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Beach Johnson

This artist, whose first name seems absolutely ideal for either beach music or surf- rock, has actually attracted attention just as one influence on the fantastic Rahsaan Roland Kirk with regards to crafting hybrid versions of reed instruments. Such position is without doubt something of the letdown towards the myriads captivated solely and from the name Seaside Johnson, who question during the night just how common the usage of the 1st name “Seaside” is definitely, or whether it’s just a stage name — but a stylish one at that for any character who worked well the culture dance music group circuit in Washington D.C. in the ’40s and ’50s. Do someone using the stage name of “Seaside” in fact influence somebody with stage name of “Rahsaan”? This query lingers because of notes by maker Joe Davis in the first ’50s concerning a program he created for vocalist Betty Madigan. These records are proof mostly of the times when Johnson in fact recorded something. Referred to as a clarinetist, Johnson also performed an unfamiliar saxophone of types on the monitor entitled “Blue Fog.” Presence will need to have been great despite the second option name, Davis scribbling an in depth description of the horn that sounded in range as an alto but have been straightened out, searching such as a soprano saxophone with an enlarged prostate. The bond having a homemade horn Kirk known as a “stritch” appears likely because of comments created by Kirk himself aswell as by his early affiliates regarding hearing a “Washington dance music group man” playing some type of straightened alto saxophone. Regrettably for listeners eagerly extending for stated stritch, the Madigan documenting session made by Davis continues to be the most challenging materials in Madigan’s catalog to acquire, despite the top quality of an especially swinging backing music group. Davis didn’t launch the recordings originally until 1953; Madigan continued to popular profession with both MGM and Coral.

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