Alonzo "Lonnie" Johnson (February 8, 1899 – June 16, 1970) was an American blues and jazz singer, guitarist, violinist and songwriter. He was a pioneer of jazz guitar and jazz violin and is recognized as the first to play an electrically amplified violin.
Blues guitar simply would not have developed in the manner that it did if not for the prolific brilliance of Lonnie Johnson. He was there to help define the instrument's future within the genre and the ![]()
genre's future itself at the very beginning, his melodic conception so far advanced from most of his pre-war peers as to inhabit a plane all his own. For more than 40 years, Johnson played blues, jazz, and ballads his way; he was a true blues originator whose influence hung heavy on a host of subsequent blues immortals.
genre's future itself at the very beginning, his melodic conception so far advanced from most of his pre-war peers as to inhabit a plane all his own. For more than 40 years, Johnson played blues, jazz, and ballads his way; he was a true blues originator whose influence hung heavy on a host of subsequent blues immortals. Johnson was born in New Orleans, Louisiana, and raised in a family of musicians. He studied violin, piano and guitar as a child and learned to play various other instruments, including the mandolin, but he concentrated on the guitar throughout his professional career. Johnson pioneered the single-string solo guitar styles that have become customary in modern rock, blues and jazz music.
By his late teens, he was playing guitar and violin in his father's family band at banquets and weddings, alongside his brother James "Steady Roll" Johnson. He also worked with the jazz trumpeter Punch Miller in the Storyville district of New Orleans. In 1917, Johnson joined a revue that toured England, returning home in 1919 to find that all of his family, except his brother James, had died in the 1918 influenza epidemic. He and his brother settled in St. Louis in 1921, where they performed as a duo. Lonnie also worked on riverboats and in the orchestras of Charlie Creath and Fate Marable. In 1925 Johnson married, and his wife, Mary, soon began a blues career of her own, performing as Mary Johnson and pursuing a recording career from 1929 to 1936. Also in 1925 Johnson entered and won a blues contest at the Booker T. Washington Theatre in St. Louis, the prize being a recording contract with Okeh Records. he ![]()
commenced to recording at an astonishing pace -- between 1925 and 1932, he cut an estimated 130 waxings. The red-hot duets he recorded with white jazz guitarist Eddie Lang (masquerading as Blind Willie Dunn) in 1928-1929 were utterly groundbreaking in their ceaseless invention. Johnson also recorded pioneering jazz efforts in 1927 with no less than Louis Armstrong's Hot Five and Duke Ellington's orchestra.
commenced to recording at an astonishing pace -- between 1925 and 1932, he cut an estimated 130 waxings. The red-hot duets he recorded with white jazz guitarist Eddie Lang (masquerading as Blind Willie Dunn) in 1928-1929 were utterly groundbreaking in their ceaseless invention. Johnson also recorded pioneering jazz efforts in 1927 with no less than Louis Armstrong's Hot Five and Duke Ellington's orchestra. After touring with Bessie Smith in 1929, Johnson moved to Chicago and recorded for Okeh with the stride pianist James P. Johnson. However, with the temporary demise of the recording ![]()
industry in the Great Depression, he was compelled to make a living outside music, working at one point in a steel mill in Peoria, Illinois. In 1932 he moved again, to Cleveland, Ohio, where he lived for the rest of the decade. There he performed on radio programs and intermittently played with the band backing the singer Putney Dandridge.
industry in the Great Depression, he was compelled to make a living outside music, working at one point in a steel mill in Peoria, Illinois. In 1932 he moved again, to Cleveland, Ohio, where he lived for the rest of the decade. There he performed on radio programs and intermittently played with the band backing the singer Putney Dandridge.After enduring the Depression and moving to Chicago, Johnson came back to recording life with Bluebird for a five-year stint beginning in 1939. Under the ubiquitous Lester Melrose's supervision, Johnson picked up right where he left off, selling quite a few copies of "He's a Jelly Roll Baker" for old Nipper.
Johnson went with Cincinnati-based King Records in 1947 and promptly enjoyed one of the biggest hits of his uncommonly long career with the mellow ballad "Tomorrow Night," which topped the R&B charts for seven weeks in 1948. More hits followed post-haste: "Pleasing You (As Long as I Live),""So Tired," and "Confused."
Time seemed to have passed Johnson by during the late '50s. He was toiling as a hotel janitor in Philadelphia when banjo player Elmer Snowden alerted Chris Albertson to his whereabouts. That rekindled a major comeback, Johnson cutting a series of albums for Prestige's Bluesville subsidiary during the early '60s and venturing to Europe under the auspices of Horst Lippmann and Fritz Rau's American Folk Blues Festival banner in 1963. Finally, in 1969, Johnson was hit by a car in Toronto and died a year later from the effects of the accident. 