Ken "Snakehips" Johnson

Biography

Kenrick Reginald Hijmans Johnson was born in Georgetown, British Guiana, on 10 September 1914. His uncle was the pianist Oscar Dummett. Johnson played in a comb and paper band at Queen's College and also played the violin.

His early interest in dancing displeased his father, who wanted him to study medicine. At age 14 he was sent to Britain, arriving at Plymouth on 31 August 1929, and attended Sir William Borlase's Grammar School near Marlow, Buckinghamshire. He played cricket and football, was an excellent goalkeeper, and played violin in the school chapel.

After leaving school in 1931, he studied law at the University of London but gave it up to work as a dancer. He took professional lessons and was influenced by Buddy Bradley, an African American dancer and choreographer. Through Bradley, Johnson appeared in the 1934 film Oh, Daddy! and travelled to Trinidad in December 1934. He toured the Caribbean, then moved to the US, visiting Harlem, where he honed his tap dancing and studied local styles.

There he met Fletcher Henderson, who encouraged him to lead a band. He appeared in two short films in the US and performed one night in British Guiana in August 1935. He returned to Britain in 1936.

Impact and legacy

The West Indian Dance Orchestra became the leading swing band in Britain and one of the first British bands to play in the style of US bands. By 1941 they were a unique ensemble in Britain. The all-black outfit was the only one in the country. Johnson's significance was social as much as musical: he maintained the first established black British band.

He became a pioneer and model for later black British musicians. His impact on London clubland and wartime social changes led to racially mixed bands. Within a month of his death, several band members were employed by bandleaders whose groups had previously been all-white. Racial integration in mainstream British jazz increased, though many bands still faced a colour bar.

The band broke up after Johnson's death, devastated and traumatised. Surviving members moved to other groups, including Harry Parry's Radio Rhythm Sextet and Geraldo's orchestra. One member formed another all-black band, the All-Coloured Orchestra, comprising many of Johnson's musicians. The movement of these members arguably improved the overall sound of native jazz.

Approach and style

Johnson was tall, elegant and handsome, described as a gentleman about town. He and his all-black band dressed in white jackets; Johnson wore white tails and conducted with an extra-long baton. The sight of twelve disciplined men of African descent in white band jackets was exciting and memorable. Johnson aimed for strong visual impact, choreographing the musicians' movements and incorporating his own dance moves.

His dancing and showmanship established the band's reputation. Although not as musically talented as the musicians he led—one colleague said he could not tell a B flat from a pig's foot—he had the gift of imparting his enthusiasm to those who were talented. Introducing a black musician into a largely white group was difficult; many London venues blocked inclusion. Johnson discussed the problem with Bert Firman, noting that a West Indian musician faced obstacles unless the group was presented as a novelty, such as a West Indian Dance Orchestra.

Professional output

Johnson's first band, the Aristocrats (or Emperors) of Jazz, made no recordings. The West Indian Dance Orchestra's discs were commercial issues for dance band listeners, not swing. The 78 rpm record's 3-minute-20-second limit sometimes dampened the band's swing. They initially recorded for Decca Records in their Swing series.

Arrangements were done by Adrian de Haas, Barriteau, and Kenny Baker. Soweto Kinch considers the recordings contain aspects of Calypso music. Jason Toynbee describes the music as authentic swing with sophisticated arrangement but American in derivation.

Johnson employed Al Bowlly and the Henderson Twins on some vocals. He appeared with the band on BBC Radio and acted as a disc jockey, presenting programmes such as Calypso and other West Indian Music. He played swing, advertising it as ultra-modern dance music. Some of his radio broadcasts were recorded onto acetate discs, now held by the British Library Sound Archive.