Willie Gary "Bunk" Johnson (December 27, 1879? – July 7, 1949) was one of the most controversial, and divisive, musicians in jazz history. Even today, few are lukewarm on the subject of Bunk’s musical ability, his biographical details and his personality. All agree, however, that he was the central figure of the New Orleans Revival of the 1940s. Without his participation, traditional jazz in the 21st century would not sound the same.
Johnson gave the year of his birth as 1879, although there is speculation that he may have been younger by as much as a decade. Johnson stated on his 1937 application for Social Security that he was born on December 27, 1889. Many jazz historians believe this date of birth to be the most accurate of the various dates Johnson gave throughout his life.
Johnson received lessons from Adam Olivier and began playing professionally in Olivier's orchestra. Johnson probably played a few adolescent jobs with Buddy Bolden, but was not a regular member of Bolden's Band (contrary to Johnson's claim). Johnson was regarded as one of the leading trumpeters in New Orleans in the years 1905–1915, in between repeatedly leaving the city to tour with minstrel shows and circus bands.
Bunk also told his boosters that he taught Louis Armstrong to play. Several years later, when Bunk and Louis talked to the press, Louis seemed to agree. Even when he later disputed that Bunk had taught him, Armstrong continued to praise Bunk as an early influence, specifically mentioning his admiration for Johnson’s diminished chords. Other New Orleans musicians agreed that Bunk taught Armstrong—or at least that he was a major influence on Armstrong’s playing.
In 1938 and 1939, the writers of an early jazz history book, Jazzmen, interviewed several prominent musicians of the time, including Louis Armstrong, Sidney Bechet, and Clarence Williams, who spoke highly of Johnson in the old days in New Orleans. The writers tracked down Johnson's address, and traded several letters with him, where he recalled (and possibly embellished) his early career. Johnson stated that he could play again if he only had new teeth and a new trumpet. A collection was taken up by writers and musicians, and he was fitted with a set of dentures by Bechet's dentist brother, Leonard, and given a new trumpet. He made his first recordings in 1942, for Jazz Man Records.
These first recordings propelled Johnson (along with clarinetist George Lewis) into public attention. Johnson and his band played in New Orleans, San Francisco, Boston, and New York City and made many more recordings. Johnson's work in the 1940s has shown why he was well regarded by his fellow musicians. On his best days he played with great imagination, subtlety, and beauty, as well as suggesting why he had not gained prominence earlier, for he was unpredictable, temperamental, with a passive-aggressive streak and a fondness for drinking alcohol to the point of impairment.
 |
| Bunk with Leadbelly |
Bunk did a poor job of managing his money, so he was always pleading with his benefactors and even his sidemen for loans. He was an expert at manipulating people, especially wealthy fans who felt guilty about their comfortable situations compared to Bunk’s status as a poor southern African-American. Bunk played that part to the hilt whenever he put the touch on someone. In addition to money, he was able to talk his supporters out of everything from beer and cigarettes to an expensive carved pipe, a typewriter, and a shotgun with ammunition.
Bunk’s nickname is another controversy. Several theories exist, but the most plausible may come from a story told by another New Orleans musician, Mutt Carey. At the Geary Theater concert in 1943, Bunk was backstage with some of Kid Ory’s musicians as well as some of the young San Franciscans, including clarinetist Bob Helm. Bunk may have wanted to enhance his status as a jazz pioneer in front of the Ory’s men and impress the younger musicians with his background. He told the assemblage, “I was the bugler for Teddy Roosevelt’s Rough Riders. I blew ‘charge’ for them at San Juan Hill.” With a self-satisfied expression on his face, he walked away. Helm said, “I’d never heard that before.” Trumpeter Carey replied, “Why do you think we call him ‘Bunk’?”
Johnson suffered from a stroke in late 1948 and died in New Iberia the following year. Johnson was a Catholic, and as of 2019 an annual Jazz Mass and procession was conducted in his hometown of New Iberia, beginning at St Edward Catholic Church and ending at Johnson's gravesite.
(Edited from Wikipedia & Stanford Libraries)