About Johnson Katt
Johnson Katt was born in Chicago, later in Memphis, once in Dallas, twice in Minneapolis and again, finally, in Chicago. At age two, he learned to play both piano and drums. He moved along to the string bass at age six, because he was "sick of banging up his knuckles."

Tiring of the White Musical Experience, Katt and his family moved to Memphis, where he formed his first band with boyhood friends J.R. Spooner, Chip Evans, and a hip-swinging guitarist named Aaron Presley, in late 1952. This young band, called "The Swingin' Missiles," was short-lived: because of excessive drinking, drug use and womanizing, Presley was deemed to be too "erratic" and "undependable" by his bandmates. He was ejected from the group in early 1954. It was Katt who instigated Presley's dismissal from the band, a strategic decision that he later regretted "only financially."

His family returned to the Windy City. Katt played in the Chicago Symphony Orchestra from ages eight to ten and became the youngest member of the American Federation of Musicians under the watchful eye of union boss J.C. Petrillo. It was then that Katt worked with the greats in pop: Frank Sinatra, Peggy Lee, Tony Bennett, Louie Prima and Sam Butera & the Witnesses, to name a few. In 1955, Katt's relationship with Sinatra enabled his introduction to New York DJ Alan Freed, whose influence on rock-and-roll had yet to be felt. He returned to Memphis. Although seemingly of high intelligence  his average of three IQ test scores was an uncanny 418, for reasons passing understanding  Katt was unmotivated to learn while at school. He instead preferred spending time with legendary Mississippi Delta bluesmen Papa Henry Lee, Arthur "Big Boy" Crudup, Robert Johnson and others as they drifted through Memphis on their way to various incarceration sites. Katt emulated his idols by donning cheap sunglasses, performing as "Blind Lemon Pledge."

Warned that he'd be shot if attempting this act in front of the tough Memphis blues audiences, he removed the shoe polish. Later, it was Katt who inspired Dan Aykroyd and John Belushi's "Blues Brothers" characters. Katt learned the electric bass at the feet of guitar maestro Les Paul. By age 12, he recorded with Paul and wife Mary Ford, learning studio techniques that he later taught to the production team at Chess Records in Chicago. There he backed Muddy Waters, Little Milton and both Sonny Boy Williamsons. Katt's punchy-but-fluid bass style influenced British musicians Jack Bruce of Cream and John Entwistle of The Who, whom Katt persuaded to move away from their classical cello and brass training, respectively, into the more lucrative pop field, in which they toiled and became giants.

Whirlwind tours backing teen idols such as Fabian, Conway Twitty, Frankie Avalon and Paul Anka introduced Katt to the rigors of the road. During the “psychedelic 60s” Katt's new band, "The Increasingly Annoying Other" opened for acts such as The Jimi Hendrix Experience, Big Brother & the Holding Company, The Jefferson Airplane, Buffalo Springfield, The Electric Prunes and the Grateful Dead.
Somehow, Katt survived the incredible amount of hallucinogenic substances ingested during this period and fled the band. Later, when Katt served as an advisor on the "Blues Brothers" film, he warned Belushi about the excesses of drugs and booze, to no avail. Sadly, just as Presley failed to heed Katt's warnings, so did Belushi . . . with the same dire consequences.

Katt's impact on a later crop of pop wizards should not go unmentioned. In the late 70s he taught Minneapolis master-musician Prince -- who felt he lacked a sense of rhythm -- basic drumming techniques, and bass guitar. And it was Katt who, in 1981, recommended that Michael Jackson adopt some version of Prince's glove, make-up, hairstyle and androgyny as his own. He had no idea how deeply Jackson would take his recommendation to heart.

Although intensely melodic and lyrical, Katt did not limit himself to music. Indeed, all aspects of the entertainment arts were of interest to the near-talented performer, especially stand-up comedy. It was at "Minnie Goldberg's" in the Catskill Mountain resort are that the youth developed his sixth sense for comedy timing and ethnic humor, in this unique environment, at the ages of 13. Opening for a string of established and up-and-coming comics -- including Jack Benny, Jack E. Leonard, Jackie Mason, Jackie Vernon, Jackie Gayle, Milton Berle, George Jessel, Myron Cohen, Henny Youngman, Mel Brooks and Carl Reiner, Shecky Greene, Joey Bishop, Shelley Berman, Corbett Monica, Woody Allen, Steve Allen, Fred Allen, Alan King, Alan Sherman, Allen & Rossi and Burns & Allen -- the young entertainers (known as "Dei Shvingina Matzos”) learned the art of standup from its true masters.

In addition to music and comedy, the three lads attempted to learn dancing, first from Sammy Davis, Jr., then from leading Broadway dancer/choreographers Gwen Verdon, Bob Fosse, and Marge and Gower Champion. Sadly, it was discovered that -- while all of the boys possessed flawless rhythm -- only Spooner had sufficient psychomotor skills to become a world-class dancer. In 1961, he coached Russ Tamblyn and George Chakiris for the movie version of "West Side Story," especially teaching Tamblyn how to meld his acrobatic and tumbling skills with modern dance, creating the fluid moves for the unforgettable opening sequence, as well as the "The Jet Song."

EPILOGUE: Those who know the truth, history, and Katt’s actual age know that the above is been fabricated. However, Katt has somehow managed to eke out a living as a freelance journalist, musician, and PR flack for more than 35 years, and must at least be given credit for knowing enough about The Business to have created the above, amazing yarn. Katt has, in fact, interviewed musical artists as diverse as Dave Brubeck and The Ramones, performed in Chicago blues and R&B venues from Buddy Guy’s “Legends” to recording in Tyrone Davis’ studio to gigging live with members of Pink Floyd, Steely Dan, The Doobie Brothers and Supertramp. He is considered by some – not many – to be an expert in the field. Now, if we could just get him to come IN from that field, and do his work.