Plas Johnson, sax voice of The Pink Panther Theme, dies at 94
The Louisiana-born jazz saxophonist played the slinky 1963 Henry Mancini line and worked with stars from Frank Sinatra to Joni Mitchell.
By Poppy Nakagawa · Culture Writer
3 min read
Plas Johnson, the saxophonist whose cool, prowling horn gave “The Pink Panther Theme” its unmistakable swagger, has died at 94.
Johnson’s death was reported by his hometown newspaper, the Donaldsonville Chief, which said he died July 15. No cause of death was given.
Born in Donaldsonville, Louisiana, on July 21, 1931, Johnson became one of the busiest sax players in American popular music. His résumé stretched across jazz, pop, rock and R&B, with recording credits linked to Frank Sinatra, B.B. King, the Beach Boys, Ricky Nelson, Johnny Otis, Ella Fitzgerald, Marvin Gaye and Nat King Cole.
The riff that chased a cartoon cat into history
Johnson’s best-known moment came in 1963, when he recorded the saxophone part for Henry Mancini’s “The Pink Panther Theme” for Blake Edwards’ comedy film The Pink Panther.
The composition became a defining piece of movie music. It won three Grammy Awards, and Mancini’s score was nominated for best original score at the 37th Academy Awards.
According to the Donaldsonville Chief, Johnson once recalled that the famous take came together fast. “We only did two takes, I think,” he said. “When we finished, everyone applauded, even the string players.”
Before Hollywood came calling, Johnson started out singing with his family. His father later bought him a saxophone, setting up a career that would move from Louisiana to Los Angeles studio rooms and beyond.
Johnson made his recording debut in 1950 for DeLuxe Records with his brother Ray, according to the report. He also toured with singer and pianist Charles Brown.
A studio player with star power
After serving in the Army, Johnson moved to Los Angeles in 1954 and built a reputation as a prolific session musician. During the 1950s and 1960s, he was a regular in Mancini’s orchestra.
In 1970, Johnson joined the studio band on The Merv Griffin Show, adding television work to a career already packed with recording dates.
Johnson was known for concise saxophone solos that could lift a track without crowding it. In comments published by Concord, he said his solos “always seemed to bring the record up another notch,” whether in eight bars, 12 bars, or in fills behind a singer.
His work kept turning up on major records through the 1970s and 1980s. During that period, he appeared on recordings by Bette Midler, Carole King, Aaron Neville, Linda Ronstadt, Boz Scaggs and Rod Stewart.
Though rooted in jazz, Johnson moved easily through pop and rock sessions. One of his later high-profile credits came on Joni Mitchell’s 2002 album Travelogue.
Johnson also recorded as a bandleader. His solo releases included This Must Be the Plas!, issued by Capitol Records in 1959, and The Blues, released on Concord Jazz in 1975.
His behind-the-scenes role in Los Angeles music was later captured in Denny Tedesco’s 2008 documentary The Wrecking Crew, which chronicled the session players who powered many recordings of the 1960s and 1970s.
This story draws on original reporting from Rolling Stone.