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Dear Backstage Pass Reader, We are happy to share the spring edition of Backstage Pass with you. If you've read the publication before, you'll notice a number of changes in this edition. Like anything we do here at Yamaha, we are always in a continuous improvement mode and this issue is no exception. Front-page news for the spring issue of Backstage Pass is an all-new masthead. Inside, we're debuting a new feature. It's called the artist toolbox and it will be a new column that will be a regular feature bringing tips and ideas to you on how to sustain and grow your career as an artist/clinician/educator. And speaking of improvements, you'll want to read the story on Bob Malone as we enter the exciting era of the Custom Shop in Grand Rapids. Other highlights of the spring issue include a great interview with Tiger Okoshi. You'll quickly find that not only is Tiger a tremendous artist, he is also a sensitive, thoughtful person, which certainly contributes to his music-making. Some of the articles in the magazine were so good, that we've provided an extended version on line. Look for instructions at the end of some of the articles to view an extended version at www.yamaha.com/yampubs/bsp. The articles on the YYPA program as well as the Fabulous Leopard Percussionists are great. Of course, we didn't forget to include the latest news and information on Yamaha products to keep you up-to-date with the world of Yamaha. As always, we'd like to hear from you. Let us know what you think by e-mailing us at backstagepass@yamaha.com. Happy reading,
Michael Bennett
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| Farewell to Trombone Legend J.J. Johnson | ||
 The jazz community mourns the
passing of legendary Yamaha performing artist and trombonist
J.J. Johnson, who died this past February. His presence will
be missed, but his lifetime of contributions to jazz will live
on forever. Born James Louis Johnson in Indianapolis, Indiana, in 1924 and later dubbed "J.J." by grade school friends, Johnson picked up the trombone at the age of 14 and never put it down. By the time he was 18 he had joined Snookum Russel's band, of which Fats Navarro was also a member. Johnson went on to play with other extraordinary jazz musicians such as Benny Carter, Count Basie, Illinois Jacquet, and Miles Davis. Johnson's fluid and rapid-fire playing style quickly gained him notoriety, and earned him a reputation as a revolutionary musician. His virtuosity on trombone earned him both the respect and reverence of other musicians. Says fellow trombonist and Yamaha performing artist Steve Turre, "J.J. was definitely one of my influences in the modern sense. When I first heard J.J., it just blew my mind because I didn't know you could play a trombone like that." |
In 1954, Johnson enlisted the superb talents of fellow trombonist
Kai Winding and formed the J.J. Johnson/Kai Winding Quintet.
The group went on to earn critical acclaim, becoming one of the
most success-ful small bands of the '50s. The collaboration solidified
Johnson's stature among Jazz audiences, and paved the way for
other unusual small band formats. Johnson moved to L.A. in 1970 to write music for movies and television. He contri-buted music to popular television shows, including That Girl and The Mod Squad. His movie credits include Man and Boy, Top of the Heap, and Shaft, to name a few. Notably, Johnson was still winning polls as the best jazz trombonist during this time, even though he wasn't actively playing. Johnson made a lasting impression on the world of jazz, and those who were lucky enough to play and record with him speak in awe of the late performer. "What an experience," says Turre. "It was like going to school-how can you describe that? It was fun. It was very rewarding. It was beyond a thrill and an honor." |
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