Handful of Riffs, Lonnie Johnson, and the Birth of Lead Guitar

I’ve always been a big fan of guitarist/blues legend Lonnie Johnson, most often labeled a blues guy but really he was a true musician, serious about it and able to easily play other things like the jazz of the era, probably some comedic/vaudeville type tunes, hillbilly shit or what we now label as “folk” or country, etc.

He could play pretty much anything because he was an immensely talented musician, playing multiple instruments, eventually settling on guitars, including the odd choice to use a 12 string during his heyday. It was on that 12 string that he recorded the duets with Eddie Lang in 1929, basically inventing lead guitar as we know it, or putting it on record first anyway. Undoubtedly people had been doing it since guitars were invented, but not like this.

Lonnie’s the first to really bring the possibilities to life. There are riffs here that everyone still plays! They probably predate even Lonnie, just hadn’t been recorded yet

Lonnie was a pretty big blues star for a few years during the mid-late 1920s. He must have sold well because they kept wanting more – he cut a lot of sides! He was best known at the time as a singer, to the public anyway. I’m sure his guitar and vocal skills were being recognized by fellow musicians. He was the original musician’s musician in the blues realm of the 20s and beyond, but I’m just here to talk about this one tune, “Handful of Riffs”.

Lang and Johnson recorded over a dozen tracks together with no other accompaniment, landmark recordings of two worlds coming together musically, each being improved by the other. Too bad it doesn’t work like that in every aspect of life. They released the recordings done with more accompanists as by Blind Willie Dunn’s Gin Bottle Four, so as to disguise the presence of Lang amidst so many not-white musicians, you know the ones. The ones making the breakthroughs and guiding the way forward for jazz and pop culture at large, as is largely true even now. It’s always been the white folks playing catch-up to the creativity of those of color, probably always will be.

Anyway, the performance here speaks for itself. If you haven’t yet heard it and play guitar or like guitar or maybe think you’re a guitar you’re in for a treat! This is like ground zero for several guitar licks and is pretty much non-stop Lonnie soloing on that 12 string guitar, bending notes and going fast, perfectly in tune too!

See, that shouldn’t be possible. 12 string acoustic guitars even today, with space age materials like heavy duty plywood being used, are often a nightmare to get in tune, let alone play in tune up the neck. This old Stella or whatever it is that Lonnie’s using seems not to suffer from any tuning issues at all! Unheard of!

Really it’s Lonnie’s skill and the fact that his guitar must have been expertly worked on to be that in tune. Anyone can do it but it’s kind of a science with magic added kinda thing. Lonnie’s from New Orleans, so voodoo has to be considered. You never know…

Whatever it was I’m happy that guitar played so well for him because I fucking love this tune. Over the years I’ve played it probably thousands of times by now. There’s this one part (it starts at 1:02) that gives me goose bumps every time. He wiggles a note after having done something different the previous few times, a surprise wiggle when you thought he was gonna waggle! I’ve always loved that bit!

And as someone that still owns a 12 string and could at one time play a half-assed version of Leo Kottke’s “Watermelon”, wiggling a note on a 12 is no easy task. It’s serious finger/hand strength combined with calluses hard as nails. Bending, also impossible, is easy for Lonnie. He’s wiggling AND bending with more finesse and accuracy than 99% of the 6 string wusses of his or any era. The man had some moves…

I’ll cut things short and just foist the tune. I envy any guitarist that hasn’t yet heard it. Turn it up! Feel the swing rhythm ten years before Goodman and Shaw’s chart dominance, the fabs and Stones of the late 30s! Groundbreaking that way too! Enjoy…

Response

  1. claudecat17 Avatar

    I neglected to mention above how big Eddie Lang’s role was in making this and all the duets with Lonnie so great.

    Lang was the top dog guitar player at the time, working with anyone and everyone, eventually being snapped up by mega-star Bing Crosby and on track to have a very happy and fulfilling life as the first studio guitarist, mapping the way for all guitarists.

    Unfortunately his life was cut short when he died during routine dental surgery at the height of his powers. Others had already begun emulating Lang and were able to fill the void, but Eddie’s contributions to the infrastructure of jazz guitar will never be surpassed or forgotten.

    He was the ultimate team player, the ideal mindset for any studio player. Lang was just a brilliant accompanist, knowing exactly when to play quiet or loud, fancy or simple. His rhythm was rock solid and he knew all the chords, all the runs, everything he needed to serve whatever artist and song he’d been hired to play with.

    These duets with Johnson are some of Lang’s best work. It’s easy to hear exactly what he’s doing and why. Mostly he’s happily in the background, being felt more than heard. Doing his job!

    You can tell Lonnie’s really enjoying having a rock solid accompanist too. He’s hitting heights he rarely ever even tried to in other situations. Both men would later recall that these sessions were the highlight of their careers. They seem to have fallen in musical love very quickly in that NY studio!

    It’s interesting to me that Lang was not a great lead player. I’d say barely competent but so few were doing it that some allowances must be made. Makes what Lonnie’s doing seem even more spectacular!

    There are others among these duets where Lang gets to solo. It sounds like he’d rather be playing rhythm, with stiff phrasing and just a feel of floundering in comparison to Johnson’s smooth yet fiery technical prowess. And Lonnie can’t play rhythm behind Lang for shit! Cowboy chords and strumming! It turns into something totally different when they switch roles. Such a relief when they switch back to what each does best!

    Landmark recordings, no question about it. Possibly the most important session in guitar history, at least in terms of laying out the rules for future generations of guitarists, and probably as raw music too!

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