uring the '90s, guitarist Lonnie Johnson's complete early works were reissued by Document in two separate series; one covering his first decade of prolific recording activity in seven volumes and a three-part sequel devoted to his middle period, from 1937-1947. The second volume of the second set opens with "Get Yourself Together," the remaining title from his Bluebird session of May 22, 1940. While a backup guitarist remains anonymous, the trio's bassist has been identified as Alfred Elkins. A more than seven-month gap in Johnson's studio session index is filled only by four private acetate recordings made on January 6, 1941at the Boulevard Lounge in Chicago, where he gigged after the Club 3 Deuces was destroyed by fire. These rare recordings, amounting to more than 15 minutes of live entertainment, stand out from much of Johnson's studio recorded legacy as intriguing examples of how he conducted himself in front of the public. He plays piano on "Falling Rain," bares his heart during a four-minute version of "Rocks in My Bed," and leads a swinging group vocal treatment of George Gershwin's "I Got Rhythm," rechristened here as "More Rhythm" and sounding like something by the Spirits of Rhythm or the Cats and the Fiddle. It is the most exciting track on the collection and one of the great, if little-known gems, in Johnson's recorded legacy. The vocal on "Secret Emotions" is by rhythm guitarist Dan Dixon. Beginning with "Crowing Rooster," a protest song about pimps from the perspective of a female prostitute, the remainder of this album is devoted to Johnson's Bluebird recordings made on February 7, 1941 and February 13, 1942. On both of these dates he used the bassist from the Boulevard Lounge gig, Andrew Harris. Louis Armstrong's ex-wife Lil Hardin Armstrong played piano on the first date, and Blind John Davis on the second, which produced ten titles beginning with "From 20 to 44" and "The Last Call," both dealing with the wartime topic of conscription. The participation of these two fine pianists and the inclusion of the Boulevard Lounge recordings earn this album a place of honor among the more intriguing of the many installments in Document's complete recordings of Lonnie Johnson. ~ arwulf arwulf|

Rovi