Lonnie Johnson’s blues reputation is one of an exalted status as a blues vocalist and songwriter of remarkable consistency and achievements.  He was an outstanding accompanist, and one of the greatest technically innovative of all blues guitarists, one who chose to apply a sophisticated, swinging quality.  Ingenious, novel, and dynamic, Johnson was certainly one of the most significant blues musicians of all time.

It is generally believed that Johnson was born in New Orleans in 1899 (though certain researchers suggest that the year may have been 1894), and he is said to have come from a family steeped in musical heritage.  Early, Johnson played another stringed instrument, the violin, in his father’s string band, though indications are that he was also proficient on guitar early in the 20^th century.  Traveling to Europe in 1917 as part of a musical revue kept him away from home for two years.  Unfortunately, the flu pandemic of 1918 wiped-out the entire Johnson family except for Johnson and his brother James, himself an accomplished multi-instrumental artist who used the moniker “Steady Roll.”  Due to this unfortunate occurrence, both Johnson brothers left Louisiana in 1921 to start over, and they journeyed to St. Louis, Missouri.

As is known about St. Louis in this period, it was both a hot spot for jazz and blues.  For a time, the Johnson brothers worked in a duo format, with Lonnie also plying his trade in the riverboat orchestras of both Fats Marable and Charlie Creath.  Marable was a jazz pianist in addition to being a bandleader.  And Creath was a trumpeter, saxophonist, and accordionist, as well as a bandleader.

In 1925, Lonnie Johnson married, and his spouse, Mary Johnson, was also a noted musician who recorded blues between 1929-1936, influenced by assisting Johnson write songs.  The two eventually divorced in 1932.

A major step forward for Johnson took place in 1925 when he won a blues contest at a St. Louis venue, with the reward being a valued Okeh Records recording opportunity.  In the period between 1925-1932, Lonnie recorded more than 125 sides for Okeh Records, and he became a very good earner for the label.  This success for the label led to Lonnie being called to New York to record further, doing so with established blues vocalists Victoria Spivey and Texas Alexander.  His success also allowed him to nab a valued spot touring with the great Bessie Smith, the great songstress known as the “Empress Of The Blues.”

In late 1927, Johnson received the chance to pair with jazz man Louis Armstrong and his renowned band, His Hot Five, on a Chicago recording date.  This led to Johnson receiving yet more Okeh Records recording dates (many jazz-related), including one with the great Duke Ellington.  Acknowledged as perhaps the first recording artist to feature a true picked guitar solo, Johnson’s jazz work was noted for his proficiencies on the 12-string guitar, eventually influencing a whole stable of jazz artists including Charlie Christian, George Burns, and Django Reinhardt.  Johnson’s work opened the guitar to being a true jazz influence.  That influence lives on into the current day.

In 1929, Lonnie teamed with yet another jazz artist, Eddie Lang, and due to his fluid jazz guitar attributes, particularly on instrumental outings, he became even more noted for his improvisational creativity.

As said previously, Johnson was lauded for his creation of the picked note-by-note guitar solo structure, a musical configuration that lives to this day in all genres of music, including blues, jazz, and country.  This musical concept cannot be over emphasized for its revolutionary guitar utilization transformation. Due to Johnson’s guitar soloing structure creation, jazz, country, and urban blues artists adopted his adaptation of guitar work, framing their music in ways they had not previously been fashioned.

Also in 1929, Johnson ended his touring with Bessie Smith, and he landed in Chicago where he recorded with stride (jazz) pianist James Johnson.  However, the effects of The Great Depression put a damper on the recording industry, and for a while, Johnson labored in a Peoria, Illinois steel mill.  He was to be out of music for a number of years.

1932 found Johnson moving east to Cleveland, Ohio, where he lived throughout much of the 1930s, playing on radio shows and providing support to Putney Dandridge, a vocalist.

However, in the very late 1930s, Johnson was back again in Chicago, making recordings with Decca Records, while performing with esteemed Chicago blues pianists Blind John Davis and Roosevelt Sykes.  He got the opportunity to record for the powerful Bluebird Records label in 1939, and cut close to 35 sides for the imprint over the next five-year period.  This stage of his recording career, however, was especially noteworthy because it marked the first time that Johnson utilized an electric guitar to record.  He scored hits during this period with “He’s A Jelly Roll Baker” and “In Love Again.”

In still another defining period of Johnson’s life and career, after the end of World War II, he turned his attention toward Rhythm & Blues music.  In 1948, he had a hit on his hands with “Tomorrow Night”, a tune that topped the charts for numerous weeks.  Though a Rhythm & Blues song, it has a bluesy undertone, helped along by piano and background singer accompaniment, a structure far removed from his strict blues days.  Johnson also scored three additional hits after “Tomorrow Night.”

In 1952, Johnson toured with Lonnie Donegan in Europe.  Upon arriving back in the U.S., he moved east again to Philadelphia, working outside of music in a janitorial capacity and in a steel mill.  Fast forward seven years to 1959, and Johnson was employed in a Philadelphia hotel when he was rediscovered by a local DJ.  Because of this, he recorded an album on the Bluesville Records label, along with another for the Prestige imprint.  Johnson then nabbed a prestigious engagement at Chicago’s Playboy Club due to his rediscovery.  This was all very fortunate for him because, at this time, young folks were discovering folk and blues music.  Johnson was finally arising from his obscurity.  He also snagged a blue-ribbon opportunity to again join with Duke Ellington as a special invitee on a prominent engagement.

1961 found Johnson again working with Victoria Spivey for yet another Prestige label album.  A couple of years later in 1963, he was again touring Europe as a performer on the American Folk Blues festival packaged tour.  During this time, in Denmark, Johnson recorded an album with blues piano powerhouse Otis Spann.

Come 1965, because of the racial acceptance he found as a result of performing in Toronto, Canada, Johnson moved to the city.  He decided to open a music club, Home Of The Blues, in 1966.  However, that venture ultimately was a business flop.  Throughout the rest of the 1960s, Johnson played Canadian club dates, and embarked upon some provincial tours.              

1969 proved very unfortunate for Johnson, for in March, he was struck by a vehicle while he was walking along a Toronto sidewalk.  He suffered a broken hip and kidney injuries, all serious in nature.  Johnson never completely recovered from his extensive injuries, and in May, a benefit concert was undertaken that included over two dozen performers to assist him with his expenses.  John Lee Hooker was one of the performers on that show.

Further limiting Johnson was a stroke he suffered subsequent to his being struck by the vehicle.  However, in early 1970, he arose from his afflictions to attend a Buddy Guy show, singing a couple of songs.  It is said that Johnson received a standing ovation for his valiant efforts.

Four months later, in mid-June, Johnson passed away.  By the time of his demise, despite all his multi-genre success, his late-life expenses found him virtually broke at death.  His family brought his remains back to Philadelphia for burial after his Toronto-based funeral.  In 2014, a headstone was placed at the site of his resting place, the outgrowth of the efforts of The Killer Blues Headstone group.

Johnson’s early and continued use of single-string solo runs, string bending, and use of other effects influenced, and continue to influence, musicians everywhere, as stated earlier, across many genres of music.  His baritone voice with its vibrato nature paved the way for many singers.  Robert Johnson, Bob Dylan, Eric Clapton, Elvis Presley, T-Bone Walker, Big Bill Broonzy, certainly B.B. King, Freddie King, Albert King, Lightning Hopkins, Teddy Bunn, Eddie Durham, Brownie McGhee (who was a huge fan), Tampa Red, Django Reinhardt, Charlie Christian, George Burns, and many others owe a debt of gratitude to Johnson. 

Johnson wrote serious, socially topical, and amusing songs, all demonstrating his gifted songwriting capacity.  His songwriting flexibility and creativity made him a favorite of the record buying public.

Johnson was inducted into the Blues Hall OF Fame in 1990.

Note: I want to encourage you to visit the site of Dr. Dean Alger’s efforts to commemorate the works of Lonnie Johnson, including his fine book, at BOOK (originalguitarherofilm.com)

Below is a Lonnie Johnson compilation that I feel provides a superb jumping off point to his blues, and one that wholly satisfies.  These 19 outstanding sides date from a fertile Johnson recording period between 1925-1932.

Lonnie Johnson – Steppin’ On The Blues – Columbia CK 46221

Song Titles

• Johnson’s Blues
• Sweet Potato Blues
• Steppin’ On The Blues
• I Done Told You
• Mean Old Bedbug Blues
• Toothache Blues Parts I & II
• Have To Change Keys (To Play These Blues)
• Guitar Blues
• She’s Making Whoopee In Hell Tonight
• Playing With The Strings
• No More Women Blues
• Deep Blue Sea Blues
• No More Troubles Now
• Got The Blues For Murder Only
• Untitled
• 6/88 Glide
• Racketeer’s Blues
• I’m Nuts About That Gal