Released on Los Angeles' independent Black Jazz Records, 1972's
Spring Rain found tenor saxophonist
Rudolph Johnson leading his quartet and playing a vibrantly gritty, funky brand of modal jazz. An Ohio native,
Johnson honed his skills as a member of organist
Jimmy McGriff's hard-swinging group of the early '60s before establishing himself on the West Coast. Blessed with a big, warm tone and an ear for advanced harmonies,
Johnson was highly regarded among his peers.
Spring Rain showcases his forward-leaning aesthetic, dipping into R&B grooves one minute and far-reaching atonal lines the next. It's a style that evokes the influence of titans like
John Coltrane and
Eddie Harris, but one which never fails to sound like anyone but
Johnson. Helping him bring his earthy sound to life was his rhythm section, led by pianist
John Barnes;
Barnes would go on to work with a string of R&B superstars including
Supremes,
Marvin Gaye, and
Michael Jackson (he's the keyboardist on
Bad). Joining him was bassist
Reggie Johnson, who would later play with
Archie Shepp,
Kenny Burrell, and
Mingus Dynasty. Rounding out the group was drummer
Ray Pounds, yet another future studio luminary who would play on
Stevie Wonder's
Songs in the Key of Life, and record with
Phyllis Hyman,
Hubert Laws, and
Jeffery Osborne. Produced by keyboardist and label founder
Gene Russell,
Spring Rain captured their head-turning energy, steeped in driving grooves and ferocious improvisations that seemed to speak to the social and political activism of the Black community during the Vietnam era. Still, there's an immediacy to
Spring Rain that transcends its cult reputation as a time capsule of '70s jazz.
Johnson followed the album with a second Black Jazz release in 1974, but spent the majority of his career as a member of
Ray Charles' big band before passing away in 2007. Decades after its initial release,
Spring Rain remains a deeply engaging album that sparks with
Johnson's soulful creativity.