Ronell Johnson: A New Orleans Life and a Horn Played with Joy

Born in Marrero, LA, on the West Bank of New Orleans, I am the youngest of four boys, all musicians. In addition to L.B. Landry High School, I attended St. Augustine High School, a local college preparatory school for boys. Membership in St. Augustine's Marching 100 band was significant in my music training. Ultimately, it was at the New Orleans Center for the Creative Arts (NOCCA) where my commitment to music was greatly developed, which led to a B.A. in music from Southern University at New Orleans (SUNO).

My mother, herself a pianist, stimulated us toward involvement in music. She was my first piano teacher, and later arranged lessons for me. It turned out to be all too slow for me. I quit after only three weeks and decided to continue learning piano on my own. The first music I remember hearing outside of church was The Young Olympia Brass Band, playing with my brother Steven as a member. He also took me to see rehearsals and recording sessions with Milton Batiste and The Olympia Brass Band in Milton's home studio.

At about six years old, my oldest brother, Ernest Jr. took away all of my toys and replaced them with a trumpet. He taught me how to blow into it, how to read treble clef and the B-flat and chromatic scales—all in one day! Another brother, Steven, taught me the blues scale when I was about seven.  He, too, threatened to throw away all my toys if I did not practice, so I'd go out in to the backyard, sit on the swing set, run through the scales, and then try to mimic all the sounds I heard in the neighborhood. This included a fire truck passing by, birds chirping in the trees, and any other sound I could imitate with my trumpet. It proved to be important to develop my ear and pick up on notes. All of my teachers marveled at my ability to hear and mimic sounds or notes; I was a quick study.

My education continued in elementary school bands, but upon saying I wanted to play trombone, my brothers insisted I play the trumpet. But when I was 10, my older brother left home for the weekend, and I taught myself how to play trombone. Applying techniques learned from trumpet studies, I worked out the blues scale and practiced all elements together. The very next day I took the trombone to church and played for the congregation. That particular performance was a pivotal moment in my life; I knew immediately that the trombone was for me.

I can also recall the moment when my brother brought a concert tuba home for the first time. One look at it, and I thought to myself,  "Ah... something else to play!" At only age 12, I fell in love with that tuba. My brother bought me a used tuba and I quickly began playing gigs. It's standard to play one instrument as most people decide. But growing up surrounded by all these different instruments—these were my "toys" and I played them all. 

If not for my brother, Steven "Coolbone" Johnson, I would never have seen and heard so many great musicians. Once he invited Irvin Mayfield, my fellow NOCCA classmate, and me to sit in with his band at the Sheraton Hotel. At only age 13, our skills were exhibited while playing with experienced musicians, and the crowd was loving it!  Afterwards, an older man approached who said, "You guys are really great, continuing the tradition, and more."  It turned out that 'old guy' was Al Hirt!  

I had no idea who Danny Barker was the first time I met him. At about age 14, Irvin Mayfield and I were playing on a parade route with The Algiers Brass Band. At the end of the parade, I saw someone on stage playing with Gregg Stafford and Dr. Michael White. On the very next break, we approached the stage for a better look. He leaned over and asked us if we wanted to sit in with the band, and we agreed immediately. When it was over, he gave us high praise, and I still had no idea who he was. I went home and told my older brothers who were blown away, as I was when they told me that it was Danny Barker! To this day, I am SO honored to have been able to play with him. To receive that type of encouragement and appreciation from those two masters was priceless.

The opportunity to attend NOCCA changed my life, providing a finely tuned education into the artistry of musical theory within even just a few short weeks. Oddly enough, Jaffe came to class occasionally as a substitute for our regular instructor. He was not much older than us and had just completed his college education at Oberlin College. At the time, I had no idea about his connection with Preservation Hall. Perhaps not surprisingly, we hit it off immediately and have been friends ever since. It's quite possible that my future with Preservation Hall was destined from the beginning.  My Grandmother's brother Joseph Butler, was one of the most well-known musicians throughout New Orleans until his passing in 1982. Butler was a double bassist who played regularly in the traditional jazz scene at Preservation Hall and other venues. [More information on Joseph Butler can be found at 64parishes.org.]

I've been playing at Preservation Hall on and off since 2003, starting with the Olympia Brass Band on Sunday nights. The band needed information for a trombone player in the absence of another. They had actually forgotten that I knew that instrument too. I reminded them and stepped right in. After hearing the band that night, the Hall called again to ask if I could come in the following evening on the trombone. After additional calls for gigs on trombone, they asked if I could drop by and play bass. I told them that I didn't play bass, but I did know how to handle the tuba. They were delighted and invited me to come on in. Soon afterwards, I became a regular. 

In 2005, Hurricane Katrina devastated New Orleans, forcing residents to migrate elsewhere indefinitely. After the storm, I lived in Dallas, TX for one year and later moved near family members in Huntsville, AL. On occasion, I visited New Orleans to play at Preservation Hall. Eventually, I missed home enough to return in 2009.

About two years later, Ben Jaffe wanted to take time off from traveling to spend more time with his young family and asked if I could fill in for him on tuba.  In 2012, he made it official—I was to be his replacement on tuba for the travel version of The Preservation Hall Jazz Band. After a year or so, he resumed traveling with the band, now featuring us both on tuba, playing together.

A bit later, the road band started to compose and play original music, and released our first CD entitled That's It
After visiting Cuba, our trip continued to Haiti.  In both places, we discovered that they played classical music with Latin rhythms. This combination of styles was completely different than what we expected and a real eye-opener. We found it impossible to return home with the same standard style that we had grown accustomed to. In the midst of consistent traveling and performing this is something new—it's fun, it's good and it's New Orleans too!  Some young musicians in town are now telling Ben and I that they're playing some of the songs we've just written and recorded, a huge compliment. At this point, our 'new' music isn't so new anymore—but The Preservation Hall Jazz Band is not just a part of New Orleans musical history—instead, we're making history! 

Travelling around the world and performing has been an incredible experience. There has always been so much to learn, especially from other band members. In my first years with the band, I was fortunate to be traveling with Rickie Monie, the veteran pianist with the road band. Rickie unexpectedly became my 'traveling coach' and mentor. His standard question was, "You learning something, Johnson?  Don't just be out there, you must learn things too!"—that's my "Uncle" Rickie! 

There have been many fun (and embarrassing) memories while touring. Performing with my family band, Coolbone, I used to like to spin around on stage with the tuba when finishing up with "When the Saints Go Marching In," and once, with all that spinning, I got dizzy and fell over on top of the drums to complete the show! I was so embarrassed, but the audience cheered, thinking it was planned.  And about three years ago, while on tour with Kermit Ruffins (among others), he joined us for the final songs.  After the show, I was thirsty, located our cooler, and upon opening it found Kermit's trumpet in there, covered with ice and cold beers. I searched him out to confess the mistake, not knowing what response to expect. His answer—"That last song we played was so hot, I had to cool it down!" What a relief!

The pandemic has been a difficult period—the band has only recently begun to tour again. Since we have not been playing or practicing together every day my endurance isn't what it used to be. This will not last, considering I have become the leader of my own band, "Ronell Johnson's NOLA Jazz Band" performing at local venues. But when even Trombone Shorty says he, too, is short of breath and endurance at times, I feel better. Charlie Gabriel though—he has done nothing but blow throughout this period of time at home during the pandemic and is stronger now than ever before—he is truly amazing and we should all be in such great shape at his age!

As much time as I've spent on the road, New Orleans is home and Preservation Hall is a very special place; there's magic in that old building. I feel truly blessed.