Beneath the swagger, Smith had a sentimental, romantic side that can be heard in his compositions, especially two on our program tonight, “Morning Air” and “The Old Stamping Ground.”James P. Johnson photo courtesy of WikimediaFats Waller, James P. Johnson and Willie ‘The Lion’ Smith are three exhilarating and masterful exponents of an East Coast style of jazz piano playing popular before WW II, called ‘Stride.’ The stride piano style is distinguished by large intervals played with the left hand, enabling the pianist to function as a one-man-band, playing bass accompaniment and melody at the same time. Duke Ellington learned from these (by slowing them down to half-speed), and a few years later, Johnson became Fats Waller's teacher and inspiration. He wrote tunes that topped the charts then and are still popular today—classics like “Honeysuckle Rose” and “Keepin’ Out of Mischief.” Waller’s “Ain’t Misbehavin’” is heard on our broadcast first in Fats Waller’s original hit recording, and then live from the stage of The Landing by The Jim Cullum Jazz Band with Dick Hyman. Arthur Gibbs & his Gang’s 1923 Victor recording, with a straight-four rhythm section beneath the syncopated surface, typifies later arrangements.
It is apparent that James P. Johnson influenced Thomas Waller, who in turn influenced James P. Johnson. Flashcards. It all goes to prove that music doesn’t stem from any single race, creed or locality. James P. Johnson was born on February 1, 1894 in New Brunswick, New Jersey, USA as James Price Johnson. His style became known as Stride. (Ms. Simmons never recorded and is rarely seen in jazz encyclopedias but Thelonious Monk is another jazz piano legend to credit her as his teacher.
Gravity. It becomes a background figure, often substituting for straight stop-time, on records like Clarence Williams’s 1925 rendition of his and Jack Palmer’s “Everybody Loves My Baby.” For a latter-day manifestation, consider Martha & The Vandellas’ “Heat Wave” (1963): hocketed between piano, horns, and drum kit, the “one ; two-and” pattern forms an insistent background to the entire arrangement.Nearly a decade separates the Jungles years from “The Charleston” as we know it.℗ & © 2011–2020 Anthology of Recorded Music, Inc.Here’s how Willie “The Lion” Smith told it: Johnson penned his dramatic symphonic poem “Drums” for the 1932 show, Harlem Hotcha, later orchestrated as “Those Jungle Drums” with lyrics by Langston Hughes. Yes, sir you can take my word for it, there was a lot of jazz played and sung in other places besides New Orleans in the early days.
His family moved to New York in 1910 when Johnson was 14 years old, and for the first time the teenager heard music of Mozart, Beethoven, Wagner and Puccini in the city’s concert halls. James P’s first compositions demonstrate the variety of influences he absorbed early on—church music, blues, ragtime, even country square dance tunes. But “The Charleston,” in particular, was also a harbinger of a compositional style based on repeating and varying short, often syncopated, rhythmic motifs—unified, in the context of popular songwriting, by applying basic tonal resources to sixteen- and thirty-two–bar sectional forms. Photo courtesy library.umkc.eduOn the scene in New York from about 1915 to 1940, Harlem’s Big Three were James P. Johnson, Willie ‘The Lion’ Smith and Thomas ‘Fats’ Waller.“A man’s music comes from his heart and soul.
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