Johnson is truly his own man, and he sounds great. There are four references one obscure to Duke Ellington, not the least of which is the rich, joyously wonderful kicker and title track.
Johnson recorded with Ellington, but is storied for having turned Ellington for a better paying gig with Louis Jordan. Johnson additionally pays Ellington back with a sensitive, sweaty "Wanderlust" and the kickin', wailin' "You Dirty Dog," stamped with Ellington's indefatigable swing.
As engaging as his personal sound can be, his tunes aside from "Ellingtonia" are well-chosen. Ray Brown's "Gravy Waltz" is becoming a fave of jazz lovers, even a "new" standard.
Neal Hefti's "Whirly Bird" sic as "Whirley Bird" is whipped into a boppish frenzy -- Young's a wizard when wigging out with witty chords and bluesy comping. His lightning-like single lines need the analysis of a climatologist: they're frequently that astounding.
From what is known about other recordings in the Love archives, some of the titles will be incomplete. Live, prob. No location is specified in the documntation. Pate and Henderson could have been playing in the Johnson Trio, but we don't know the exact lineup in each grouping. Well known Chicago vocalist Lurlean Hunter see our Seymour page for more about her career sang on some of the tracks. Chicago, December 13, F Walkin' with Mr. He gives the personnel minus the flute player, and puts Floyd Morris at the piano and Claude Jones at the organ.
Since neither one was mainly an organist, and Morris played organ on the James Moody session see belowthis could be disputed. However, Morris was a regular in Pate's group for several years, and was always billed as playing piano, so it more likely that Jones was called in to play organ on this occasion.
Moreover, Claude Jones had made some recordings in the early s on the Lowrey Organo see above. Federal was a rpm single released at the time. The piano is either in really bad shape or it has been fitted with tacks! Eddie Johnson has excellent tenor sax solos on both sides; they are almost as good as "Tip Toe" and "Twin Rock" from his best session.
He also takes the solo. Only piano is to be found here. It turns out that this "Muskeeta" matrix number unknown, issued on the President EP is not the originally issued "Muskeeta," which was recorded on March 20, Trombonio-Bustoso-Issimo - Eddie Johnson - Love You Madly (CD, and appeared on Federal with matrix number F the flip side on that occasion was "Pretty One," matrix F The issued "Muskeeta" used only the flute played by Ronald Wilson on this occasionno tenor sax.
At a session on November 29,Pate had cut four sides with wind doubler Lennie Druss on flute and Johnnie Wynne playing rhythm guitar behind Wilbur. Most likely the success of "Swinging Shepherd Blues" from the November 29 session it was Johnny Pate's only hit led to the remake. The label of Federalin Robert Pruter's collection, states on both sides, "instrumental featuring Lennie Druss on flute. A "Muskeeta" with Johnson's tenor and flute, presumably contributed by Lennie Druss would most likely have come from the December 13 session.
Since there is no tenor sax solo on "Muskeeta," there is a further small possibility that the tenor-flute version was cut at the March 20, session with Ronald Wilson overdubbing himself, and does not include Eddie Johnson at all. It is not known whether these feature the flute-only "Muskeeta" or the tenor-flute version though Lord lists all of them under F King LP, a Johnny Pate compilation titled Swingin' Flute, presumably contains F, though strange things have been known to happen.
Worth verifying…. Around the time of this session, or shortly afterward, Eddie Johnson signed on with the City of Chicago as a tabulating machine trainee. He rose steadily as the computer age advanced; by the late s he had become the chief systems engineer, on call 24 hours a day in case a system crashed. As he advanced at the day job, he lost the opportunity to play music at night, and had to restrict himself to country club dances and other weekend social events.
Argo LP was the original release from the end of Argo EP was presumably from around the same time. On this date, Eddie Johnson was part of a studio big band playing arrangements behind James Moody's solos. Johnny Pate recruited a wide variety of jazz and studio musicians for the occasion, including Lennie Druss heard here on alto sax. The only recording that Segal specifies is the Duke's album of Mary Poppins tunes, and Eddie Johnson confirmed his presence on four numbers from the album.
Our session information is derived from Tom Lord's Jazz Discography, which, however, has Paul Gonsalves on all 12 tracks. According to Nessa, "Harry Carney remembered [Johnson] and called to see if he would sub for the 'ill' Gonsalves". Chicago musician Paul Serrano substituted on trumpet on at least one of these, so further participation by Eddie Johnson is not out of the question. But it would take tremendous acuteness of ear to identify any of Johnson's contributions, unless he soloed on at least one number.
In the late s and early s, Eddie Johnson worked weekend gigs with Red Saunders' big band which no longer operated full-time, after the closure of the Regal Theater and in combos led by trad pianist Art Hodes. After several inactive years, Eddie Johnson returned to playing incommencing a second career that would last nearly 25 years.
In Septemberhe appeared at the Chicago Jazz Festival to enthusiastic acclaim. Toward the end of the year, he retired from his job with the City of Chicago and became a regular at a club called Andy's. His re-entry into the music scene would soon lead to Trombonio-Bustoso-Issimo - Eddie Johnson - Love You Madly (CD first recording under his own name since Two LPs that included material from this session were released in early The Pinnacle tracks were remixed, new trumpet solos by the leader replaced those originally recorded on some tracks, and the vocal was deleted from "Alcoholic Baby," which has reverted to the song's original title.
On take 2 Johnson and Jackson are allotted the same responsibilities; the trumpet parts and the bass part on this take were re-recorded in Marc Smierciak is the alto sax soloist on both takes. On "Blues for Hawk" take 2, Eddie Johnson opens with his introduction to Leo Parker's "Candlelight Serenade," transposed to a different key, and continues with a solo; Franz Jackson's tenor solo follows.
Tom Lord's Jazz Discography lists the two Pinnacle albums, but with collective personnel only and no precise recording dates. Tom Lord's Jazz Discography lists this Pinnacle LP, but with collective personnel only and no precise recording dates or unissued tracks. A second trumpet part was overdubbed on this take inwhen all of the material from this session was remixed by Joannie Pallatto at Sparrow Sound Design in Chicago.
On "Roll 'em" take 2, there are solos by Marc Smierciak altothen alternating bar choruses by Franz, Eddie, Franz again, and Eddie again. On both takes of "Comin' in Home," Franz Jackson is responsible for the tenor sax solos; the solos on both takes of "Tiptoe" belong of course to Eddie Johnson. On "Mecca Flat" Franz Jackson plays the opening chorus on alto sax; Eddie Johnson gets a tenor solo, and Jackson follows with an alto solo. About the decision to include "Tiptoe" on this session, Yves Smierciak says, "Tiptoe is the Eddie Johnson song originally recorded It was that 78 Chess that turned me on to Eddie when I was about The Pinnacle tracks were remixed, new trumpet solos by the leader replaced those originally recorded on some tracks, and a new vocal by Sharon Waltham replaced the leader's original vocal on "Spider Crawl.
All three sets were apparently broadcast, so much more material from may have been preserved by others. On "Flyin' Home'" Eddie is first with a great, multi-chorus solo, followed by Board, who as an ex-Hampton tenorist would, spends 2 choruses quoting Illinois Jacquet's solo. On "St. Louis Blues," Board is responsible for accompanying part of Jo Belle's vocal and Eddie Johnson gets the tenor sax solo after the vocal. Andy's, Chicago, c. Bobby Lewis was also mentioned by the announcer.
Chuck Nessa email communication, March 24, has identified the rhythm section. More material from this performance is almost certainly extant. Nessa N was an LP released toward the end of Thanks to Chuck Nessa for information about the unissued track. Eddie Johnson returned to the Chicago Jazz Festival in Septemberwhere two sets of music were broadcast.
There is a tape Album) minute broadcast with good sound quality. The broadcast originated with the Chicago-area National Public Radio station. The personnel is announced on the broadcast and is the same group that recorded for Nessa. The tape box that this item came from has June 3rd as the date, but the festival Album) in September Labor Day weekend, to be exact.
In January some CDs were burned containing this and the following session. A tape of a minute broadcast in good quality survives. The personnel is announced by Joe Williams. In January some CDs were burned containing this and the preceding session. Very likely other Eddie Johnson performances from the s were broadcast. Collectors, please fill us in if you have Eddie Johnson broadcasts not listed here.
This historical overview of Chicago jazz was made specially for Ameritech a large regional telecommunications company, one of the "Baby Bells," with headquarters in Chicago in We'd wondered whether the CD had a release number; according to Dan Gould email of May 16,it did not. Brad Goode was credited with musical direction, and Tony Judge produced it.
Thanks to Eddie De Haas for providing a dub. Eddie Johnson is plentifully featured with solos and a prominent vocal accompaniment on "Lover Man". Confirmation about the identity of our Eddie Johnson on this session comes from an invitation for the th birthday celebration for Duke Ellington in Chicago, April 11, see below. Further session details including the correct recording date and substitutions on some tracks are from Lord's Jazz Discography.
Eddie Johnson appears on three tracks from this CD, according to Lord. Lord does not credit Jeff Lindberg with playing trombone. Recording date and complete personnel information from Lord's Jazz Discography. Details from the CD leaflet. While noting that Sonny Cohn spent 24 years in Count Basie's trumpet sectionliner note writer David Kuner fails to mention Sonny's 15 years with Red Saunders This was a major oversight, since his notes were meant to put the spotlight Chicago musicians like Cohn, Eddie Johnson, and Jodie Christian.
Information from the liner of The Messenger. Chicago Recording Company, Chicago, prob. Information from the liner notes. No recording dates are given, unfortunately. Information from the liner. All information from the liner notes.
Until the venue closed in late or Eddie Johnson worked Thursday evenings with his group the Jazzmasters basically the above lineup plus Paul Trombonio-Bustoso-Issimo - Eddie Johnson - Love You Madly (CDat Alexander's Restaurant and Lounge.
He also worked regularly at Andy's on Hubbard Street. Sponsored by Shure Bros. Johnson performed with Ellington in the mids during a Chicago recording session Mary Poppins album at the old Universal Studios. The three tenorists are only heard on these portions of the CD, which was recorded on July 14, 15, and 16, The liner notes state that the horns were invited on the first two days.
All three tenorists have short unaccompanied duets with Elling before the band comes in, then everybody solos again. Chicago, prob. It consists of pieces by Django Reinhardt with lyrics added by vocalist Mike Ferro. Personnel from the Denwa site; it is unlikely that all of the musicians play on every track. Ferro's titles are followed by the titles of Django's original compositions in parentheses. Eddie Johnson continued to make occasional appearances with the Chicago Jazz Orchestra.
He would continue performing for another year or so after this appearance. Sonny Cohn, who had been Eddie Johnson's front line partner on the Jodie Christian session fromdied on November 7,at the age of Eddie Johnson had now retired from playing in public because of advancing emphysema. He was 89; his wife, son, and brother had predeceased him, and he left his companion, Patricia Robinson, and three nieces. On April 25, the Chicago Jazz Orchestra will perform a memorial concert for him.
In an obituary posted to jazz-research yahoogroups. It was old school through and through. But E. Neal Hefti 's "Whirly Bird" sic as "Whirley Bird" is whipped into a boppish frenzy -- Young 's a wizard when wigging out with witty chords and bluesy comping. His lightning-like single lines need the analysis of a climatologist: they're frequently that astounding.
He's the perfect kindred spirit for Johnson 's notions. It's known that Johnson 's mad love of jazz is related to the people he's played with -- after all, this is only his third upfront recording -- but it is clearly his personal best to date, and he puts many of the younger tenor cats to shame. It bears repeating: Young 's consistent brilliance has placed a special sheen on an oft-forgotten tenor giant's magnum opus.
Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love.
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