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J.C. Johnson

Not to end up being confused with stride piano get better at Adam P. Johnson, J.C. Johnson (or, sometimes, Adam C. Johnson) was a pianist and songwriter who accomplished his greatest presence working with Fat Waller. Johnson was created Sept 14, 1896, in Chicago, and produced his 1st recordings in the first ’20s after shifting to NY. He supported Ethel Waters like a program pianist, penning “Nice Man Blues” on her behalf aswell. In the middle-’20s, he relocated into professional songwriting frequently, dealing with lyricists like Henry Creamer (1926’s “Alabama Stomp”) and Andy Razaf. He and Razaf teamed through to 1926’s “She Belongs if you ask me,” 1928’s “Lonesome Swallow,” “Think Who’s around,” and “Perform What You Do” (all three documented by Ethel Waters), and “Louisiana,” a typical featuring extra lyricist Bob Schafer and popular for Paul Whiteman. He also started composing with Razaf’s typical partner, the famous pianist Fat Waller, though he generally caused them separately, composing music for Razaf and lyrics for Waller; in 1928, he and Waller co-wrote the Broadway present Maintain Shufflin’. 1929 brought the single composition “Journeying ALONE,” another tune for Ethel Waters that, this time around, became a good-sized strike, and was afterwards documented by Billie Vacation aswell. That same season, Johnson used Clarence Williams, and got part in the most known recording program of his profession being a musician, playing within the studio room group Blind Willie Dunn & His Gin Container Four. Disguised to cover up the interracial character of the group, it had been actually a gathering between white jazz guitarist Eddie Lang and groundbreaking blues guitarist Lonnie Johnson, also offering Ruler Oliver and, sometimes, future songwriting tale Hoagy Carmichael on vocals and percussion. In 1930, Johnson penned a musical, Modification Your Good fortune, which performed on Broadway with Ham Tree Harrington and Alberta Hunter in the starring jobs. Though it didn’t operate for lengthy, it marked the start of Johnson’s most successful decade being a songwriter. His “Dark Hill Blues” was documented that season by Bessie Smith, and she afterwards lower his “Haunted Home Blues,” “Clear Bed Blues,” and “Me and My Gin” aswell (the last mentioned two were included in LaVern Baker and Dinah Washington, respectively). Also in the first ’30s, Louis Armstrong waxed an effective documenting of “Dusky Stevedore,” created with Razaf. Nevertheless, his association with Waller would confirm the most rewarding. Dealing with Nat Burton (aka Schwartz) and George Whiting on the ’30s, Johnson penned some tunes — “Believe It, Beloved,” “Tempo and Love,” “Keep in mind Who You’re Guaranteed,” “You Remained Away TOO MUCH TIME,” as well as others — which were documented by Waller; two even more of these collaborations, “That’s How Tempo WAS CREATED” and “DON’T ALLOW Your Love FAIL,” were strikes for the Boswell Sisters. Johnson also continuing to create with Waller and Razaf, generally on another basis; the main exception was “The Joint Is usually Jumpin’,” a co-composition by all three that became among the pianist’s larger hits. Other function for the reason that vein included “Yacht Golf club Blues” and “How Ya Baby,” both presented in Waller’s 1938 Broadway display Ain’t Misbehavin’, as well as the pop strike “A Porter’s Like Track to a Chambermaid.” Toward the finish from the ’30s, Johnson also made up materials for Chick Webb’s music group, which presented Ella Fitzgerald at that time; choices included “Spinnin’ the Webb,” “Crying My Center Out for you personally,” and “You CAN NOT BE Mine (And SOMEBODY ELSE’S As well).” Johnson was generally inactive after Waller’s untimely loss of life in 1943, retiring to Harlem. He passed on on Feb 27, 1981.

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