This CD only has one fault, but it is a major one. It seems that no matter what he plays (whether it be an obscure song by Wayne Shorter, Herbie Hancock, Sonny Rollins, or Antonio Carlos Jobim, or one of his two originals), Javon Jackson sounds too close to comfort to Joe Henderson; in fact there are times when the tenor-saxophonist sounds identical.
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.
Bassist Ron Carter varies the personnel often enough to keep one's interest throughout this CD. Carter, who contributed six of the ten compositions (which alternate with four familiar standards) takes his share of bass solos but also showcases pianist Gonzalo Rubalcaba (who is pretty restrained throughout) on the opening "Mr. Bow-Tie" and allocates a generous amount of solo space on some selections to trumpeter Edwin Russell (inspired by Miles Davis but possessing his own fire) and Javon Jackson, who often sounds like a close relative of Joe Henderson.
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.