Johnny Iguana - At Delmark: Chicago Style Solo Piano
- chicagoblueseditor
- 13 minutes ago
- 9 min read
Release date: April 11, 2025
Delmark Records
By: Mark Plotnick
A piano player walks into a bar…oops, that’s a different writing assignment. A piano player walks into a recording studio. The studio mavens ask him to sit down at a hundred-plus year old grand and do some test recordings for their old but venerable tape machine.
And then they break the news to him, “We’d like you to record a solo instrumental piano album with all single takes, no overdubs and no edits recorded the old-fashioned way…on tape. Or as the 88s player described it, “playing without a net.”
And in a nutshell, that is Johnny Iguana’s new CD titled At Delmark on the Delmark Records label. How many of today’s piano players of any stripe and with stature would put out a recording in this dicey manner?
You might ask, what’s so special about this scenario? Johnny explains, “When recording in this manner, the likelihood that you’ll lose your way or make an error increases with you being the total focus. There’s no band. You’re the band. The opposite of a produced record is what was done at the Delmark studio.”
Johnny Iguana (born Brian Berkowitz) sees it this way, “This is me playing piano like I do at home, creating new pieces on my own and having my way with songs by [others]…sure there are moments where ‘my car goes off the road,’ but that’s exactly when your hearing it live and unedited…and this is arguably the good stuff. I found a certain thrill to this. I had a basic plan for each song and then let my fingers roam where they wanted to go.”
The result is immensely rewarding for both the performer and listener.
Who Is Johnny Iguana?
The songwriter, piano, organ and synth player known as Johnny Iguana was born Brian Berkowitz in New Jersey. His keyboards and songwriting have been imprinted on over two dozen collaborative recordings with esteemed blues and rock luminaries along with several of his own over the past thirty years. He’s toured the world with the likes of Otis Rush and Junior Wells, the latter hiring Iguana in 1994 and bringing the East Coast kid to Chicago to play in his band.
The New Jersey native has also written original music and been a Grammy Awards nominee and Blues Music Awards nominee and winner. And even if you don’t know him by name, you’ve likely heard his music without knowing it. For example, if you’re a fan of the immensely popular, Emmy-winning FX/Hulu series The Bear, Johnny and his longtime songwriting and producing partner composed the original score.
And last but not least, Iguana has led his own bands including the piano-powered, cabaret style punk outfit “The Claudettes. Johnny Iguana is far from your typically gifted keyboard player. Metaphorically speaking, he’s what those of the Jewish faith know as Mish Mosh soup. A combination of some of the best items soup has to offer all in one bowl. A meal in itself. That is keyboardist Johnny Iguana and what you get on At Delmark.
What’s In A Name?
When he was eight, Brian’s family moved from New Jersey to Philadelphia and by the age of twenty-two, Brian took his talents to New York. Although a Chicagoan since 1994, he considers himself a punk rock kid from Philly who was smitten by the blues bug in his teens – particular the Delmark recordings of Junior Wells and Magic Sam. And of course, the piano playing of Otis Spann and contemporaries.
So, what’s with the reptilian reference? Here’s the story according to the newest Lizard King (Jim Morrison remains the original). During his high school years in Philadelphia, Brian played in a band called Stevie and his All-Reptile Orchestra. Bandmembers gave Brian the name Johnny Iguana to fabricate a sibling relationship with the bass player who went by Bobby Iguana.
When Johnny was hired by Junior Wells, the stage name was revived as a reminder of those early days when Brian Berkowitz fell in love with the blues.
Influences
Classical music was part Brian’s early piano training but he was soon playing the music of classic rock-era acts like Led Zeppelin, Rush, Van Halen and AC/DC. He played in punk and blues bands…the latter becoming his passion. It began with an Uncle’s mixtape of blues and rhythm blues artists. Brian was encouraged to step back in time and listen to those blues innovators who inspired the classic rock era acts that he loved and who laid the groundwork for so many modern styles of music.
The CD
At Delmark contains twelve tracks and thirty-eight minutes of eclectic, improvisational and rollicking instrumental piano. All tracks have blues on top or somewhat inside. “I made slight tweaks to some of the chords to make them work best as a solo piano piece.”
According to the artist, the original compositions are all very new with some still in the developmental process when Delmark came calling.
What you hear is searching and discovery captured on tape. Johnny embellished, “I particularly prize the combination of the thinking and magic of a meticulous plan and then suddenly, a burst into unknown territory.”
The Songs
“Bass Key Boogie”
We’re immediately treated to Johnny’s signature syncopated, in the moment style. His father noticed early on that his son’s two hands operated independently of each other. The fledgling pianist saw it as a special power that he could expand on in the future.
The opening track features Little Brother Montgomery’s “Bass Key Boogie.” Montgomery was one of the most prominent blues pianists from Mississippi who inspired a young Willie Dixon and mentored Otis Spann, Sunnyland Slim and many others. All Iguana idols.
Montgomery’s song first appeared on a solo piano instrumental album titled Blues Piano Orgy, a 1972 Delmark release that Johnny’s father once owned and which long ago, inspired his son to make a recording like At Delmark.
“Heart of Gold”
As passengers on Johnny’s musical journey, we then experience a hairpin turn with Neil Young’s “Heart of Gold,” a song from Young’s 1972 album Harvest. It’s a tune Iguana has played onstage.
“I found a way of altering the chords to make it a piano piece and I felt it worked out great…there’s no way in my trying to imitate the original artist. I can use the original artist as a springboard, but I can only play like myself and the riffs and solos that come naturally to me after playing the melody.”
The pianist stays true to Young’s version until the one-minute mark where he quickens the pace with a flurry of bluesy, jazzy improvisations while staying within the song’s framework. He reverts back to the song’s familiar structure before again letting his hand’s go their own way. “I spend a lot of time experimenting.”
The results sound rich and comforting, helped along by the warm acoustical qualities of Delmark-Riverside’s 1917 seven-foot Steinway grand – an instrument Iguana was delighted to play.
“For Dancers Only”
We get our first taste of an Iguana original on “For Dancers Only.” The opening recalls a typical 1950s doo wop chord progression but then morphs into several different compositions over the next two minutes. Think of this song as a chameleon that changes colors.
Iguana has played this song for years but usually with other instruments and with his band The Claudettes. “For Dancers Only” is a musical amalgamation that challenges the listener, but the rewards are worth it.
“Stormy Night at a Moroccan Blues Bar”
Having never been to such a place let alone on such a night, I now feel like I have thanks to this complex piece that defies categorization. It evolves and overflows with flashes of virtuosity and color. The song paints a picture. Jimi Hendrix once said that he played the colors that were swirling in his mind. Perhaps Johnny does something similar on piano.
“Messin’ With the Kid”
Clocking in at four minutes and sixteen seconds, (the CD’s longest cut), Johnny returns to the blues with one of Junior Wells’ signature songs. Having played in Junior’s band, he knows this song well. But here, he’s interpreting the whole band rather than just his ensemble part. That’s the great thing about piano. You can be the band!
Once again, the East Coast kid throws in occasional changes and jazz club fills that pleasantly surprise the listener.
“Tripping in a French Ambulance”
Johnny was an English major in college and a prolific reader. This gives him ideas, especially song titles. I can’t speculate where this title comes from, but here’s my literal interpretation: Someone in a foreign country had a bad drug trip and are being rushed by ambulance to a hospital where the doctors and nurses speak only French. Call me crazy.
But whatever the song is meant to communicate, it’s the most delicate and traditionally beautiful piano piece on the CD. Classical influences abound (he loved Chopin for his playing dynamics) with visions of Romani dancing to New Age piano. It’s classic genre bending the Iguana way.
“One More for the Cleaning Crew”
This song sounds exactly like the title communicates. Johnny describes this original as a slow, kind of drunken, melancholy, late-night piece played when patrons have left their watering hole and only Johnny and the bartender remain. It’s the ideal night-cap song.
“You Never Can Tell.”
Vintage rock ‘n’ roll returns with a Chuck Berry tune that has found its way into product ads, television shows and film. Although Iguana doesn’t mention Johnnie Johnson (Chuck Berry’s legendary piano player) by name as an inspiration in the interviews I’ve read, he sure makes the case with this Chuck Berry workout.
“You Belong to Me”
Listen to this Magic Sam blues song and you’d swear the pianist has four hands! Or is it dueling pianos or possibly stacked piano tracks? No…it’s just the two hands Johnny was born with.
And speaking of Johnny’s hands, what makes this song and others more remarkable is that twenty-one years ago, Iguana and members of his Oh My God band were traveling through Ohio by van when they were struck by a drunk driver. He sustained a wrist injury so severe that he was driven back to Chicago for complicated surgery that lasted five hours. Even his surgeon wouldn’t guarantee he’d play again. But with therapy, hard work and determination, Iguana was playing a year later.
“Welcome Distractions”
The last Iguana original on this CD is a tale of two contrasting movements. It opens with a pattern of seemingly innocuous descending and returning notes that are suddenly joined by hard-pounding, doom-sounding chords as if introducing a menacing moment in a movie. Then Iguana gives us some relief with welcome distractions – a series of quiet and delicate classical flourishes before the menacing passages return and battle it out.
“Riff Raff”
Since the age of twelve, Iguana has been a fan of Bon Scott-era AC/DC. That’s the period before Scott died and was replaced by Brian Johnson for the “Back in Black” album.
As an amateur blues piano player who plays classic rock era music, I’d have bought this CD just to hear how Iguana pulls off playing a song from the band’s 1978 LP Powerage. Iguana explained, “My version of “Riff Raff” is very faithful to the band’s original.” I want Angus to hear it!”
Simply put, the punk-kid from Philly flat rocks out. If you want to hear how a solo pianist interprets a raucous rock band, pay close attention. Your jaw will drop. Drop!
Final Cut
“Roll ‘Em”
The CD concludes as it started – with Iguana playing lively boogie and blues piano. Born in Oklahoma in 1916, Jay McShann helped shape and develop the Kansas City swing sound popular in the 1930s and 1940s.
Iguana has been playing this McShann song for years, but usually with a drummer. “McShann is massively underrated…such a masterful and above all, joyful player.”
Being joyful is a vital part of Iguana’s craft. “When I’m feeling down about one thing or another, I’ll go to the piano and emerge with a much brighter outlet after playing and especially writing new music.”
Conclusions
With this CD, Delmark and Johnny succeeded in their mission. We get a singular pianist spontaneously performing blues standards, rock songs he loves to play in a bluesy way, and original compositions that show off his agility, inventiveness and versatility. All anchored in his deep respect and knowledge of the blues.
Does Iguana harbor doubt about doing this recording? An insignificant “yes” with a big “no.” He concedes, “Maybe it’s a mistake to combine all the music in my past and in my head in such a reckless, careless way, but I think it comes off as honest and in a way, very homogeneous.”
He added, “I think I have a sound. I play the music I want to play. It often defies genre boundaries and does make the professional part very difficult. Combining a love of music with an expectation of success is not for the faint of heart…but I’ll keep coming back with new music that I’m excited about. But I know this about myself, this is a good way to remain a cult star and I’ll take it. Hey, I’m on Delmark Records!
Yes he is. A dream since childhood.
Note: Delmark plans to make this recording available as an audiophile reel-to-reel, vinyl LP, and in high-resolution digital and streaming formats.
About the Author: Jim Summaria began professionally photographing rock concerts in 1973 at the age of 19 when he became the staff photographer for the Chicago rock concert promoter Flip Side Productions. Jim's photos have been published in numerous books, magazines and CDs. His rock ‘n’ roll photos have been viewed at the Rock & Roll Hall of Fame, the Illinois Rock & Roll Museum and Hall of Fame on Rt.66 and the Grammy Awards. Jim and writer Mark Plotnick co-authored the books Classic Rock: Photographs From Yesterday & Today and the October 2024 release ‘70s Chicagoland Rock Concerts, available on Amazon.
To buy the music, visit: https://delmark.com/tag/johnny-iguana/
website: https://johnnyiguana.com/