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Big Jack Johnson "We Got To  Stop This Killin' "

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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.