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Walter Johnson 1904

18/2/2021

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Batterista statunitense (New York, 18.2.1904 – 26.4.1977). Compagno di scuola di Bubber Miley e Benny Carter, comincia la sua carriera con Freddie Johnson e nel 1925 suona con Elmer Snowden poi con Billie Fowler (1926) e ancora Snowden fino al 1928. Fa parte dell’orchestra di Fletcher Henderson dal 1929 al 1934, passa poi da Sam Wooding e Leroy Smith (1935), ritorna con Henderson per un anno, suona presso Lucky Millinder (1938-39), Claude Hopkins (1939), Edgard Hayes, Coleman Hawkins e , ancora, con Henderson (1938-39). Lavora quindi in piccole formazioni, principalmente con Tab Smith dal 1944 al 1954. Diventa vigilante di banca, continuando a esibirsi occasionalmente.

Walter Johnson, batterista dall’esecuzione sobria ed efficacissima, non ha fatto molto parlare di sé. Eppure è all’origine delle ritmiche swing: fin dal 1930 sistematizza lo “chabada” al pedale charleston e rende considerevolmente agile l’accompagnamento nella grande orchestra. Questo modo di suonare viene ripreso da tutti i batteristi che seguiranno, come Jo Jones presso Basie.

È anche uno specialista eccezionale nell’uso delle spazzole nella big band, alla maniera di Chick Webb. La meravigliosa coesione fra il basso di John Kirby, la chitarra di Clarence Holiday o di Bernard Addison e la scioltezza di Walter Johnson fa sì che la sezione ritmica di Fletcher Henderson sia la più swingante e la più avanzata dell’inizio degli anni ’30.
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[M.R.]
American drummer (New York, 18.2.1904 - 26.4.1977). A schoolmate of Bubber Miley and Benny Carter, he began his career with Freddie Johnson, and in 1925 he played with Elmer Snowden, then with Billie Fowler (1926) and again Snowden until 1928. He was part of the Fletcher Henderson orchestra from 1929 to 1934, then passes by Sam Wooding and Leroy Smith (1935), returns with Henderson for a year, plays with Lucky Millinder (1938-39), Claude Hopkins (1939), Edgard Hayes, Coleman Hawkins and, again, with Henderson (1938- 39). He then works in small ensembles, mainly with Tab Smith from 1944 to 1954. he Becomes a bank vigilante, continuing to perform occasionally.

Walter Johnson, drummer with a sober and very effective execution, did not talk about himself. Yet he is at the origin of swing rhythms: since 1930, he systematizes the "chabada" to the hi-hat pedal and makes the accompaniment in the large orchestra considerably agile. This playing is taken up by all the drummers that will follow, like Jo Jones at Basie.

He is also an exceptional specialist in the use of brushes in the big band, in the manner of Chick Webb. The extraordinary cohesion between John Kirby's bass, Clarence Holiday's or Bernard Addison's guitar, and Walter Johnson's fluency makes Fletcher Henderson's rhythm section the most swinging and most advanced of the early 1930s.
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[M.R.]
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