon BMCD 848
Collective personnel
Jonah Jones ( tpt /vocal ) Teddy Brannon ( pno ) John Brown ( bass ) George “Pops” Foster ( drs )
Recorded New York City, 1958 & 1959 plus Las Vegas 1960
Swingin’ on Broadway & Broadway swings again
Blue Moon BMCD 849
Collective personnel
Jonah Jones ( tpt / vocal ) George Rhodes ( pno ) Teddy Brannon ( pno ) John Brown ( bass ) Harold Austin ( drs ) George “Pops” Foster ( drs )
Recorded New York City, December 1957 & September 1961
A touch of blue & Great instrumental hits styled by Jonah Jones
Blue Moon BMCD 850
Personnel
Jonah Jones ( tpt / vocal ) Teddy Brannon ( pno ) John Brown ( bass ) George “Pops” Foster ( drs ) Swingiest Chorale ( vocals )
Recorded New York City, 1960-1961
Jonah Jones with Glen Gray & the Casa Loma orchestra & That righteous feeling
Blue Moon BMCD 8951
Collective personnel
Glen Gray & the Casa Loma orchestra
Jonah Jones ( tptAlo Porcino ( tpt ) Joe Graves ( tpt ) Conrad Gozzo ( tpt ) Uan Rasey ( tpt ) Shorty Sherrock ( tpt ) Mannie Klein ( tpt ) Milt Bernhart ( tmb ) Ken Shroyer ( tmb ) Joe Howard ( tmb ) Lew McCrery ( TMB ) George Roberts ( tmb ) Abe Most ( clt / alto ) Skeats Herfurt ( alto ) Plas Johnson ( tnr ) Babe Russin ( tnr ) Chuck Gentry ( bar ) Jack Marshall ( gtr ) Ray Sherman ( pno ) Mike Rubin ( bass ) Morty Corb ( bass ) Nick Fatool ( drs ) Benny Carter ( arr )
Recorded los Angeles, December 1961
Jonah Jones ( tpt ) Andre Persiani ( perc ) Dick Hyman ( organ / pno ) Bob Bain ( gtr ) Howard Roberts ( gtr ) John Brown ( bass ) Danny Farrar ( drs ) The Jubilee Four ( vocals )
Recorded Los Angeles, November 1962
Jonah Jones ( tpt ) Teddy Brannon ( pno ) John Brown ( bass ) George “Pops” Foster ( drs ) June Christy ( vocals )
Recorded Los Angeles, October 1960
Muted Jazz and Hit Me Again
Blue Moon BMCD 845
Collective personnel
Jonah Jones ( tpt / vocal ) George Rhodes ( pno ) Teddy Brannon ( pno ) Hank Jones ( pno ) John Brown ( bass ) Harold Austin ( drs ) George “Pops” Foster ( drs )
Recorded New York City, December 1957, January, April, September & November 1958, August 1959 & 1960
Swingin’ at the cinema & I dig chicks
Blue Moon BMCD 846
Collective personnel
Jonah Jones ( tpt / vocal ) George Rhodes ( pno ) Teddy Brannon ( pno )John Brown ( bass ) Harold Austin ( drs ) George “Pops” Foster ( drs )
Recorded New York City, June, July & November 1958
Jumpin’ with Jonah & Jonah jumps again
Blue Moon BMCD 847
Collective personnel - Jonah Jones ( tpt / vocal ) George Rhodes ( pno ) Hank Jones ( PNO ) Teddy Brannon ( pno ) John Brown ( bass ) Harold Austin ( drs ) George “Pops” Foster ( drs )
Recorded New York City, January, April & September 1958
Swingin’ round the world & Jumpion’ with a shuffle
Blue Moon BMCD 848
Collective personnel
Jonah Jones ( tpt /vocal ) Teddy Brannon ( pno ) John Brown ( bass ) George “Pops” Foster ( drs )
Recorded New York City, 1958 & 1959 plus Las Vegas 1960
Swingin’ on Broadway & Broadway swings again
Blue Moon BMCD 849
Collective personnel
Jonah Jones ( tpt / vocal ) George Rhodes ( pno ) Teddy Brannon ( pno ) John Brown ( bass ) Harold Austin ( drs ) George “Pops” Foster ( drs )
Recorded New York City, December 1957 & September 1961
A touch of blue & Great instrumental hits styled by Jonah Jones
Blue Moon BMCD 850
Personnel
Jonah Jones ( tpt / vocal ) Teddy Brannon ( pno ) John Brown ( bass ) George “Pops” Foster ( drs ) Swingiest Chorale ( vocals )
Recorded New York City, 1960-1961
Jonah Jones with Glen Gray & the Casa Loma orchestra & That righteous feeling
Blue Moon BMCD 8951
Collective personnel
Glen Gray & the Casa Loma orchestra
Jonah Jones ( tptAlo Porcino ( tpt ) Joe Graves ( tpt ) Conrad Gozzo ( tpt ) Uan Rasey ( tpt ) Shorty Sherrock ( tpt ) Mannie Klein ( tpt ) Milt Bernhart ( tmb ) Ken Shroyer ( tmb ) Joe Howard ( tmb ) Lew McCrery ( TMB ) George Roberts ( tmb ) Abe Most ( clt / alto ) Skeats Herfurt ( alto ) Plas Johnson ( tnr ) Babe Russin ( tnr ) Chuck Gentry ( bar ) Jack Marshall ( gtr ) Ray Sherman ( pno ) Mike Rubin ( bass ) Morty Corb ( bass ) Nick Fatool ( drs ) Benny Carter ( arr )
Recorded los Angeles, December 1961
Jonah Jones ( tpt ) Andre Persiani ( perc ) Dick Hyman ( organ / pno ) Bob Bain ( gtr ) Howard Roberts ( gtr ) John Brown ( bass ) Danny Farrar ( drs ) The Jubilee Four ( vocals )
Recorded Los Angeles, November 1962
Jonah Jones ( tpt ) Teddy Brannon ( pno ) John Brown ( bass ) George “Pops” Foster ( drs ) June Christy ( vocals )
Recorded Los Angeles, October 1960
These seven CDs which contain fourteen Lps would appear to contain
all Jonah Jones recordings which were released on Capitol Records during the
early sixties. They were aimed at a wider market than the usual jazz audience
which of course was reflected in the content of the recordings.
Although some of the recordings fall far beyond anything that would interest the mormal jazz buying customer Jonah Jones contribution never fall below immaculate, he has a well rounded sound even when playing with a mute and falls into the same category as trumpet players such as Bobby Hackett, Billy Butterfield and Ruby Braff.
All the album covers reflect the type of illustrations that were prevalent in the Sixties with -plenty of female which were designed to catch the attention of the record buying public.
On “Muted Jazz” and “Hit me again” the repertoire is taken from mostly well known standard numbers, the rhythm section although adequate is a little stodgy at times with the bass over emphatic
On “I can’t get started” Jonah Jones plays open trumpet and although he doesn’t stray too far from the melody it’s as good a mainstream version as you are likely to hear.
Some numbers have Jonah Jones vocals on which he displayed a fine musical voice with which he displays a well developed ability to swing.
The up tempo version of Charlie Shavers’ “Undecided” shows off Jonah Jones technical virtuosity in the high register On ”Jonah’s blues he demonstrates his affinity for blues playing with some impressively held long notes.
Hank Jones takes over the piano chair on “Moten swing” and “Do you know what it means to miss New Orleans” which raises the quality of the section and his backing behind Jones on the second number seems to inspire the trumpet player.
Jonah Jones’ vocal on “I’ll always be in love with you” has an infectious quality and is by a trumpet solo which is probably his best on the album.
This is a fairly straight ahead trumpet and rhythm album with a good selection of well known tunes, the bonus is some fine mainstream trumpet playing with plenty of variety.
“Swingin’ at the cinema” and “I dig chicks” is very much a rerun of the first release, the tunes on the first LP are all associated in one form or another as the title suggests with the cinema. On the second one all rely on girls names except the title t5rack “I dig chicks”.
“Tammy” on the face of it would seem an unlikely vehicle for a jazz performance but Jonah Jones plays some very melodic trumpet with a supportive rhythm section.. “Love is a many splendid thing” is taken at a rollicking tempo but it works well with some hot trumpet from Jonah Jones.
Jonah Jones supplies a laid back vocal for “Three coins in the fountain” accompanying himself on trumpet by the means of dubbing which works well and lifts the tune out of it’s usually syrupy approach.
George Rhodes piano backing on these tracks is something of an improvement on the more usual Teddy Brannon.
Although some of the recordings fall far beyond anything that would interest the mormal jazz buying customer Jonah Jones contribution never fall below immaculate, he has a well rounded sound even when playing with a mute and falls into the same category as trumpet players such as Bobby Hackett, Billy Butterfield and Ruby Braff.
All the album covers reflect the type of illustrations that were prevalent in the Sixties with -plenty of female which were designed to catch the attention of the record buying public.
On “Muted Jazz” and “Hit me again” the repertoire is taken from mostly well known standard numbers, the rhythm section although adequate is a little stodgy at times with the bass over emphatic
On “I can’t get started” Jonah Jones plays open trumpet and although he doesn’t stray too far from the melody it’s as good a mainstream version as you are likely to hear.
Some numbers have Jonah Jones vocals on which he displayed a fine musical voice with which he displays a well developed ability to swing.
The up tempo version of Charlie Shavers’ “Undecided” shows off Jonah Jones technical virtuosity in the high register On ”Jonah’s blues he demonstrates his affinity for blues playing with some impressively held long notes.
Hank Jones takes over the piano chair on “Moten swing” and “Do you know what it means to miss New Orleans” which raises the quality of the section and his backing behind Jones on the second number seems to inspire the trumpet player.
Jonah Jones’ vocal on “I’ll always be in love with you” has an infectious quality and is by a trumpet solo which is probably his best on the album.
This is a fairly straight ahead trumpet and rhythm album with a good selection of well known tunes, the bonus is some fine mainstream trumpet playing with plenty of variety.
“Swingin’ at the cinema” and “I dig chicks” is very much a rerun of the first release, the tunes on the first LP are all associated in one form or another as the title suggests with the cinema. On the second one all rely on girls names except the title t5rack “I dig chicks”.
“Tammy” on the face of it would seem an unlikely vehicle for a jazz performance but Jonah Jones plays some very melodic trumpet with a supportive rhythm section.. “Love is a many splendid thing” is taken at a rollicking tempo but it works well with some hot trumpet from Jonah Jones.
Jonah Jones supplies a laid back vocal for “Three coins in the fountain” accompanying himself on trumpet by the means of dubbing which works well and lifts the tune out of it’s usually syrupy approach.
George Rhodes piano backing on these tracks is something of an improvement on the more usual Teddy Brannon.
There is a little less muted playing on the “I dig chicks” album
which gives the listener much more chance to appreciate Jonah Jones’ full
mellifluous sound.
The Carmichael / Lerner composition rarely heard “Judy” is given a fine ballad reading by Jonah Jones and is one of the highlights of this album. “Tangerine” has some classic open trumpet playing unfortunately the rhythm section is a little pedestrian and does little to enhance the fine trumpet playing.
There are number of vocals by Jonah Jones on this album but he has such a pleasant way with his delivery it is of no detriment to the whole quality of the album.
The “Swingin’m at the the cinema” album has the edge simply because of the superior rhythm section.
As this series of Jonah Jones recordings progress the jazz content would appear to diminish although “Jumpin’ with Jonah” contains a couple of decent tracks. Jonah Jones’ Trumpet playing is never less than robust and his vocals have a good time feeling which most musicians who sing seem to possess.
“No moon at5 all is a nice grooving track and Jonah Jones vocal on “Kiss to build a dream on” has a good feel.
“Jonah jumps again” is an improvement and contains a few half way decent tracks including “Jalousie” and “I’ll always be in love with you” has a good vocal feel with a touch of tongue in the cheek.Jonah Jones’ romantic streak is to the fore on “Poor butterfly” along with a few trumpet smears which are not out of place. “No fool like an old fool “ is a good natured romp through the tune usually heard as a vocal vehicle for Peggy Lee.
“Swingin’ round the world” has a number of numbers which do not lend themselves to jazz interpretations but “A foggy day” has some very fine open trumpet playing and “Manhattan” has an engaging vocal Jonah. “Jumpin’ with a shuffle” is just that and the shuffle beat is a real turn off..
“Swingin’ on Broadway” and “Broadway swings again” is more of the same of them same with little reference to jazz but nevertheless Jonah Jones displays a fine command of his instrument.
The “Swinginest” chorale is added to the quartwt f9or “A touch of blue” and “Styled by Jonah Jones” and reminds one of the Ray Coniff albums of the time and not intended for the jazz buying public
“Jonah Jones / Glen Gray” is a complete change of direction, Jonah is backed by an all star bid band arranged and conducted by Benny Carter. Jonah’s responses to the band are inspired. On “I can’t get started” pays homage to Bunny Berigan but after the intro it’s Jonah all the way with some fine section work from the trumpet section. This album restores ones faith in Jonah Jones.
Unfortunately “That righteous feeling” brings one down to earth with the group joined by The Jubilee Four on vocals a let down after the previous album.
Taken as a whole the series is uneven but there are gems to be found and Jonah Jones -playing is well worth a listens, My advice is pick out the ones that may appeal to you.
Reviewed by Roy Booth
The Carmichael / Lerner composition rarely heard “Judy” is given a fine ballad reading by Jonah Jones and is one of the highlights of this album. “Tangerine” has some classic open trumpet playing unfortunately the rhythm section is a little pedestrian and does little to enhance the fine trumpet playing.
There are number of vocals by Jonah Jones on this album but he has such a pleasant way with his delivery it is of no detriment to the whole quality of the album.
The “Swingin’m at the the cinema” album has the edge simply because of the superior rhythm section.
As this series of Jonah Jones recordings progress the jazz content would appear to diminish although “Jumpin’ with Jonah” contains a couple of decent tracks. Jonah Jones’ Trumpet playing is never less than robust and his vocals have a good time feeling which most musicians who sing seem to possess.
“No moon at5 all is a nice grooving track and Jonah Jones vocal on “Kiss to build a dream on” has a good feel.
“Jonah jumps again” is an improvement and contains a few half way decent tracks including “Jalousie” and “I’ll always be in love with you” has a good vocal feel with a touch of tongue in the cheek.Jonah Jones’ romantic streak is to the fore on “Poor butterfly” along with a few trumpet smears which are not out of place. “No fool like an old fool “ is a good natured romp through the tune usually heard as a vocal vehicle for Peggy Lee.
“Swingin’ round the world” has a number of numbers which do not lend themselves to jazz interpretations but “A foggy day” has some very fine open trumpet playing and “Manhattan” has an engaging vocal Jonah. “Jumpin’ with a shuffle” is just that and the shuffle beat is a real turn off..
“Swingin’ on Broadway” and “Broadway swings again” is more of the same of them same with little reference to jazz but nevertheless Jonah Jones displays a fine command of his instrument.
The “Swinginest” chorale is added to the quartwt f9or “A touch of blue” and “Styled by Jonah Jones” and reminds one of the Ray Coniff albums of the time and not intended for the jazz buying public
“Jonah Jones / Glen Gray” is a complete change of direction, Jonah is backed by an all star bid band arranged and conducted by Benny Carter. Jonah’s responses to the band are inspired. On “I can’t get started” pays homage to Bunny Berigan but after the intro it’s Jonah all the way with some fine section work from the trumpet section. This album restores ones faith in Jonah Jones.
Unfortunately “That righteous feeling” brings one down to earth with the group joined by The Jubilee Four on vocals a let down after the previous album.
Taken as a whole the series is uneven but there are gems to be found and Jonah Jones -playing is well worth a listens, My advice is pick out the ones that may appeal to you.
Reviewed by Roy Booth
