This writer knew Arnold Johnson as the pianist on Paul Biese’s hell-raising sides of the teens and for his band’s vivid ensemble lines on some records with Jack Purvis. Wikipedia explains that Arnold Johnson had a long career in popular music, from vaudeville accompanist through bandleader to radio professional.
“Sweet Lovin’ Mama” is, at best, a sentence in the book of Johnson’s life. Yet it’s still another ear-opening example of this hustling musical professional: arranged with ample variety, played with energy as well as confidence, and hotter than any metaphor I could insert to introduce it:
The novelty sounds in the introduction are swept away to make room for some straightforward collective ensemble stomping, with Nat Natoli’s lead trumpet and the rhythm section hitting hard. Natoli’s breaks and muted upper-register vocalizing also raise the temperature. A chorus for sentimental violin with piano ragging around it is followed by a similar effect, now with the saxophone section around the trombone melody, then gliding into a wailing out chorus. Johnson may not have performed all the parts, but his name on the record label once again delivers the goods.
He worked in the music business rather than Jazz per se, and “Sweet Lovin’ Mama” may have been just a “product” made to satisfy demand. It concerns itself with nothing other than rhythmic intensity, textural contrasts, melodic variation, and instrumental give and take. Once upon a time, it made dancers move in their homes. Now, it makes listeners dance in their minds. If there is such a thing as “absolute hot music,” this track would be a good candidate.
Arnold Johnson is seated at the piano alongside the Frisco Jazz Band in 1917. Photo from thevarnishedculture.com.
The Pop of Yestercentury 