Henry Johnson - Just Jazz Guitar - February '07

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alone reads like a "Who's Who" in jazz music, and the stories that he's shared with me during our ... Now a lot of people don't know this, but Clark Terry is one of the greatest scat singers you'll ever .... and recorded with Kenny Burrell. In fact, he ...
Henry Johnson - Just Jazz Guitar - February ‘07 by Mark Stefani

To know Chicago jazz guitarist Henry Johnson, as anyone who's met or heard him will easily attest, is to sense a genuine pipeline to the Wes Montgomery lineage. Yet the connection goes far beyond his powerful solos laced with real-world, "every note counts" core jazz language, stemming from an entire career of religiously transcribing his mentors and blending the results into a unique voice. It also eclipses Henry's 5star recordings and the numerous stellar reviews in major jazz journals over the years. No, what is special about HJ is what many don't know about him. Among other things, he has performed with and met as many legends of this genre as perhaps any living jazz guitarist in the world today. The list of notable artists Johnson has worked with during the past 22 years of performing on prestigious cruise ship gigs alone reads like a "Who's Who" in jazz music, and the stories that he's shared with me during our conversations are priceless. Rather than offer another interview telling readers what they probably already know about this remarkable talent, the purpose here is to share some of these stories and to unveil another side of a jazz guitarist with an insatiable curiosity and appetite for knowledge.

M.S. Henry, the vast majority of music fans have never booked passage on a cruise ship that caters specifically to the jazz genre. How did you get involved and do you remember your first cruise gig? H.J. Yes, I will never forget it because that's when I discovered what it's like to be seasick (laughs). My first jazz cruise was aboard the Cunard Princess during the time I was playing with Ramsey Lewis. Cunard (pronounced "cue-nard") is the company that built and owned the Titanic. Now there's some spooky trivia for you. The experience was really great altogether. You basically have your cabin, which you pretty much just use as a place to sleep, and several restaurants where you're served three meals a day and even a midnight snack if you're still hungry. There are workout rooms, salons, pools, and some ships even have a tennis court and a basketball court. Combine that with ports of call like warm exotic islands, performances going on all over the ship day and night, and you have yourself one great fantasy vacation. And where else could you hear and hang out with Dizzy, Freddie Hubbard, Cedar Walton, Billy Higgins, Bobby Hutcherson, Billy Eckstine, George Shearing, Ramsey Lewis, and John Heard all in one place? I have a restless mind about jazz and its creators, and me having access to these great jazz masters was like having my wildest dreams come true. So many things to learn from these people and so little time; just one week. M.S. Obviously you enjoy listening to good jazz as well as performing it for others. Can you describe the general atmosphere among players and listeners during these cruises? I would imagine that it's exciting. H.J. It is pretty exciting for both the patron and the artist. For the fans, they get to not only see and hear their favorite artists in intimate settings, but also get to come up and talk to them, sit and have a drink with them, have pictures taken with them, or even have a meal with them. The artists get to actually meet the people who are just as passionate about listening to their music as the artists are about creating and playing it. It's a win-win situation, and jazz artists really need this to happen a lot more with their fans. M.S. Many of our past conversations have centered on the language of jazz being universal and transcending the guitar itself. Even though you've transcribed and learned from a variety of instrumentalists, trumpet has always been very high on your list. Can you elaborate and discuss your conversations with players like Clark Terry, Dizzy Gillespie, and Freddie Hubbard? H.J. Well, for starters, I always wanted to be a trumpet player. I just love the sound of the instrument and its many unique inflections. Upon meeting Dizzy, I found that he loved to talk about music and what was happening in the business at that time. And I loved listening to him and what he had to say. We used to talk about chord changes and how to approach playing over them. He told me, "If you can't sing it, you don't hear it, and if you don't hear it, you can't play it." Now a lot of people don't know this, but Clark Terry is one of the greatest scat singers you'll ever hear. I asked Clark about learning jazz and he told me something

that I will never forget. He said that learning to play jazz comes in three stages: 1) Imitation, 2) Assimilation, and 3) Innovation. In talking to and transcribing dozens of players, I found these stages to be in every great jazz master's playing. Freddie Hubbard also verified this statement for me, because he transcribed quite a bit of Clifford Brown, Dizzy, and other players when he was younger. M.S. There are still quite a few jazz guitar fans who are unaware of the fact that you've been a serious vocalist for many years, including a long stint with Joe Williams and recently doing a recording with Nancy Wilson. Besides Joe, you've also mentioned meeting singers like Sarah Vaughn, Billy Eckstine, Etta Jones and Vanessa Rubin during these cruise ship gigs. What was that like? H.J. Just like everything else, I take singing seriously and those artists are just a few of the vocal masters that have to be studied in order to really learn the art of singing jazz. Imagine having a refreshment with Sarah Vaughn one-on-one and being able to ask her about how to phrase a certain melody? Or to ask Billy Eckstine what was it like to have the only band that included Charlie Parker, Art Blakey, Dizzy, and Sarah in it? Or to have Vanessa Rubin record live with you? Being on these jazz cruises allowed me to do that. M.S. Another popular topic for both of us is jazz piano players, and how fascinating it is to study their concepts and then adapt them for guitar. You've even stated that one of your guitar goals is to play like Oscar Peterson. With that in mind, you must have felt like a kid in a floating candy store connecting with Oscar, Cedar Walton, Lonnie Smith, Joey DeFrancesco, and so many others. Any stories you'd like to share? H.J. Did I say that? What was I drinking that day? (laughs) Well, it's been a long term goal, but it hasn't materialized yet. Oscar Peterson's playing made an impact on me from the moment I first heard him. I love the way he swings no matter what style of music he's playing. His phrasing and sense of time is impeccable, and his articulation at any tempo is incredible. He was also performing on the cruise during which I recorded "An Evening At Sea." Our shows were at different times, so he came by and checked us out on his break. Pianist Kenny Drew Jr. was recording with us, so Oscar was really enjoying the group. On our break I asked him what was his thinking when playing at fast tempos. He joked and told me that the first thing that came to mind was "to escape." Then he told me that he learned to think of his next phrase while he was still playing one. Other players had mentioned this to me in passing, but Oscar made me realize this is a skill that I too could learn with some practice on my part. It's one of the subtle elements of playing that you don't learn about until you have a conversation with a jazz master like Oscar Peterson. Besides being a great pianist, Cedar Walton is a great arranger and composer. He always has a different way to look at any song. And Lonnie Smith is an organist that I have known for quite some time. I actually met him through George Benson. Lonnie has a great memory, so it's always good to talk with him about music as well as it is to listen to his soul-stirring performances. He likes to have fun on stage and enjoys

bringing the audience with him. I've known Joey DeFrancesco ever since he was a teenager. His father used to bring him to see Jack McDuff when I was in the band. Jack used to have Joey sit-in with the band, and Joey could play well even back then. He's now a major force on the organ. He also sings great and plays a trumpet that Miles actually gave him. M.S. When any fan of jazz music thinks of vibes, three names that leap to mind are Milt Jackson, Gary Burton, and Bobby Hutcherson. You've had the opportunity to meet all of them at one time or another during a cruise. How well did you get to know them? H.J. I first heard Milt Jackson or "Bags," which he was affectionately called by all musicians, in a group named the Modern Jazz Quartet, or the MJQ. Then I heard him in smaller settings with other musicians like Wes Montgomery. I also heard some early recordings of Bags with Dizzy. Bags was appearing on the cruise with his own quartet. On some afternoons the promoters put impromptu sessions together, of which I was a part of this particular day. It just so happens that Bags' wife was in the audience that afternoon while he was taking a nap. After hearing me play, she went back to her cabin and woke Bags up to tell him about me. That evening at dinner, he came over to our table and I introduced myself as one of his biggest fans. He smiled and told me that his wife had given him a "report" on me and that he wanted to hear me. He said, "We're playing tonight and you aren't, so I want you to come sit in with us." I was just floored. I told him that it would be an honor, and to count on me being there. Sure enough, when I came in the club later that night, he introduced me and called me up to play a couple of tunes. He asked what I wanted to play, so I asked if we could do "S.K.J." He smiled and said yes. I forgot the other song we played because I was still in a trance from the first one. After they finished the set, Bags came down to where I was sitting, which was next to his wife. He told me that he loved the feel I had for the music and that he really enjoyed playing with me. Then he told me that it was very fitting that I asked to play "S.K.J." I told him it was one of my favorite songs, but asked him why was it fitting? Then, pointing to his wife, he said, "Henry, meet S.K.J." It turns out Bags had written the song for her many years ago. Gary Burton would always bring a group of students from his school as his band. That's where I met Makoto Ozone. It's really nice to talk to Gary about music. I asked him about playing with Hank Garland while being so young. He told me that it was one of the great musical experiences of his life. Besides being a great player, he's just a nice human being. Bobby Hutcherson has a lot of different interests outside of music, one of them being fishing. He really knows a lot about fishing. I found this very interesting because from looking at him, I'd have never guessed that he is also a fisherman. I understood some of the things he was talking about, because my grandfather also liked to fish and took me with him sometimes. Now I understand why he likes to cast a line with a lure on it, but man, he sure can play those vibes! M.S. "An Evening At Sea" was released a few years ago and has received superb reviews. For those readers unfamiliar with that recording, can you provide a little background history and details about that live take?

H.J. Well, the cruise promoter came to me and said he had a cancellation and didn’t know what to do, so he asked me if I could put a group together for the afternoon. I told him to let me see what I could put together. I called Paul, Larry, and Kenny to see if they could do it. They all said yes, so we got out there and played. We clicked so well as a group that the promoter booked us on for the next year and recorded us. Vanessa Rubin was also booked for the next year, so I asked her to record a couple of songs with us. “An Evening At Sea” became my very first live recording. M.S. Even though you've played as many of these gigs as probably any jazz guitarist I could name, there have been several others who are very familiar to the readers of Just Jazz Guitar Magazine. And you've met a lot of them onboard, like Tal Farlow, Russell Malone, Bucky Pizzarelli, Gene Bertoncini and Ulf Wakenius, to name a few that I can recall from our conversations. Did you have the chance to perform with any of them during the cruises? H.J. Yes, I had the pleasure of performing and hanging out with all those you mentioned except Ulf. I didn't perform with Ulf because he only played with Oscar Peterson, but I did hang out with him and met his wife, who was very nice. Ulf is a very interesting player who also respects the tradition. I enjoyed hearing him with Oscar. He and his wife are two very nice people. Howard Alden is another guitarist I met on one of the cruises that I enjoyed performing with. Howard and I performed in a duo setting, and with two guitars, bass, and drums, which was a lot of fun. Man, I thought that I knew a lot of songs, but Howard knows way more than I do. He specializes in knowing these songs from the 1920's and 1930's. Bucky Pizzarelli and Gene Bertoncini I have played with several times on different cruises. Both of these guitarists are wonderful players and some funny guys. Tal Farlow was a very easy-going guy. Besides being a great player, he had a very friendly and relaxed nature. I could see how he got the nickname of "Octopus." His hands were huge with long fingers that enabled him to play these difficult chord voicings with ease. It was a real pleasure to play with him. I will never forget the impromptu afternoon "Jazz Guitar Jam" with Tal, Howard Alden, Chris Flory, and myself. I'm still upset that we didn't record it. Russell Malone and I have performed together on these cruises several times and we always have fun. In fact, whenever the opportunity presents itself, we play and hang out together. Russell has one of the most unique chord-melody styles that I've ever heard. His melodies are so delicate and beautiful, but can be downright funky and bluesy in the next moment. Bless his heart for trying to show me some of his techniques, but HJ can only crack a few codes at a time! He also is a very funny guy who makes me laugh a lot. M.S. When it comes to sax players, there are so many well-known artists you've met on these ship gigs alone that I don't even know where to begin. Why don't you mention a few of them and share a story or two?

H.J. You're right. This is probably one of the more difficult questions that you've asked so far, because there are at least fifty sax players who have performed on the cruises I've been on. Different ones come to mind. Flip Phillips was seated at our table one year, and he told so many jokes that by the time the entrees were served our stomachs were too sore to eat from all the laughter. Red Holloway told me that when he and George Benson toured with Jack McDuff, the organ was carried in a trailer. He said George was so into practicing that he would get in the trailer and lay on top of the organ with his guitar to practice while they drove down the highway. I was talking to Benny Golson and asked about his tune, "Killer Joe." He pointed out that the melody of the bridge is based on an ascending diminished scale. Benny also told me that he and John Coltrane went to see Charlie Parker for the first time together in 1945. After that, he said that Trane transcribed anything he could get his hands on by Bird. M.S. Obviously this experience has given you the opportunity to perform with some top jazz rhythm sections. Besides all of the notable piano players, who are some of the bassists and drummers you've had the pleasure of meeting? H.J. Man, there have been some great bassists and drummers that I've had the pleasure to meet and play with on these jazz cruises. I'll tell you about the first ones that come to mind. I remember playing a session with Major Holley for the first time. I introduced myself to him, and he told me that his nickname was "Mule." Once we started playing, I found out how he got his nickname. When he locks into a groove, it's like trying to pull a mule that is sitting down. The time did not budge an inch. When we were done, I spent more time talking to him and found out that he played and recorded with Kenny Burrell. In fact, he was the bassist on the Midnight Blue recording, and the song "Mule" was written by Burrell and himself. I've also met and played with Ketter Betts, Paul West, Milt Hinton, Walter Booker, George Mraz, John Clayton, Andy Simpkins, Peter Washington, Buster Williams, Rufus Reid, John Heard, and Bob Haggart, the composer of "What's New?" This is not all, but just some of the great bassists on the cruises. Some of the drummers were Jimmy Cobb, Mel Lewis, Paul Humphrey, Mickey Roker, Louie Bellson, Buddy Rich, Winard Harper, Bernard Purdie, Kenny Washington, and Billy Higgins. M.S. What an extraordinary group of players. Henry, one thing that I've found very interesting is your interaction with artists, composers, and journalists associated with the genre, but not necessarily as jazz improvisers. What was it like meeting someone like Henry Mancini (one of my favorite composers) or Leonard Feather? H.J. Well, the promoter told me that Henry Mancini and his wife were invited to come on the cruise, and that he had finally gotten confirmation that they were definitely going to be there. Now you have to understand, I grew up listening to the orchestrations and compositions of Mr. Mancini, so I was very excited to know that I might actually get to meet and talk to him. The first two days I didn't see him around,

but he and his wife, Jeannie, came out to see Joe Williams perform. After the show, they joined Joe at the bar to have a cocktail. It was there that Joe introduced me to Mr. Mancini. He seemed to be a very quiet and relaxed kind of person. When I told him that I was interested in arranging and that I had bought his book, he got a sparkle in his eye and a smile on his face. So here we are on the deck of a cruise ship talking about how he voiced the trombone section on "Mr. Lucky." After our conversation, he gave me his home phone number and told me to call him if I had any questions about the examples in his book. Leonard Feather was known to me, but I not to him until he heard me play one night with Joe Williams. I knew of him because I had been reading his reviews for years, and also because he had recently written one about my latest recording at the time. Basically it was okay, but he did trash one of the songs on the recording. I thought that it was done without justification and told him so at dinner. He responded by saying, "Sorry about that. Based on the way you played tonight, I clearly should've listened a lot closer!" We all laughed and I began to ask him about all the artists he had seen and met, which included Billie Holliday and Charlie Parker. I looked forward to hanging out with him after that. M.S. On a note related to your personality and career, jazz guitarist and author Wolf Marshall is a mutual friend and a fellow transcriber. He and I often refer to you as "Mr. Curious" due to your inquisitive nature, one that extends far beyond the music field itself. Have you always been this way, and how have you managed to achieve your level of musical talent while balancing so many other interests? H.J. Yes, I have always been curious by nature about everything from music to computers. I think finding the common thread that connected all of my other interests created the balance that I needed to achieve a high level of musical ability. Living and experiencing life plays a big role in the interpretation and performance of music as well. For example, timing is a common thread that links the martial arts, acting, dance, comedy, and music together. And as humans, we are the sum total of our experiences. M.S. After all these years of being involved in these ship gigs, are there one or two truly special moments that really stand out for you? H.J. You know, there was one night that Joe and I were listening to Gary Burton play a ballad called "Blame It On My Youth." Joe knew the lyrics but had never sung it before. He was so touched by Gary's delicate and beautiful rendition of it that he actually went up on stage with Gary and asked if he could join in. The look on Gary's face was like, PLEASE DO! Joe's reading of this song made the hair stand up on the back of people's necks. The next night Joe added it to his show, mentioning that thanks to Gary Burton, he had found a new song. The other special moment that stands out happened after a jam session one night. This guy came up to me and said that he really enjoyed my playing. I told him thank you and asked if he was a guitarist. He replied yes, and told me his name. Upon hearing his name, I knew that I'd heard and seen it somewhere before. He told me

that he played with guitarist Gabor Szabo, and then it came to me where I'd seen his name. It turns out that this was Jimmy Stewart, who had co-written the "Wes Montgomery Jazz Guitar Method" with Wes in 1968. This is the only book about Wes' style that he was directly involved with. I got this book when it originally came out, and now I was talking with the man who actually co-wrote it. Jimmy Stewart and I have been good friends since that day. M.S. Wow, here I thought that I had heard most of your stories, but after this conversation I realize that we’ve barely scratched the surface. On behalf of JJG and as your friend, I want to thank you for sharing your experiences with all of us. Most jazz fans, myself included, will never have the chance to rub shoulders with these brilliant artists, so this is both inspiring and the next best thing to being there. H.J. Mark, let me just say thanks to you and your readers for allowing me the time to travel down memory lane and revisit some of the great times in my life. I wish you and your readers health, wealth, and breathless laughter! *

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