Already possessing a very distinctive tenor sax sound, Javon Jackson's debut as a leader is an exceptional effort. Jackson, 26 at the time of the recording, joined forces with 40-year-old James Williams, 19-year-old Christian McBride and 64-year-old Elvin Jones to create a powerful musical statement that bridges the generations. "Mr. Jones" refers to the master drummer, whose presence and energy are felt throughout the recording, especially on the medium swingers "The Masquerade Is Over" and Williams' "A Certain Attitude," as well as on the title track and "Theme for Penny," two uptempo Jackson originals that begin with brief drum solos. Also making his presence felt is McBride, whose tone, time, and imagination belie his age. One of 1992's best releases.
Tenor saxophonist Javon Jackson deserves a lot of credit for stretching himself on this release. Although he can sound very close to Joe Henderson at times, on this set he interprets a wide-ranging repertoire that allows him to avoid falling into the revivalist hard bop category. In addition to a pair of originals (the medium-uptempo blues "Hamlet's Favorite Son" and "Assessment" which is dedicated to Elvin Jones) ~ AllMusic
Javon (Anthony) Jackson (born June 16, 1965, Carthage, Missouri) is an American jazz tenor saxophonist. He played in Art Blakey's Jazz Messengers from 1987 until Blakey's death in 1990, and has also played with the Harper Brothers, Benny Green[disambiguation needed], Freddie Hubbard and Elvin Jones. In his solo career, his music has been a mix of hard bop with soul and funk influences.
aking off from 2004's Up Jumped Spring, trombonist Curtis Fuller once again reunites with a former Art Blakey's Jazz Messengers alum for a set of standards and original compositions. Joining Fuller this time is tenor saxophonist Javon Jackson, who played with Blakey from the late '80s until the drummer's death in 1990. Together they reignite the fiery, soulful Jazz Messenger aesthetic on such standout Fuller tunes as the John Coltrane-influenced "Maze" and the swinging hard boppish "A La Mode." Backing Fuller here is pianist Doug Carn, bassist Rodney Jordan, and drummer Fritz Wise.
The 1988 edition of The Jazz Messengers, which drummer Art Blakey had been leading for 33 years, showed a great deal of promise. Comprised of trumpeter Philip Harper (soon to form The Harper Brothers), trombonist Robin Eubanks, the tenor of Javon Jackson, pianist Benny Green and bassist Peter Washington, this band (whose average age without counting Blakey was around 25) performs one original apiece by Green and Jackson along with five older songs on this enjoyable release. The music may not have contained too many surprises or been startlingly new, but the results are quite pleasing.
Having spent most of his time since the late '90s re-appropriating pop, funk, rock, and fusion elements into his progressive jazz albums, bassist Christian McBride makes a joyously off the cuff return to straight-ahead acoustic jazz on 2006's New York Time. Working here with the seasoned rhythm section giants of pianist Cedar Walton and drummer Jimmy Cobb as well as an equally engaging contemporary, tenor saxophonist Javon Jackson, McBride has crafted a back-to-basics album that, while firmly in the mainstream jazz tradition, works to remind listeners why they dug him in the first place.