HMR Project: History of Music & Modern Recording

Bunk Johnson

Birth of Jazz: Bunk Johnson

Bunk Johnson

"Bunkum" is a term meaning nonsense which Merriam-Webster's has arriving in 1845 by means of a Congressman in reference to Buncombe County, North Carolina. It's also a term which many would use to describe not a few of Bunk Johnson's imaginary claims about himself. It was one load of bunk after another with Bunk, which is odd because his contemporaries otherwise all agreed that he was an admirable trumpet player, having no need to enhance his reputation with fishy tales. Perhaps he was less intentionally deceptive than confused himself, or a head case who remembered things that didn't happen. Sometimes things occur in ways that make them appear other than what they are. Perhaps there was truth in some of what Bunk said which somehow got twisted about to sound otherwise. Then again, perhaps he was "simply" a pathological liar. I've been acquainted with at least a couple of such in life. Whatever the reasons, Bunk got saddled with "it ain't necessarily so" (Ira Gershwin) when he spoke of himself. How he, originally named Willie Johnson, acquired "Bunk" for a nickname isn't known. That it sounds like "bunkum" would seem to be only coincidental even if associates knew to not believe all that he said. After all, how do you roll with a nickname that means you talk nonsense? Roger Hahn at 64 Parishes cites one of Bunk's students calling him "Bunk" because he was never at home, always "bunking" somewhere else.

The first undependable item in Bunk's history is his birthdate. He is said to have been born in New Orleans on 27 December 1879 only a couple years later than Buddy Bolden (September 1877) with whom he supposedly performed before the turn of the century in 1895, before jass became jazz. Some go by the 1879 date because it lends credibility to other claims made by Bunk. Some scholars think that Bunk was actually born ten years later on 27 December 1889, which Bunk himself later claimed on a Social Security application. Though Willem Weijts is more convinced that Bunk was born in 1889 he has constructed a chronology as if Bunk were born in 1879, showing that Bunk would have to have been about five years old to perform with Bolden, if in 1895, were he born in late 1889, one of which doesn't seem likely. Vic Hobson has proffered a median birthdate of December 1884. Whenever he was born, included among dubitable stories by Bunk are his blowing the bugle with Teddy Roosevelt’s Rough Riders at San Juan Hill in 1898, having been a teacher to Louis Armstrong (though Sidney Bechet claims witness) and introducing jazz to various locations about the globe.

The Weijts chronology (b 1779) has Johnson beginning his career after his school days in 1894 with Adam Olivier's Orchestra (not yet five years old if born in December 1889, again, something grinding gears between those two dates). Come Bolden the next year and various other bands including Jelly Roll Morton's in 1900 until leaving New Orleans in 1901 with the P. G. Circus. Touring to such as New York City with McCabe's Minstrels, then visiting Beaumont, Texas, and Los Angeles, Bunk returned to New Orleans 1910 to work with the Superior Orchestra. Bolden had meanwhile been hospitalized for dementia praecox in 1907. Bunk worked with various organizations in New Orleans, the Louisiana region and Kansas City before joining the Black Eagles band of fellow trumpeter, Evan Thomas, in 1931. In late November of 1931 the Black Eagles were playing a gig in Rayne, Louisiana, when one John Guillory entered the venue with a knife and headed toward Thomas whom he suspected of messing with his wife [Gene Tomko]. The press version [Rayne Tribune] has Guillory a malcontent recently released from prison for theft and displeased with the band's conducting, probably by Thomas. Guillory pulled a knife and Thomas fled, but was caught and stabbed in the back at least one mortal blow. Thomas ran two blocks before collapsing as the dance hall emptied. Guillory returned with a pistol and, as either no one was there or no one he wished to shoot, he unloaded on the band's instruments instead, including Johnson's trumpet. The loss of Bunk's trumpet proved fatal to his career, he now to work largely as a truck driver. Multiple sources also have Johnson losing his teeth that night in the chaos. Encyclopedia, however, blames the loss of his teeth on pyorrhea, a gum disease apparently not all that rare at the time: both King Oliver and George Lewis were plagued with it as well, making it difficult for them to perform. Howsoever, about 1940 a collection was made to fit Bunk with dentures, resulting as well in his first recording session on February 2, 1942. That was a rendition of the 1924 Sippie Wallace tune, 'I'm So Glad I'm Brownskin' (Okeh 8197), with himself adding trumpet. A home recording not issued, that was included on the 1992 release of 'Prelude to the Revival Vol. II'.

Whatever the facts as to Bunk's earlier life, sessionographies are more reliable. Whether born in 1879 or 1889 he'd been playing trumpet for perhaps half a century before recording anything. His first tracks to see commercial issue were from a session in New Orleans on June 11, 1942, tracks such as 'Yes Lord, I'm Crippled', 'Down By the Riverside' and 'Storyville Blues' (Jazz Man 10). 45Worlds documents three issues by Johnson with his Original Superior Band that year: 'Down By the River' / 'Panama' (Jazz Man 8), 'Weary Blues' / 'Moose March' (Jazz Man 9) and 'Hot House Rag' / 'Yes, Lord, I'm Crippled' (Jazz Man 17), the last backing pianist, Wally Rose. Johnson thereafter recorded prolifically to December 1947. Thereafter retiring, clarinetist, George Lewis, acquired leadership of his band.

'I'm So Glad I'm Brownskin' Bunk Johnson

Home recording of 2 Feb 1942 in New Iberia LA

Trumpet recorded over Sippie Wallace's 'I'm So Glad I'm Brownskin' on OKeh 8197

Recorded by Wallace on 1 Dec 1924

Soprano sax: Sidney Bechet Piano: Clarence Williams Banjo: Buddy Christian

See 'Prelude to the Revival Vol. II' on American Music AMCD-41 / 1992

Composition: Clarence Williams

'Panama' Bunk Johnson (trumpet) Original Superior Jazz Band

11 June 1942 at Grunewald's Music Store in New Orleans Matrix MLB140 Jazz Man 8

Trombone: Jim Robinson Clarinet: George Lewis

Piano: Walter Decou Banjo: Lawrence Marrero

Bass: Austin Young Drums: Ernest Rogers

Composition: William Tyers

'Careless Love' below was copyrighted by W.C. Handy in 1926, though original authorship is unknown. Buddy Bolden is thought to have included it in his repertoire more than twenty years earlier.

'Careless Love Blues' Bunk Johnson (trumpet) w the Yerba Buena Jazz Band

Jan or Feb 1944 in San Francisco Matrix RM402 Good Time Jazz 63

Trombone: Turk Murphy Clarinet: Ellis Horne

Piano: Burt Bales Banjo: Pat Patton

Tuba / bass: Squire Girsback Drums: Clancy Hayes

Composition: William Tyers

'Lowdown Blues' Bunk Johnson (trumpet) Band

29 July 1944 Rehearsal at San Jacinto Hall in New Orleans

Matrix 110 American Music V253

Trombone: Jim Robinson Clarinet: George Lewis

Banjo: Laurence Marrero Bass: Alcide "Slow Drag" Pavageau

Tuba: Sidney Brown Drums: Baby Dodds

Composition: Traditional

'See See Rider' Bunk Johnson (trumpet) Band

31 July 1944 at San Jacinto Hall in New Orleans Matrix 207

See 'Bunk Johnson 1944' Vol.2 on DAN VC-4007 Japan 1978 or Storyville SLP205 UK

Trombone: Jim Robinson Clarinet: George Lewis

Banjo: Laurence Marrero Drums: Baby Dodds

Composition: Ma Rainey / Lena Arant

'Lord Let Me in the Lifeboat' Bunk Johnson

10 March 1945 in NYC Matrix BN225-0 Blue Note BLP7008

Trombone: Sandy Williams Piano: Cliff Jackson

Bass: Pops Foster Drums: Manzie Johnson

Composition: Traditional spiritual

'Lonesome Road' Bunk Johnson (trumpet) Band

1 of 2 takes on 17 May 1945 at the home of George Lewis in New Orleans

(827 St. Philip Street)

Take 1 issued on Dan VC4018 (Japan) Take 2 issued on Dan VC4008 (Japan)

Clarinet: George Lewis Banjo: Laurence Marrero

Bass: Alcide "Slow Drag" Pavageau Drums: Baby Dodds

Composition: Will Nash

Per 'Maryland, My Maryland' below, the curator (Dellino) may be taking the date of 12 November 1945 from the sessionography of Willem Weijts (further below). DAHR, Eatherton and Lord prefer 21 November.

'Maryland My Maryland' Bunk Johnson (trumpet) New Orleans Band

1 of multiple takes on 21 Nov 1945 in NYC World radio transcription

Issued on either Decca 25132 or American Music AMCD-116

Trombone: Jim Robinson Clarinet: George Lewis Banjo: Laurence Marrero

Bass: Alcide "Slow Drag" Pavageau Drums: Baby Dodds

Composition

'I Wish I Could Shimmy Like My Sister Kate' Bunk Johnson (trumpet) New Orleans Band

6 Dec 1945 in NYC Matrix D5VB886-2

Victor 40-0128 / HMV B9517

Trombone: Jim Robinson Clarinet: George Lewis Piano: Alton Purnell

Banjo: Laurence Marrero Bass: Alcide "Slow Drag" Pavageau Drums: Baby Dodds

Composition: Armand Piron

'High Society' Bunk Johnson (trumpet) Band

19 Dec 1945 in NYC Matrix D5VB997-1

Victor 40-0127 / Discomania 104 / HMV B9820

Trombone: Jim Robinson Clarinet: George Lewis Piano: Alton Purnell

Banjo: Laurence Marrero Bass: Alcide "Slow Drag" Pavageau Drums: Baby Dodds

Composition: Porter Steele / Walter Melrose

Johnson's last three recording dates were at Carnegie Hall in NYC on 23, 24 and 26 December 1947. Those saw release in 1953 on 'The Last Testament of a Great New Orleans Jazzman' per Columbia ML 4802. The Eatherton sessionography further below has Alan Lomax interviewing Johnson in March of 1949. Consult that reference for more about that.