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Candy Johnson
Sweet As Candy |
Floyd "Candy" Johnson
In the 1940's, Detroit was a jazz town. The often-segregated clubs of the city's fabled Paradise Valley rang late into the night with the sounds of swinging big bands and rocking combos. Local musicians held their own against the prominent stars of the day, packing 'em in up and down Hastings Street and St. Antoine in legendary hotspots like
the Club 666, the Frolic Show Bar, Henry's Swing Club, Sportree's Music Bar, the Paradise Theatre, and the Flame.
.....Although the number of talented musicians was seemingly without limit in those heady days, a few local jump bands were
always at the fore. These were the bands of T.J. Fowler, Paul "Hucklebuck" Williams, King Porter, the much -
recorded Todd Rhodes ... and the great Candy Johnson. For sheer entertainment value and outright showmanship, Candy Johnson and
his Peppermint Sticks were without equal, and from the late 1940's through the 1950's few Detroit acts could rival them in popularity. Even so,
Candy's story — like his music — has been largely lost to time. His records, so popular among Detroit jazz fans of the era, were
pressed by small labels whose own histories were unfortunately brief, and his repertoire was ultimately eclipsed by the rising tide of Motown.
Nevertheless, those of us fortunate enough to have heard Candy's original 78's know that his music has a rare, timeless quality that captures
the energy, verve, and optimism of Detroit — and the nation as a whole
— in the immediate postwar years.
Floyd "Candy" Johnson was born in 1922 in Madison, Illinois, and as a young man played in the amateur jazz band at Wilburforce
University in Ohio. He picked up his nickname early (not surprisingly, it was derived from his well-known sweet tooth) and formed his first
combo after moving to Detroit in 1946 or '47. Candy and his band hit the ground running, donning jackets emblazoned with candy stripes to
stand out in the crowded club scene. And this wasn't their only nod to the "Peppermint Sticks" moniker — in the middle of
their programs at local bars, Candy regularly tossed peppermint sticks to the cheering crowd.
Candy developed a wild,
crowd-pleasing style built around his swinging tenor, and the Peppermint Sticks' repertoire ran the gamut from ballads and
blues to swing and jump:
".. .The combo at the Royal Blue Bar jumps ... Johnson's musical repertoire contains
everything from the standard 12-bar blues themes, the customary novelties, to the excitingly modern scores from the pen
of John Birks, the Dizzy one.' - Michigan Chronicle, October 11,1947
Candy's three-piece band quickly built a strong
reputation in the Paradise Valley nightclubs, and it wasn't long before Detroit record distributor Morry Kaplan heard the
music they were regularly laying down. Kaplan had just started his own Danceland record label, and he invited Candy —
joined by pianist Stubby Jackson — to two recording sessions in September and October of 1948. When hearing the tracks
from those long-ago sessions, it's hard to believe they were recorded in Kaplan's own living room, but indeed they were.
And thanks to his unerring ear, we can still be transported to Detroit's legendary club district and hear the sounds of
Candy Johnson. Not long after, Kaplan invited Candy to accompany local vocalist Rose Nelson on her lone Danceland single.
Not including the Rose Nelson session, the following recordings comprise Candy's complete Danceland catalog:
Ebony Jump / Stampin'
Robin's Horn / Southside Saturday Night
Daybreak Blues / Sunset Jump
In 1951, Candy hit the national scene when he joined Count Basie's band.
This tenure lasted less than a year, however, and he soon returned to Detroit, formed another band of his own, and once again
hit the local club circuit, playing his old haunts like the Frolic and El Sino, and even opening the Rage Show Bar, a prominent
West Side Detroit club, in May 1955. He continued to be renowned for outrageous stage antics and an energetic,
eye-popping musical show. Detroit club-goers went wild for his music — and his horn tricks.
(Indeed, he was known to play the sax with one arm behind his back and both hands on the keys.)
His popularity can also be largely attributed to his affinity for strong, instantly recognizable melodies,
even going so far as to include pieces of "Jingle Bells'" and "Mary Had a Little Lamb" on
an early-50's recording for Alben, another obscure Detroit label.
During this time, his group did the occasional tour, but it wasn't until 1958 that Candy returned to the national
spotlight when he signed up with Bill Doggett's hot R&B outfit and hit the road. Candy recorded with Doggett
for about two years, and it's his sax on Doggett's recordings of "Night Train" and "Blip Blop."
Candy retired from the road and settled in Toledo in ^62, but he made several European tours and even performed
with Duke Ellington. He died in 1981.
Needless to say, such a brief biography can do little to convey the joyous
music of Candy Johnson. Indeed, it's to our great good fortune that a pioneering Detroit entrepreneur
named Morry Kaplan had the desire, the appreciation, and the foresight to capture forever these glorious songs
of Paradise Valley. More than a mere historical snapshot, these recordings manage to evoke a sense of joy and
effervescence that forever appeal to the human spirit. To listen to these songs is to hear the sense of wonder
that music engenders. For that, we must be grateful for Candy Johnson and those wise enough to record him. And
what better way to show our appreciation than to listen —
and to share the music.
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©2004 Lovelane Music Publishing. All Rights Reserved.
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