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Key Information
Wesley Johnson known by his stage name Wess (August 13, 1945 — September 21, 2009) was an American-born Italian singer and bass guitarist, perhaps mostly known for representing Italy along with Dori Ghezzi at the Eurovision Song Contest 1975 in Stockholm, Sweden, placing third with the song "Era".[1]
Originally from North Carolina, Wess moved to Italy in the 1960s in pursuit of a musical career. He formed a successful duo with Ghezzi and achieved some hits in Italy, such as "Voglio stare con te", "Come stai? Con chi sei?" and "Un corpo e un'anima". Wess also was a singer and played bass guitar for the soul-funk band Wess & The Airedales in the 1960s and early 1970s.
He died in 2009[2] in New York during his United States tour when a breathing crisis led to his death.[3]
Personal life
[edit]He was the father of Deborah Johnson and UK-based R&B singer Romina Johnson, who often accompanied him as a backing singer.[4]
In popular media
[edit]In its winter 2018 issue, Oxford American magazine published an essay about Johnson's life as a young performer in Winston-Salem, North Carolina, and how his earliest experiences affected his career in Italy.[5]
See also
[edit]References
[edit]- ^ Giuntini, Cristina. "Wess (Italy 1975) dies at 64". esctoday. Archived from the original on December 25, 2011.
- ^ "Eurovision 2023: Five times the US wowed Eurovision". 2023-05-12. Retrieved 2025-02-04.
- ^ "Wess and Dori Ghezzi | Eurovision Song Contest 2012 in Baku". EuroVisionary. March 22, 1975. Archived from the original on February 23, 2012. Retrieved August 8, 2012.
- ^ "About me : Romina Johnson". Romina Johnson.
- ^ "A Teentone in Rome".
External links
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from Grokipedia
Wess (August 13, 1945 – September 21, 2009), born Wesley Johnson, was an American-born Italian singer, bassist, and arranger renowned for introducing soul and funk music to Italy during the 1960s and 1970s.[1][2] He gained international prominence as part of the duo Wess & Dori Ghezzi, representing Italy at the Eurovision Song Contest 1975 with the song "Era," which earned third place with 115 points.[3][4] Over his career, Wess released numerous albums blending American R&B influences with Italian pop, collaborated with leading European artists, and became a staple in Italy's music scene until his death from an asthma attack.[5]
Born in Winston-Salem, North Carolina, Wess grew up immersed in music, beginning with trumpet at age four and later mastering the bass guitar during his high school years.[6] After moving to New York as a child and gaining diverse musical experiences in Europe, he relocated to Italy in the mid-1960s to pursue a professional career, where he quickly integrated into the burgeoning soul-funk scene.[2] His debut album, The Sound of Soul (1967), marked him as a pioneer of Black American musical styles in Italy, featuring covers and originals that showcased his versatile voice and instrumental skills.[2] Wess also worked as a session bassist and arranger for artists like Sam & Dave and Italian acts, solidifying his reputation as a bridge between U.S. and European sounds.[5]
In 1972, Wess formed a successful duo with Italian singer Dori Ghezzi, releasing seven albums together that blended soul, pop, and ballads, with hits like "Un corpo, un'anima."[7] Their partnership peaked at Eurovision 1975 in Stockholm, where "Era"—composed by Shel Shapiro with lyrics by Andrea Lo Vecchio—highlighted their harmonious vocals and became a lasting Italian classic.[3] The duo's chemistry extended beyond music, as they became a celebrated couple in Italian entertainment, though they separated professionally in the 1980s.[8] Wess continued solo work into the 2000s, including reissues of his catalog, before passing away suddenly in Winston-Salem while visiting family.[5] His legacy endures through his role in popularizing soul music abroad and influencing generations of Italian performers.[2]
Biography
Early life
Wesley Johnson, professionally known as Wess, was born on August 13, 1945, in Winston-Salem, North Carolina, to an African American family.[5] His parents were John Wesley Johnson and Dr. Alice Johnson, and he had an older brother named Orlando.[6][1] As a boy, Johnson lived in New York, where he received early musical training that sparked his lifelong passion for music. He began playing the trumpet at age four, later mastering the bass guitar and trombone during his high school years.[6] He spent much of his childhood immersed in the sounds of the era, growing up amid the civil rights movement of the 1950s and 1960s, a time when African American communities in the United States were deeply engaged with evolving cultural expressions.[2] Johnson's exposure to soul and rhythm and blues music during this period profoundly shaped his early artistic sensibilities, as he absorbed influences from pioneering labels like Motown, Stax, and Atlantic Records.[2] In high school, he pursued these interests hands-on by learning to play the bass guitar and joining local bands for initial performances, including a teenage ensemble called The Teentones.[2] This foundational immersion in American soul traditions laid the groundwork for his later musical style.[2]Career beginnings
In the early 1960s, Wess, seeking greater opportunities amid the competitive U.S. soul music landscape, relocated to Europe to advance his career as a singer and bassist. After initial experiences in Parisian clubs, he joined the American group The Airedales as their bassist circa 1962. The group, originally formed in 1961 by U.S. Navy veteran Doug Fowlkes with Rocky Roberts as singer, had introduced rhythm and blues elements to Europe, but internal tensions over management and song credits complicated early dynamics.[2][9][1] In 1966, the band relocated to Rome, Italy, for performances related to American military presence. As one of the few African American artists entering the European market, Wess encountered challenges in adapting to the Italian music industry, including linguistic barriers and the need to blend soul influences with local pop and ballad styles prevalent at the time.[2][9]Musical career
Work with The Airedales
Wess joined The Airedales, originally formed in 1961 by drummer Doug Fowlkes in Key West, Florida, as a rock 'n' roll band during a U.S. military tour that brought them to Italy in the mid-1960s.[10] By 1966, after relocating to Rome, the group evolved under the influence of American expatriates and local talent, with singer Rocky Roberts briefly leading before departing in 1967 to pursue a solo career.[11] At that point, Wess, born Wesley Johnson, assumed leadership as the primary bassist and lead vocalist, rebranding the ensemble as Wess & The Airedales and steering it toward a more soul-oriented sound.[2] The band's lineup during Wess's tenure featured a mix of American and Italian musicians, including Wess on bass and vocals, Jesse James King on keyboards, Doug Fowlkes on drums, Canzio Morello on guitar, Henry Hooks on saxophone, and Hugh Bullen on trumpet, among others who rotated through the group.[12] This multinational composition allowed for a dynamic interplay, with Wess's prominent bass lines and soulful vocals anchoring the performances. Musically, Wess & The Airedales blended American soul and funk with Italian pop influences, often incorporating horn sections for rhythmic drive and covers of U.S. hits adapted into Italian lyrics, such as their rendition of The Dubs' "Chapel of Dreams" as "I Miei Giorni Felici."[2] Their live shows emphasized energetic, club-friendly sets that popularized soul music in Italy, drawing crowds in Roman and Parisian venues through tight instrumentation and Wess's charismatic stage presence, which helped introduce funk grooves to European audiences unaccustomed to the genre.[2] From 1967 to 1972, the band released several singles and six studio albums under the Durium label, marking their most active period. Key early works included the 1967 single "I Miei Giorni Felici" / "I'll Never Turn My Back On You" and the debut album The Sound of Soul, which showcased original compositions alongside standards like "Stormy Monday" and "Summertime."[2] They toured extensively across Italy and Europe, sharing stages with emerging acts and building a reputation for high-energy performances that fused cultural styles.[13] The group dissolved around 1972 amid shifting musical trends and personal pursuits, paving the way for Wess to transition to a solo career while some members pursued other projects.[2]Solo career and collaborations
After disbanding from The Airedales in the early 1970s, Wess transitioned to a solo career while simultaneously forming a prominent duo with Italian singer Dori Ghezzi, marking a significant evolution in his musical output toward pop and soul influences.[14] Their partnership began in 1972 with the release of "Voglio stare con te," an Italian adaptation of the Brotherhood of Man's "United We Stand," which became a major hit in Italy and established their commercial success on the national charts.[14] This collaboration continued with further hits, including "Tu nella mia vita" in 1973, which topped sales charts following their performance at the Sanremo Music Festival, and "Un corpo e un'anima" in 1974, solidifying the duo's popularity in the Italian pop scene.[15][14] The duo's joint recordings, produced primarily under the Durium label, emphasized harmonious vocal arrangements and romantic themes, achieving consistent chart performance throughout the decade; notable examples include "Come stai? Con chi sei?" in 1976, which earned second place at Sanremo.[14] By 1979, Wess and Ghezzi parted ways artistically, allowing Wess to refocus on solo endeavors that blended his soul roots with evolving Italian pop styles.[14] In the 1980s, he released singles such as "L'anima" in 1982 and "Io non vivo senza te" in 1984, maintaining a presence in the Italian music market through continued recordings with Durium.[14] Wess's later solo work extended into the 1990s and 2000s, highlighted by his participation in the 1994 Sanremo Festival with the group Squadra Italia on "Una vecchia canzone italiana," reflecting his enduring role in Italian popular music.[14] Throughout this period, he undertook international tours, including performances in Canada and return visits to the United States, where he connected with his American heritage and performed for expatriate audiences until his final tour in 2009.[14]Eurovision Song Contest participation
In 1975, Wess and Dori Ghezzi, who had recently formed a duo following their individual solo endeavors, were internally selected by Italian broadcaster RAI to represent Italy at the Eurovision Song Contest with the song "Era," composed by Shel Shapiro with lyrics by Andrea Lo Vecchio.[8][16] The track, a soul-infused ballad reflecting on past love, was chosen for its contemporary appeal and the duo's harmonious vocal chemistry, marking a pivotal moment in their partnership.[17] Preparation involved intensive rehearsals in Italy prior to traveling to Stockholm, where general contest rehearsals commenced on 19 March 1975 at the Stockholmsmässan venue, allowing the performers to adapt to the stage setup and orchestral accompaniment led by conductor Natale Massara. Media coverage in Italy highlighted the duo's innovative blend of American soul influences from Wess and Ghezzi's emotive delivery, generating anticipation for a strong showing.[18] On 22 March 1975, Wess and Dori Ghezzi performed "Era" as the 19th entry in the contest, delivering a polished staging with simple choreography that emphasized their duet dynamics and the song's poignant melody.[19] The performance earned Italy 115 points, securing third place behind winners Teach-In from the Netherlands (152 points) and runners-up The Shadows from the United Kingdom (146 points), a result that was celebrated in Italian press for revitalizing the country's Eurovision presence after a variable run in prior years.[4][20] Post-contest, "Era" achieved commercial success in Italy, becoming one of the duo's breakthrough hits and topping regional charts, while international reception praised its sophisticated production and cross-cultural appeal.[21] The Eurovision participation proved a turning point for Wess's career, elevating the duo's profile across Europe and leading to subsequent collaborations and releases that sustained their popularity through the late 1970s.[22] Their third-place finish not only boosted record sales for "Era" in countries like Belgium, where it reached number two, but also solidified Wess's status as a bridge between American R&B and Italian pop, enhancing his visibility beyond national borders.[23] This exposure contributed to a series of joint successes, underscoring the contest's role in propelling their joint artistic trajectory.Personal life
Family and relationships
Wess, born Wesley Johnson in the United States, had six children: sons Wesley Jr. and Weslino, and daughters Alicia, Angela, Deborah, and Romina.[6] His family life spanned both Italy and the US, reflecting his transatlantic roots after moving to Rome in the 1960s to pursue music.[1] Among his children, Deborah Johnson pursued a singing career and resided in Rome, Italy, where she maintained close ties to her father's adopted home.[5] Romina Johnson, born in 1973, became a prominent R&B singer based in the United Kingdom; she began her musical journey at age 12 by touring as a backing vocalist for her father and later collaborated with him on recordings such as "Love & Happiness."[24][25][26] Wess formed a close artistic partnership with Italian singer Dori Ghezzi in the early 1970s, creating a duo noted for its strong onstage chemistry, though their relationship remained professional.[27] He primarily resided in Rome during the height of his career, fostering a family environment immersed in music, while retaining connections to his North Carolina origins through visits and family there.[6]Death
Wess, born Wesley Johnson, died on September 21, 2009, at the age of 64, from an acute asthma attack while on a United States tour. He passed away at a hospital in Winston-Salem, North Carolina—his birthplace—shortly after performing a concert in New York the previous evening.[28][5] His daughter Deborah Johnson announced the death to the Italian press, noting that Wess had been naturalized Italian and was actively touring at the time.[29] The news deeply affected his family, including his other daughter Romina Johnson and five additional children, who were left to mourn the sudden loss of the singer and bassist.[30] Dori Ghezzi, Wess's longtime musical collaborator and duet partner, issued a heartfelt tribute, stating, "He was the artist, I was the chorister. Our 'coffee and milk' duo was unique," and describing him as an "exquisite person" who "consumed himself working on stage."[28] Italian music industry figures echoed similar sentiments in media coverage, praising his foundational role in 1970s pop duos and his bass work with artists like Rocky Roberts.[28] Funeral services took place on September 29, 2009, in Winston-Salem, attended by family members.[31] The event and his passing received extensive coverage in Italian outlets like Corriere della Sera, underscoring the immediate shock within the entertainment community.[28]Discography
Studio albums
Wess's studio albums reflect his transition from soul-funk roots with The Airedales to romantic pop duets with Dori Ghezzi, spanning the late 1960s to the 1980s primarily on the Durium label. His early work with The Airedales produced several key releases, beginning with The Sound of Soul in 1967 on Durium (MSA 77187), his debut album that featured covers and originals showcasing soul and R&B influences.[32] This was followed by the self-titled Wess & The Airedales in 1970, a gatefold LP on Durium (MS AI 77259) that featured soul-infused covers of standards like "Ol' Man River," "Blues in the Night," and "Georgia on My Mind," emphasizing Wess's bass lines and group harmonies in a funk-oriented style.[33] Quando followed in 1970 on Durium (MS AI 77243), an 11-track album including "Ma Belle Amie" and the title track, produced with a focus on upbeat soul rhythms that captured the band's live energy.[34] The group continued with Superwess in 1971, a rare Spanish pressing that extended their funky sound with original compositions, though it received limited distribution outside Italy.[35] Vehicle in 1972 on Durium (MS AI 77296), a 12-track album produced by the band that incorporated contemporary hits like Elton John's "Your Song" alongside originals such as "Vehicle" and "Funky Nassau," signaling a blend of soul covers and pop experimentation.[36] Transitioning away from The Airedales in the early 1970s, Wess released the self-titled Wess Johnson in 1973 on Durium (MS AI 77317), featuring Italian adaptations like "Il Lago Maggiore" and "Il Primo Appuntamento," with production emphasizing Wess's smooth vocals over light funk arrangements.[37] His next solo album, Special in 1974 on Durium (MS AI 77353), included 13 tracks such as "Aspetti Un Bambino" and "Funk City Rock," showcasing a maturing pop-soul aesthetic.[38] The duo phase with Dori Ghezzi began in 1973 with their self-titled album on Durium (MS AI 77328), introducing harmonious duets like "Voglio stare con te," focusing on romantic themes with orchestral backing.[39] Un corpo e un'anima followed in 1974 (matrices indicate early 1975 release) on Durium (MS AI 77359), a 10-track LP produced by Detto Mariano, featuring the title ballad and "Sempre tu," which received praise for its emotional depth and commercial appeal in Italy.[40] The 1975 Terzo album on Durium (MS AI 77370) included hits like "Era" and "Cielo," with production incorporating strings and Morris Albert's "Feelings," marking a peak in their melodic pop style.[41] Subsequent albums such as Amore bellissimo in 1976 on Durium (MS AI 77418), produced with upbeat rhythms in the title track, and Insieme in 1977, continued this trajectory toward accessible ballads. Later duo efforts like In due (1979) and Tu nella mia vita (1980) on Durium refined their sound with softer, introspective themes, though reception noted a slight commercial decline amid Italy's changing pop landscape.[42] No new studio albums were released after the 1980s, and post-2000 compilations like I Miei Giorni Felici (2014 reissue) drew from earlier recordings without unreleased material, preserving Wess's legacy in soul-pop fusion. Overall, his discography illustrates an artistic progression from energetic funk ensembles to tender vocal partnerships, influencing Italian interpretations of international soul and pop.Notable singles
Wess's most notable singles were primarily released in collaboration with Dori Ghezzi during the 1970s, marking the duo's commercial breakthrough in the Italian music scene. Their debut single, "Voglio stare con te" (1972), an Italian adaptation of Brotherhood of Man's "United We Stand," achieved significant commercial success in Italy, establishing the pair as a prominent act.[21] The duo's follow-up releases continued this momentum. "Un corpo e un'anima" (1974) became one of their key hits, featured prominently in their discography and contributing to their rising popularity. "Era" (1975), selected as Italy's entry for the Eurovision Song Contest, finished third with 115 points and peaked at number 6 on the Swiss charts, extending their reach across Europe.[17][43] "Come stai? Con chi sei?" (1976), the B-side of which was "Più ti voglio," placed second at the Sanremo Music Festival, further solidifying their domestic appeal and leading to strong sales in Italy.[44] In his solo career, Wess had earlier successes, but later reissues in the 2000s did not yield new chart-topping singles.| Single | Year | Key Achievements |
|---|---|---|
| Voglio stare con te (with Dori Ghezzi) | 1972 | Commercial breakthrough in Italy; Italian version of "United We Stand" |
| Un corpo e un'anima (with Dori Ghezzi) | 1974 | Major hit in Italy; included international versions |
| Era (with Dori Ghezzi) | 1975 | 3rd at Eurovision Song Contest; #6 in Switzerland |
| Come stai? Con chi sei? (with Dori Ghezzi) | 1976 | 2nd at Sanremo Music Festival; strong Italian sales |