Big Jack Johnson

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BIG JACK JOHNSON

We Got To Stop This Killin'

(Notes by Larry Hoffman)

Big Jack Johnson was born in Clarksdale, Mississippi, in 1940. Encouraged by his musician-father, he became a proficient guitarist at an early age. Lacking nothing in terms of pure talent, his vocal and instrumental skills have become world-class -- he is the blues as much as any artist that has ever played. In fact, "Big Jack" has garnered some prestigious awards, recorded with diverse groups and for various labels, and rocked the stages of clubs and festivals the world over.

So why the constant struggle for recognition?

"Nobody seems to want to put me at the right place at the right time," the artist told me. "They just leave me hangin'. So you know I have to try to bang around and do my own stuff and try to get out here so people can hear me, 'cause really I haven't been where people could see what I had for them." And so does Mr. Johnson proceed from gig-to-gig along his blues path, certain of his talents and abilities, yet humble to a fault. Through it all the artist emerges as both gentleman and musician's musician -- a deeply religious and respectful man. "Ain't no sense in runnin' . . . you can't run from Him," Jack remarks, ". . . and you can't hide."

Blues was not his only musical influence, however. "I listened to country and western and blues, and I like to mix it up now, cause that's what I heard," recalls the bluesman. I listened to the Grand Ole Opry with DeFord Bailey, Grandpa Jones, Red Foley -- all those guys . . . and Hank Williams, who I heard live in Memphis when I was really young."

"But B.B. King was my idol," Jack says, "and Albert too." I would see him at the Masonic Hall in Clarksdale -- Robert Nighthawk, Sonny Boy Williamson -- I played with all those guys. Robert with all that slide stuff and Sonny Boy would just eat that harp up, man."

Many of Mr. Johnson's lyrics outline contemporary situations plaguing American society. "We Got To Stop This Killin'" is a fine example: "New babies being born with a gun in their hand . . . the whole damn nation gonna be wiped plumb out," he sings. This is tough blues for a tough generation. "Big cities, more people, more violence," the artist observed recently. Musically, Jack's two solos on this track demonstrate his absolute command over the blues idiom. In "Breakdown Blues," on the other hand, Jack shows his affinity for country music. One chorus cascades after another in a unique and powerful blend of country, blues, and rock. Jack leads with his rhythmic guitar style -- another salient side of his work. "Humming Blues," a nostalgic blend of "When Things Go Wrong" and "Sitting On Top Of The World," features Jack's humming and "ah'hahing" -- the sweet sounds of lost love. "I got the blues because of you," Jack croons. The slide work here demonstrates the artist's prowess in this area as well. Sometimes it's difficult to tell whether or not he is actually using a slider as the effects he achieves with his fingers are equally impressive. Sometimes he will use a mike-stand or beer can as slider . . . or sometimes his huge naked hand. The means are secondary, however, the end is the consummate expression of his lyricism.

"Sweet Home Mississippi" shuffles "Sweet Home Chicago" with "Dust My Broom". Jack twists and turns all the cliches into an elixir. Listen to his use of tremolo and phrasing as the band lays down a tough, consistent bottom. Although identified with Chicago, the tune originated in the musical world of Mississippi's great Robert Johnson. Here that world is contemporized by the advent of big time gambling, where "if a quarter slip quarter slips out, the casino man will put it back in." As Jack recently said of his beloved home state -- the home of the blues, "The wind blows from the four corners of the world down here."

Infamous women stalk blues repertory, and Jack's "Big Foot Woman" is as bad as any. "Drinkin' liquor and talkin' all our of her head," she inspires a tough solo replete with intense vibrato. "Lonesome Road" is a remarkable solo adaptation of Tommy Johnson's "Big Road Blues" delivered in the unique Jack Johnson style. It gives an indication of what the artist might sound like on his back porch, playing to please himself -- peacefully introspective. Few electric guitarists can make their ax sound so achingly acoustic. A neat riff frames "Cracklin' Bread," and some fancy Jack Johnson guitar-work serves as the icing for a tasty middle-layering of organ-inspired second guitar. Musically, this is perhaps the most impressive performance on the record. Heir apparent to Freddie King and Albert Collins, Jack plays original instrumentals like no one else. His driving rhythmic style is just hard as nails.

"Black Rooster" is a beautiful solo blues -- the type that drives his audiences crazy. Tasty chording provided by second guitarist Rodger Montgomery allows Jack's voice to become as flexible as any instrument around. He conjures shades of Albert King in the solo, but as with every bit of Jack Johnson, he is himself clear through. Fierce chording andtortured bent notes make this tune a bold statement of the blues . . . a message from a master. His exquisite timing, tone, nuance, phrasing, and coloring combine for an imaginative and emotional solo. "No Good Cow" is an upbeat number typical of Jack's live performances. Driven by a demonicsolo this track seems to emanate from another world. Check out Jack's rhythm playing here as well. The band does admirably just to keep up! They're able to stop on a dime. "Fourth of July" would have become a generic blues in the hands of all but a master; the tightly-knit shuffle shows Johnson at his lyrical and other-worldly best.

Anyone familiar with Jack's shows knows that no one quite equals him in live performance. He steps in front of the mike, and a hush envelopes the crowd. Here is a real blues man . . . the real deal with all of the legendary power, command and excitement. Not since Earl Hooker has a guitarist with such virtuosity, emotion, and eclectic makeup come before the public; and like Hooker, Jack Johnson remains a too-well-kept secret from all but the purest fans. Perhaps this record will begin to bring this master into the mainstream, so that he can share his music with the world.

Larry Hoffman is an internationally published journalist and a Handy Award nominated producer. He has recently co-produced and compiled a four-CD box set of post-war blues for the Smithsonian titled Mean Old World.