sidemen .iqhnnie Johnson«, counterpoint to Berry’s souped-up guitar on on a fateful day in early the uptempo tunes, while on the slow blues, such as “Wee Wee HourfJ^Johnson laid 1956, Johnnie Johnson and down triplet-ridden, soulful responsorial fils and a solo that proved him the equal of any blues pianist then current on the Chica­ Chuck Berry headed to Chicago go scene. Had Johnson spent the rest of his career simply filling the function of letter- for their fourth recording ses­ perfect foil on Berry’s subsequent record­ ings, he would amply deserve to be inducted sion at Chess Records. Their into the Rock and Roll Hall of Fame. But be­ ginning with the duo’s fourth session, which first three efforts had produced produced “Roll Over Beethoven,” “Brown Eyed Handsome Man,” “Drifting Heart” and the blues-inflected stylings of “Too- Much Monkey Business,” Johnson did so much more. In fact, together with Berry, he “Wee Wee Hours,” “No Money created the archetypal rock & roll groove that would influence the sound of virtually every Down” and “Downbound rock musician for the next twenty years. While Berry wrote the lyrics and his guitar Train” and the cut-time coun­ solos, it was Johnson who took from earlier boogie-woogie piano players what he re­ try raveups “Maybellene,” “You ferred to as his “chopping bassy” playing chords in either a shuffle groove or straight Can’t Catch Me” and “Thirty eighths, every second, articulation shifting between the fifth and sixth degrees of the scale. When Berry adapted this to his guitar, Days.” The results had been the standard rhythm-guitar pattern of basic rock & roll came into existence. One can impressive, jump-starting draw a straight line from Johnson’s playing on that day to the guitar sound of the Beat­ Berry’s career with four Top les, the Rolling Stones, the Beach Boys, Cree- dencfe Clearwater Revival and beyond. It is Ten R&B hits, one of which, the sound of rock & roll. Ironically, the group that first recorded “Maybellene,” enjoyed similar Berry’s hits at Chess was originally known as the Johnnie Johnson Trio. Two years Berry’s se­ success on the pop chart. John­ nior, Jolinson had first hired the guitarist for a New Year’s Eve gig in 1952 when one of his mu­ nie Johnson’s piano is all over sicians had taken sick. Johnson was impressed with Berry’s showmanship and singing ability, these songs, contributing rol­ so the arrangement stuck, and for the next three years Berry, in effect, was in Johnson’s licking high-end boogie-woogie employ. It was only after the success of “May­ bellene” that Berry took over the Johnnie John-, licks that served as the perfect son Trio, turning Johnson and drummer Ebby Hardy into sidemen. Despite the name change, Johnson stayed with Berry, playing on and co- creating the music for virtually every recording Berry for the 1986 shows that were the climax Berry made through 1964 and on intermittent of the film Hail/ Haill Rock ’n’ Roll. Since John­ sessions until 1973. One of the few songs John­ son’s “rediscovery,” he has recorded six solo son didn’t contribute to, 1958’s “Johnny B. albums and played sessions for such lumi­ Goode,” was written as a tribute to him. As naries as Richards, Eric Clapton and Buddy Keith Richards so defdy put it,tin tandem with Guy. “His musicianship is amazing,” empha­ Berry, Johnson is much more than a sideman; sizes Richards. “His empathy for who he’s he is “one of the best rock & roll songwriters playing with is almost saintlike.” In 1999, of all time.” Johnson received a Lifetime Achievement Despite his massive contributions to the Commendation from the Congressional music of Chuck Berry and consequently to Black Caucus, and in 2000, he was the recip­ the very sound of rock & roll, Johnson was ient of the R&B Foundation’s Pioneer AWard. never given credit. He would have remained Tonight, justice is at last being served, as an obscure name known only to historians Johnson’s seminal role in the creation of rock and ardent rock aficionados had it not been & roll is finally recognized through his in­ for Keith Richards’s decision to hire Johnson duction into the Rock and Roll Hall of Fame. to play piano in the all-star band that backed Haill Haill Rock & roll indeed. ®.