RUDOLPH JOHNSON "Spring Rain" LP Shrink VG+/VG+ w HP BLACK JAZZ 1971

$

163

Rudolph Johnson Biography by Matt Collar

Spring Rain

Tenor saxophonist Rudolph Johnson was a heady and deeply focused improviser, recognized for his huge tone and long architectural phrases in the John Coltrane tradition. A member of organist Jimmy McGriff's hard-swinging group of the early 1960s, Johnson came into his own in the '70s, releasing a two albums on the Black Jazz Records label, including 1972's Spring Rain, before spending the latter part of his career as a member of Ray Charles' orchestra.

At the Apollo

Hailing from Columbus, Ohio, Johnson started playing saxophone in junior high. There, he cultivated a love of jazz, playing alongside two of his classmates, saxophonist Gene Walker and pianist Bobby Pierce. After high school, he moved east, where he joined organist Jimmy McGriff's band, touring and appearing on albums like At the Apollo and Jimmy McGriff at the Organ.

The Second Coming

By the mid-'60s, Johnson had relocated to the West Coast, where he spent time leading a trio and playing in Los Angeles and the San Francisco Bay Area. In 1972, he made his debut as leader on the Black Jazz Records label with Spring Rain. A funky, modal-leaning production, it featured his quartet with well-regarded jazz and R&B pros, pianist John Barnes, bassist Reggie Johnson, and drummer Ray Pounds. He released two more albums during this period with 1974's Second Coming and Habiba, the latter of which was a collaboration with pianist Kirk Lightsey. Over the next 20 years, Johnson continued to lead his own groups but stayed primarily active touring as a member of Ray Charles' big band. He died in 2007 in California from complications of a diabetes-related illness.

Spring Rain Review by Matt Collar

Released on Los Angeles' independent Black Jazz Records, 1972's Spring Rain found tenor saxophonist Rudolph Johnson leading his quartet and playing a vibrantly gritty, funky brand of modal jazz. An Ohio native, Johnson honed his skills as a member of organist Jimmy McGriff's hard-swinging group of the early '60s before establishing himself on the West Coast. Blessed with a big, warm tone and an ear for advanced harmonies, Johnson was highly regarded among his peers. Spring Rain showcases his forward-leaning aesthetic, dipping into R&B grooves one minute and far-reaching atonal lines the next. It's a style that evokes the influence of titans like John Coltrane and Eddie Harris, but one which never fails to sound like anyone but Johnson. Helping him bring his earthy sound to life was his rhythm section, led by pianist John Barnes; Barnes would go on to work with a string of R&B superstars including Supremes, Marvin Gaye, and Michael Jackson (he's the keyboardist on Bad). Joining him was bassist Reggie Johnson, who would later play with Archie Shepp, Kenny Burrell, and Mingus Dynasty. Rounding out the group was drummer Ray Pounds, yet another future studio luminary who would play on Stevie Wonder's Songs in the Key of Life, and record with Phyllis Hyman, Hubert Laws, and Jeffery Osborne. Produced by keyboardist and label founder Gene Russell, Spring Rain captured their head-turning energy, steeped in driving grooves and ferocious improvisations that seemed to speak to the social and political activism of the Black community during the Vietnam era. Still, there's an immediacy to Spring Rain that transcends its cult reputation as a time capsule of '70s jazz. Johnson followed the album with a second Black Jazz release in 1974, but spent the majority of his career as a member of Ray Charles' big band before passing away in 2007. Decades after its initial release, Spring Rain remains a deeply engaging album that sparks with Johnson's soulful creativity.

Rudolph Johnson – Spring Rain

Label: 

Black Jazz Records – BJ/4

Format:

Vinyl, LP, Album, Stereo, Indianapolis Press

Country:

US

Released:

1971

Genre:

Jazz

Style:

Soul-Jazz, Modal

A1 Sylvia Ann 5:03

A2 Fonda 7:26

A3 Diswa 6:33

A4 Mr. T.J. 6:08

B1 Little Daphne 9:50

B2 Devon Jean 3:06

B3 Spring Rain 8:10

Copyright © – Ovation Incorporated

Distributed By – Ovation Records

Published By – Streeterville Music

Mastered At – RCA's Mid-America Recording Center, Chicago, Illinois – A4RS-3430

Mastered At – RCA's Mid-America Recording Center, Chicago, Illinois – A4RS-3431

Pressed By – RCA Records Pressing Plant, Indianapolis

Artwork [Cover], Photography By – Dorothy Tanous

Bass – Reggie Johnson

Design [Cover] – Ray Lawrence Ltd.*

Drums – Ray Pounds*

Engineer [Recording] – Gene Russell

Lacquer Cut By – dh*

Piano – John Barns*

Producer – Gene Russell

Tenor Saxophone – Rudolph Johnson

Written-By, Arranged By – Rudolph Johnson

Tan label RCA Indianapolis pressing, different from this version of Rudolph Johnson - Spring Rain pressed at Capitol Jacksonville.

Durations printed on cover are incorrect.

Some copies are pressed on RCA Dynaflex vinyl.

Matrix / Runout (Side A label): A4RS-3430

Matrix / Runout (Side B label): A4RS-3431

Matrix / Runout (Side A runout): A4RS-3430-1A BJ/4 S-1. dh. I

Matrix / Runout (Side B runout): A4RS-3431-A BJ/4 S-2. dh. I

Rights Society: BMI

Pressing Plant ID (Stamped both sides runout): I

GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.