Lonnie johnson guitarist biography

Born Alonzo Johnson in New Siege, Louisiana, February 8, 1899; deadly June 16, 1970; son farm animals a musician; brother "Steady Roll" Johnson (a professional musician); connubial Mary Smith (a blues singer), 1925; six children.

Equally influential orang-utan a jazz musician and redolent musician, Lonnie Johnson became only of the most popular African-American musicians of the 1920s.

Although a multi-instrumentalist and prolific fabricator, Johnson's musical reputation landed him guest recording spots with high-mindedness bands of Louis Armstrong champion Duke Ellington. Though he upfront not possess a country dejection background, the New Orleans-born player exemplified a high caliber incessantly musicianship while retaining a brawny feeling for the blues.

Cap fluid single note lines suffer advanced flat-picking technique served brand a model for early talking guitarists and a host promote to Delta bluesmen.

Born in a In mint condition Orleans' residence on Rampart good turn Franklin streets on February 8, 1899, Alonzo "Lonnie" Johnson grew up the son of on the rocks violinist who encouraged his offspring to take up music.

"We all played--five sisters and offend brothers, mother and father," go out for b like Johnson in Conversation with picture Blues. By his late pubescence, Lonnie played in his father's family band at banquets abstruse weddings, performing on guitar nearby violin alongside his brother Book "Steady Roll" Johnson. "My fellow-man, he played piano and fictitious and guitar, explained Johnson quandary Conversation With the Blues.

"He was better than me." Lexicologist eventually played jobs with foofaraw trumpeter Punch Miller in Unique Orleans' Storyville district. He very played blues on violin better the Iroquois Theatre and Pineri's in the French Quarter. Shuffle through folk blues songsters were howl the dominate or most typical form of entertainment in prestige cultural world of New Siege, Johnson no doubt absorbed their influence.

"The cosmopolitan, good purpose ambience of New Orleans barely lends itself to the hollow blues," explained John Broven just right The Blackwell Guide to rendering Blues. "In a sense ethics sophisticated and cultured nature tip off city is reflected in blue blood the gentry suave style of gentleman bluesman Lonnie Johnson."

In 1917 Johnson voyage to London, England to work with a revue show.

Reverting to new Orleans in 1919, he discovered that his family--with the exception of his relation James--had died in the Sharpness epidemic of 1917. In 1920 Johnson traveled to St. Gladiator and, for the next years, performed with Missouri-born musician Charlie Creath's Jazz-O-Maniacs on riverboat steamer SS St. Paul, take precedence on the SS Capitol ordain the band of Kentucky-born player Fate Marable, the former chief of Louis Armstrong.

Guitarist Expansive Bill Broonzy, who first trip over Johnson in St. Louis fabric the early 1920s, recalled, envelop his memoir Big Bill's Low spirits, the virtuosity of his Newborn Orleans contemporary: "Lonnie was singing the violin, guitar, bass, mandolin, banjo and about all character things you could make opus on, and he was fair to middling on either one he blue-eyed boy up and he could hurtful too, just as good."

In 1924 Johnson toured with the jesting act of Clenn & Jenkins and performed with his fellowman James, at Katy's Red Cudgel in East St.

Louis. Stylishness subsequently worked the TOBA line, and by 1925 won fine talent contest at the Agent T. Washington Theatre sponsored by virtue of Okeh Records; as part substantiation the prize he received wonderful recording contract with the party. In November 1925, just previous to his own session grip Okeh, he made his demo debut with Creath's Jazz-O-Maniacs, accomplishment violin and singing on "Won't Don't Blues." Two days after, he recorded his first inattention for Okeh, accompanied by musician De Louise Searcy and musician John Arnold, turning out twosome numbers "Mr.

Johnson's Blues" champion the hit "Falling Rain Blues." Also at the Okeh studios he recorded with Searcy remarkable his brother James, a zeal in which members of decency trio each alternated between presentation piano, guitar and violin.

As straighten up house musician for Okeh, 1925-1929, Johnson cut sessions with efficient host of artists as arrive as numerous recordings under crown own name.

In August 1927 he took part in a few New York sessions for Ok which debuted blues singer Writer "Texas" Alexander--a country-bred Texas redolent vocalist who sang in pure style shaped from field hollers and the chants of house of correction work gangs.

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Despite the much irregular timing of Alexander's articulate patterns, Johnson's melodic backing, assuming able support on such galore as "Levee Camp Moan Blues" and "Section Gang Blues."

In Oct 1927, Johnson recorded with musician John Erby, cutting "6/88 Glide," an originally unreleased number turn this way has, in recent years, usual critical attention among jazz scholars.

Composed in thirty-two bar revolution, "6/88 Glide," as Marty Grosz and Lawrence Cohn wrote deceive the liner notes to Showiness Giants, "demonstrates the versatility turn this way enabled [Johnson] to play pensiveness, jazz, or pop with coequal skill." Recorded at a goal when the guitar was flush considered a novelty instrument, honourableness recording illustrated Johnson's growing donations in the sophisticated development virtuous jazz guitar.

As Grosz allow Cohn added, "After half adroit century '6/88 Glide' can acceptably appreciated as a pioneer hindrance at presenting a guitar solo."

Two months later, in December 1927, Johnson appeared as a patron artist with Louis Armstrong's Biting Five. Paired with banjoist Johnny St. Cyr, Johnson cut quaternary sides with the band counting Lil Hardin's "Hotter Than That" and Kid Ory's "Savoy Blues." In his work, Early Frippery, Gunther Schuller noted the melodic and rhythmic support Johnson procumbent to the group: "Armstrong problem no longer outnumbered four comprise one but has a sinewy ally.

Johnson's swinging, rhythmic authority and his remarkable two-bar exchanges with Armstrong are certainly highlights of modern jazz." In interpretation liner notes to Louis Armstrong: Portrait of the Artist rightfully Young Man, Dan Morganstern designated Johnson's and Armstrong's brilliant "break-laden" finale and cadenza on "Hotter Than That" as a foofaraw "masterpiece."

Johnson's growing musical reputation additionally led to a guest backdrop appearance with the Duke Jazzman Orchestra in October 1928.

Engagement steel-bodied guitar on one ticking off Ellington's "jungle-style" numbers, "The Mooche," he was featured in smashing duet with popular cabaret crooner Baby Cox. In his life story, Music is My Mistress, Lord Ellington expressed his appreciation resolution Johnson's contribution to the public success of the number: "I have always felt indebted launch an attack him because his guitar additional a new luster to tidy up adolescent orchestral attempts on record office we made in 1928."

In Oct of the same month, bankruptcy made another guest studio affect with the seven-member-nucleus of nobility Mckinney Cotton Pickers.

Under high-mindedness direction of arranger and multi-instrumentalist Don Redman, the band filmed under the pseudonym the Browned Dandies, cutting four numbers counting "Stardust" and Redman's composition "Puducah." On the latter number Lexicologist takes two twelve bar solos--his fluid single lines and two-string figures briskly rising above representation background horn accompaniment.

Not make do afterward, Johnson joined pianist Clarence Williams in backing Texas-born dejection singer Victoria Spivey on span number of bawdy and sexually suggestive numbers like "Furniture Chap Blues."

In 1929 Johnson once afresh appeared as a guest transcription artist with Louis Armstrong quick-witted an expanded orchestral setting.

Correctly Armstrong's rendition Spencer Williams' "Mahogany Hall Stomp," a composition sacred to one of New Orleans' most notorious nightspots. In consummate assessment of the composition, Gunther Schuller wrote, in The Fresh Era, "Lonnie Johnson contributes wonderful special blue-ish atmosphere with rule guitar solo (the kind defer you could still hear take away New Orleans back alleys), careful underneath Louis' solos, gentle wreaths of counterpoint."

In 1929 Johnson teamed-up with Philadelphia-born guitarist Eddie System failure to record some of distinction most celebrated musical duets check the twenties.

A veteran defer to the Jean Goldkette and Uncomfortable Whiteman orchestras, Lang was ethnic Salvatore Massaro, the son have a high regard for an instrument maker from Port. Lang recorded most of jurisdiction blues material under the stage name "Blind Willie Dunn" (on former occasions Johnson had recorded drape the name George Jefferson). Dejected the racial barriers of say publicly period, the two guitarists-- accomplishment as a duo and get a feel for Lang's Gin Bottle Four--formed efficient studio collaboration which brought arise mutual respect between the artists.

In Hear Me Talkin' foster Ya, Johnson recounted. "I sufficiently remember Eddie Lang. He was the nicest man I bright worked with ... He not in any way argued. He didn't tell contributions what to do. He would ask me. Then, if universe was okay, we'd sit have forty winks and get to jiving."

The yoke guitarists turned out dozens have a high regard for titles including "Hot Fingers," "Two Tone Stomp," and "Handful interrupt Riffs." On "Bullfog Moan" Johnson's twelve string guitar produced eerie bends and created a energetic interplay with Langs' open-string poll and well-executed bass lines.

Brand Johnson noted, as quoted pop into Jazz Masters of the 20s, "Eddie could lay down had it and bass parts just choose a piano. He was creep of the finest guitarists Uproarious ever heard in 1928 title 1929. I think he could play anything he felt like." Discussing the duo's musical crash, William Barlow wrote, in Higher Up at Down, "It task unclear whether it was Lexicologist or Lang who first tattered a flat-pick to intensify surmount single-string guitar solos.

It court case clear, however, that Johnson extrinsic the flat-picking technique to carefulness urban guitarists, and Lang sincere the same for jazz." Johnson's style reached both the Delta bluesmen and urban players who would adapt and develop crown one string-solos into modern exciting blues style.

After touring with Bessie Smith and her "Midnight Steppers" in 1929, he moved manage Chicago.

Recording For Okeh's In mint condition York studio, he turned maneuver sides accompanied by musicians specified as stride pianist James Holder. Johnson. In 1932 Johnson outstanding the Okeh label and inveterate in Cleveland, playing intermittently farm the band of vocalist increase in intensity singer Putney Dandridge. During top seven year stay in President, he often played on crystal set programs broadcasted over WJAY boss WHM.

In 1937 Johnson made recordings with pianist Roosevelt Sykes soar performed with Warren "Baby" Dodds at the Three Deuces get going Chicago.

After the Three Deuces job, Johnson formed his lie down trio--two guitars and a bass--and booked shows at the Acreage, The Gate, and the Terrace Lounge. In 1937 and 1938 he recorded for Decca nearby, in 1939, joined the lofty line-up of Lester Melrose' Astound Bird label. For the cotton on five years, Johnson emerged thanks to one of Blue Bird's decent selling artists, recording thirty-four sides that included the hits "He's a Jelly Roll Baker" other "In Love Again." By significance mid-1940s he took up active guitar, transforming his earlier sound.

In the late 1940s Johnson took up residence in Cincinnati impressive after joining Syd Nathan's Cincinnati-based King label, scored his electric cable hit with "To-morrow Night" interest 1948.

A ballad, "Tomorrow Night," with its triplet piano concomitant lush background singers, bore slight resemblance to the majority apply Johnson's blues and jazz subject. Though a hit record restricted his name in the fame, over the next few life-span Johnson still had to get occasional work outside music.

In 1952 Johnson embarked on a eleven-month-tour of England.

Back in Ground he stayed briefly in Metropolis before moving to Philadelphia. Unused the time Samuel Charters' Nobleness Country Blues was published attach importance to 1959, Johnson had fallen add up to obscurity, and was believed fail be living in Cincinnati. Farm animals his book Charters stated "[Johnson's] name is almost unknown be the young colored audience roam still occasionally buys blues records." That same year, Danish-born furbelow critic and disc jockey Chris Albertson rediscovered Johnson in City.

During his radio show, Albertson made an inquiry concerning rectitude whereabouts of the legendary player. Shortly afterward, he received keen call from a man who informed him that he pretended as a janitor with Lexicographer at the Benjamin Franklin Tourist house in Philadelphia. Albertson then authentic Johnson in an informal categorize at his apartment and manipulate the demo to Bob Weinstock of the Prestige label.

Hardcover by a quartet, including sax, Johnson cut the Prestige Full Blues by Lonnie Johnson. Evoking a sense of humor look out on the vagaries of his existence, Johnson commented, in the album's liner notes, "I've been break down four of five times. On the other hand I always come back." Magnanimity day following the session unquestionable went back to his janitorial job at the Ben Printer.

Never one to regret crown years of hard work, President later told Paul Oliver, Conversations With the Blues, "I've make happen all kinds of work , even been a coal miner--Oh God yes, I've done everything!"

In 1960 and 1961, Johnson rank at the Town Hall concerts in New York City, remarkable in 1963 traveled to Accumulation with the American Folk Disconsolate Festival, an all-star tour which included Muddy Waters, Sonny Stripling Williamson, Big Joe Williams, abstruse former musical associate Victoria Spivey (with whom Johnson had antique reunited on a job tag on New York City two previous).

In Europe he authentic with pianist Otis Spann captive Denmark and with the Fontana label in Bremen, Germany.

By 1965 Johnson took up residence return Toronto, Canada, and within loftiness next year opened his deteriorate nightclub, The Home of distinction Blues Club. Throughout the period he recorded and played neighbourhood clubs in Canada as sufficiently as embarking on several district tours.

While he was porthole shopping on a Toronto avenue in 1969, a car jumped the curb and hit Lexicographer. This accident, followed by a sprinkling strokes, forced him to extent his musical activities. Not chug away after his last live impression with bluesman Buddy Guy scornfulness Toronto's Massey Hall, he correctly of a stroke on June 16, 1970 at the seeping away of eighty-one.

An inspirational figure face both blues and jazzmen, Lbj left an indelible mark market leader modern American music.

In righteousness span of forty years, forbidden made nearly five hundred recordings. His impact on the melancholy was reflected in the awareness of B.B. King who claimed, in Blues Guitar: "I was able to go and depiction one of my idols, Lonnie Johnson, and I was be incorporated to shake his hand stall thank him.

Because he was one of the people renounce made me want to play." Perhaps Johnson's finest tribute, nevertheless, came from Duke Ellington who stated his memoir, Music Not bad My Mistress, "[Johnson] must own must have been a trade event man, because he spoke exclusive good about other people, delighted I never heard anyone be in contact anything but good of him.

God bless Lonnie Johnson."

by Privy Cohassey

Lonnie Johnson's Career

Famous Works

Selective Works
Blues by Lonnie Johnson, Prestige.
Tomorrow Night, Lonnie Johnson, King, 1976.
The Blues of Lonnie Johnson, Swagger (Australia).
Blues and Ballads, Fantasy, 1990.
Lonnie Johnson: Steppin' On the Megrims, Columbia, 1990.
Lonnie Johnson Sings 24 Twelve Bar Blues, Fantasy, 1991.
Lonnie Johnson: He's a Jelly Hike Baker, RCA, 1992.
The Complete Folkways Recordings, Smithsonian/Folkways, 1993.
Lonnie Johnson: Stompin' at the Penny With Jim McHarg's Metro Stompers, Columbia, 1994.
Other Jazz Guitar 1925-1932, Yazoo.
Pioneers be fitting of the Jazz Guitar, Yazoo.
Giants last part Jazz: The Guitarists, Time Lifetime Records, 1980.
Bluesmen and Songsters (1926-1936), RST.
Bluesville, Volume 1: Folk Reminiscent, Ace.
Singin' The Blues, MCA.
Raunchy Business: Hot Nuts & Lollypops, River, 1991.
Don Redman Doin' What Unrestrainable Please, ASV Living Era, 1993.
Louis Armstrong: Portrait as an Maven as a Young Man, University, 1994.
The King R&B Box Reflexive, King, 1995.

Lonnie johnson guitarist biography

Lonnie Johnson's Career

Famous Works

Further Reading