The second quartet, recorded in 1994, finds Johnson and Nieske with pianist Bruce Flowers, now a member of Betty Carter's trio, and the late, great Boston drummer Alan Dawson, who made his name accompanying Dexter Gordon, Jaki Byard, and Dave Brubeck, to name but a few. The music includes two solo piano pieces composed by pianist Ray Bryant, arranged for quartet by Johnson, as well as transcribed arrangements by the great pianists Phineas Newborn and Bill Evans.

    “Johnson is a sophisticated stylist in the Wes Montgomery tradition... His most inventive playing ranges from the spritely swing of Monk’s ‘Off Minor’ to relaxed blues inventions in the Miles Davis-Charles Mingus collaboration ‘Smooch’ or funky bop in Phineas Newborn’s ‘Sugar Ray,’ titles that confirm what a solid program this is. Johnson picks great tunes to interpret.”
    “...All solid reasons to recommend this CD.”
         -Cadence Magazine November 1997 Vol. 23 No. 11, review by David Lewis

    “...Eric is the consummate quartet guitarist...”
        -Jazz Friends Review March 1998, review by Karen Moore

    "Eric Johnson is a convincing, sweet, jazz guitar player. This album features him out front of two quartets settings.
    ... Johnson’s guitar, which, while it can swing, aims for the softer dynamic of the instrument and more off-center harmonics that lend a pleasing touch."
        -JazzTimes May 1998, review by Sid Gribetz

The Boston Quartets
by John Barret, Jr., The Green Mountain Jazz Messenger, 5-6/1999, Vol.2, Num. 5

    You might have heard it as a kid: “You’ll be known by the company that you keep.” Eric T. Johnson has done just that. He’s taken two quartets (one without a piano, one with a star trumpeter) and each one shows us a different face. The different patterns cause Johnson to change roles, and it also affects the way he solos. It’s an idea that works, and it works here.
    The first group has the trumpet of Phil Grenadier. As the only chordal instrument in the group, Johnson becomes the piano. They assay “Off-Minor” (an early version with an unfamiliar opening) and Johnson chimes in the chords, with a slide in the middle. Here and in his solo, Johnson emulates Monk’s timing and choice of chords - hard task, but one worth hearing. Drummer Nat Mugavero is light, with many cymbals; the bass i high and walks with a spring in its step. On the other trumpet tracks, Johnson plays lighter, shining the chords on Grenadier’s smooth tone. There’s a nice string duet as the bass states the theme for “Ballad.” Grenadier is delicious; his tone was made for ballads, and Johnson is wistful as the single notes come slowly. The horn comes through on “Room #608,” especially on a neat quote of “Oleo.” And “Slow Boat to China” sails smoothly, thanks to Johnson’s comping. Grenadier’s a little choppy, but the strings keep it going as the tune, and this group, sail into the sunset.
    Guitar and bass are the same, but everything changes. The brushes of the late Alan Dawson (Jaki Byard, Booker Ervin, and many others) use their slow authority as Johnson gives is a “Smooch.” His tone is smooth, close to Kenny Burrell in the ‘Fifties.’ He also throws in some Montgomery octaves, and a fluttering-note technique also comes from Wes. Bruce Flowers’ piano drifts on “Smooch” and tiptoes on “Monkey Business,” dancing up a storm on his solo. (The brushes get busy behind him, shining a spotlight on the piano). Johnson is mostly in the lower register for “Ellen David,” and he is more distinctive than when he enters the Montgomery country.
    Benny Carter’s “A Walkin’ Thing” gets lush chords from Flowers, a Wes treatment on the theme, and a mellow drive on the solo. There’s also a touch of blues, and a sly quote of “Birk’s Works.” It’s my favorite piano track, and might win the best of show. And “Sugar Ray” is a guitar free-for-all. Johnson simplifies the Phineas Newborn line, and makes no attempt to copy his style. (On guitar? Good luck!) The role of Newborns’ left had is taken not be the piano, but by Dawson’s drums! Flowers struts nicely and even tries a little of the thick Newborn technique. Johnson’s solo is quiet, and Flower’s comping clashes a little. It’s gentle and pretty, to contrast with the muscular theme. It’s a fun track, and a great way to end.
    The two sides of Johnson are both worth exploring, and all sidemen play well. I personally prefer the trumpet sides, as Johnson sounds more original on those. I say that, and yet two of my favorite tracks (“Walking‘ Thing,” and “Sugar Ray”) come from the piano session. No matter - it’s a buffet. Each side has it’s flavor, and you can take what appeals to you.
    Editor’s note: This recording, besides featuring Boston area musicians, is also one of the last made featuring the fine drumming work of the late Alan Dawson.