James P. Johnson Biography
|
|
 James Price Johnson, 1 February 1894, New Brunswick, New Jersey, USA, d. 17 November 1955, New York City, New York, USA. Taught piano by his mother, Johnson assimilated a wide range of musical styles. In the years following his family’s relocation to New York, he continued his studies and by his late teens was working in clubs in the Hell’s Kitchen district. Johnson was adept in ragtime, blues, and all the popular musical forms of the day. He was also a capable performer of classical music. By the early 20s Johnson was a leading light on New York’s burgeoning jazz scene and was already known for his compositions, including ‘Carolina Shout’, which demanded virtuoso technical ability. During this period Johnson became the acknowledged master of stride piano. He attracted the attention of Broadway producers and in 1923 composed the musical Runnin’ Wild, in which he introduced his composition ‘The Charleston’. He also engaged the admiration of emerging pianists; the young Fats Waller was an eager pupil.
In the mid-20s and especially during the 30s, Johnson’s interest in classical music surfaced in his own work; he composed several long pieces, including ‘Yamekraw’, a piano rhapsody, ‘Harlem Symphony’, ‘Jassamine’, a piano concerto, ‘Spirit Of America’ a string quartet, and a blues opera, ‘De Organizer’. Unfortunately, many of his scores have since been lost. (An album of piano arrangements of some of the surviving pieces, performed by William Albright, was issued in 1983 under the somewhat misleading title, The Symphonic Jazz Of James P. Johnson.) Although Johnson continued to play in the 40s, often in small groups with companions such as Eddie Condon, Albert Nicholas and Wild Bill Davison, ill health damaged his career. A series of strokes culminated in a severe attack in 1951, which left him bedridden and he died in November 1955. As a pianist Johnson was outstanding, not only for his dazzling technique but also for the construction of his solos. However intricate they might be, his solos were logical, non-repetitive and effectively incorporated much of his catholic musical background. Records by Johnson include transcriptions from some early piano rolls and even in this form his music generates excitement. As a composer, the manner in which his work has lasted testifies to its inherent timelessness. Apart from the excitement of ‘The Charleston’, ‘Carolina Shout’ and ‘Runnin’ Wild’, there were reflective melodic delights such as ‘Old Fashioned Love’, ‘If I Could Be With You One Hour Tonight’ and ‘Just Before Daybreak’. Apart from Waller, Johnson influenced most of the pianists working in New York in the 20s and 30s, which means almost everyone of importance. Among the older players were Count Basie, Duke Ellington, Art Tatum and Teddy Wilson, while the younger group included Erroll Garner, Johnny Guarnieri and Thelonious Monk. In the history of jazz piano, Johnson’s contribution is of paramount importance.
Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.
|
![1918-1944 [Import] Boxart](http://oldies.s3.amazonaws.com/i/boxart/tiny/35/8004883532018.jpg)
James Price Johnson, 1 February 1894, New Brunswick, New Jersey, USA, d. 17 November 1955, New York City, New York, USA. Taught piano by his mother, Johnson assimilated a wide range of musical styles. In the years following his family’s relocation to New York, he continued his studies and by his late teens was working in clubs in the Hell’s Kitchen district. Johnson was adept in ragtime, blues, and all the popular musical forms of the day. He was also a capable performer of classical music. By the early 20s Johnson was a leading light on New York’s burgeoning jazz scene and was already known for his compositions, including ‘Carolina Shout’, which demanded virtuoso technical ability. During this period Johnson became the acknowledged master of stride piano. He attracted the attention of Broadway producers and in 1923 composed the musical Runnin’ Wild, in which he introduced his composition ‘The Charleston’. He also engaged the admiration of emerging pianists; the young Fats Waller was an eager pupil.