The Great Kai & J. J. (2025 Remaster) Kai Winding & J.J. Johnson

• 1 This Could Be The Start Of Something Big (2025 Remaster) 03:10
• 2 Georgia On My Mind (2025 Remaster) 03:49
• 3 Blue Monk (2025 Remaster) 04:24
• 4 Judy (2025 Remaster) 04:01
• 5 Alone Together (2025 Remaster) 03:31
• 6 Side By Side (2025 Remaster) 03:10
• 7 I Concentrate On You (2025 Remaster) 04:01
• 8 Theme From Picnic (2025 Remaster) 04:02
• 9 Trixie (2025 Remaster) 05:10
• 10 Going Going Gong (2025 Remaster) 03:08
• 11 Just For A Thrill (2025 Remaster) 03:21
• Total Runtime 41:47

Info for The Great Kai & J. J. (2025 Remaster)

In 1960, trombonists J.J. Johnson and Kai Winding teamed up on an album called The Great Kai and J.J., which became the first release on the storied jazz label Impulse! Records. Sixty-five years later, the album is coming back to vinyl as the latest reissue in Verve’s Acoustic Sounds Series.

The Great Kai and J.J. features some of Winding and Johnson’s most celebrated playing, as well as appearances from some of jazz’s biggest names. Pianist Bill Evans, bassists Paul Chambers and Tommy Williams, and drummers Art Taylor and Roy Haynes all contributed to the record, which boasts Impulse! catalog number A-1. Founded by producer Creed Taylor, the label was an offshoot of ABC Records. Impulse! would go on to release classic recordings from artists ranging from John Coltrane to Ray Charles to Genesis.

Johnson, an American born in Indianapolis, and Winding, a Danish-American born in Aarhus, were trombone masters known for their creative partnership. Recorded in November 1960, The Great Kai and J.J. marked their much-anticipated reunion after about half a decade performing and recording separately. In a retrospective review, All Music Guide’s Scott Yanow enthused that “the two trombonists are in melodic and witty form” throughout the album, which includes standards such as “Georgia On My Mind,” “Alone Together,” and “Side By Side” as well as originals including “Judy,” “Trixie,” and “Going, Going, Gong!”

"This lively Impulse! set was the first recorded reunion of trombonists J.J. Johnson and Kai Winding. With pianist Bill Evans, either Paul Chambers or Tommy Williams on bass, and Roy Haynes or Art Taylor on drums, the two trombonists are in melodic and witty form on such tunes as "This Could Be the Start of Something Big," "Blue Monk," "Side by Side," and "Theme from Picnic." Recommended." (Scott Yanow, AMG)

J.J. Johnson, trombone
Kai Winding, trombone
Bill Evans, piano
Paul Chambers, double bass (tracks 1, 3, 6, 7)
Tommy Williams, double bass (tracks 2, 4, 5 & 8-11)
Art Taylor, drums (tracks 2, 4, 5 & 8-11)
Roy Haynes, drums (tracks 1, 3, 6, 7)

Recorded on October 3, 1960 (track 1), November 2, 1960 (tracks 3, 6, 7), November 4, 1960 (tracks 5, 8, 10, 11) and November 8, 1960 (tracks 2, 4, 9), 1960 at Van Gelder Studio, Englewood Cliffs
Produced by Creed Taylor

Digitally remastered

J.J. Johnson
Considered by many to be the finest jazz trombonist of all time, J.J. Johnson transferred the innovations of Charlie Parker and Dizzy Gillespie to his instrument, playing with such speed and deceptive ease that at one time some listeners assumed he was playing valve (rather than slide) trombone. Johnson toured with the territory bands of Clarence Love and Snookum Russell during 1941-1942, and then spent 1942-1945 with Benny Carter’s big band. He made his recording debut with Carter (taking a solo on “Love for Sale” in 1943), and played at the first Jazz At The Philharmonic concert (1944). Johnson also had plenty of solo space during his stay with Count Basie’s Orchestra (1945-1946). During 1946-1950, he played with all of the top bop musicians, including Charlie Parker (with whom he recorded in 1947), the Dizzy Gillespie big band, Illinois Jacquet (1947-1949), and the Miles Davis Birth of the Cool Nonet. His own recordings from the era included such sidemen as Bud Powell and a young Sonny Rollins. Johnson, who also recorded with the Metronome All-Stars, played with Oscar Pettiford (1951) and Miles Davis (1952). Between 1953-1955 Johnson led three recording dates for Blue Note that were first released as a series of 10″ LPs, and later compiled on the two-volume 12″ LPs The Eminent Jay Jay Johnson.

In August 1954, he formed a two-trombone quintet with Kai Winding that became known as Jay and Kai and was quite popular during its two years. After Johnson and Winding went their separate ways (they would later have a few reunions), Johnson led a quintet that often included Bobby Jaspar. He began to compose ambitious works, starting with 1956’s “Poem for Brass,” and including “El Camino Real” and a feature for Dizzy Gillespie, “Perceptions”; his “Lament” became a standard. Johnson worked with Miles Davis during part of 1961-1962, led some more small groups of his own, and by the late ’60s was kept busy writing television and film scores. J.J. Johnson was so famous in the jazz world that he kept on winning Downbeat polls in the 1970s, even though he was not playing at all. However, starting with a Japanese tour in 1977, Johnson gradually returned to a busy performance schedule, leading a quintet in the 1980s that often featured Ralph Moore, and in the mid-’90s remained at the top of his field.

This album contains no booklet.