Johnny Fourie
Johnny Fourie (1937 – 2007) was one of South Africa’s most respected jazz guitarists — a player whose tone and phrasing carried the melodic sophistication of Wes Montgomery and the harmonic depth of Jim Hall. After years performing in London, Europe and South Africa, he recorded Once Upon a Time, a reflective collection of jazz standards that captured the quiet intensity of his late period.
"Once upon a Time" represents a return to a few of the structures that I learned to play by ear from my early mentors. They are now infused with all that came to them through almost fifty years of experience (both musical and existential)." Johnny Fourie
Released by MELT 2000 (catalogue MZA 028) in 2007, the album presents Fourie at his most lyrical, revisiting timeless pieces like The Touch of Your Lips, Autumn in New York, All the Things You Are and Skylark with elegance and restraint. Recorded with the natural warmth and detail that defined the label’s audiophile approach, Once Upon a Time stands as both a personal statement and a tribute to a life devoted to the art of jazz guitar.
Nick Hauser (project co-ordinator, producer and graphic wizard behind the cover artwork): "Recorded in 2003 as chronic emphysema took its toll on Johnny's lungs and stamina, I also detect an element of peace and dignified acceptance that this music may be a swansong of sorts. The pieces are bathed in a gorgeous dappled light. There is an ego-free, unhurried respect for the composition in each change and modulation. Some notes are attacked and others caressed over waves of rich, layered harmony, which often suggest or conjure up mirages of chords that seem audible, yet are not actually played. And always, there is the immaculate note selection breathing fresh vitality into the venerable tunes.Absorb the mood of track 2, Love Letters. The genius of Johnny's interpretation (inspired by Clause Ogerman) is in taking what might well be considered a sweet, possibly trite ballad by the master pianist/ vocalist Nat 'King' Cole, and producing a compelling, emotional tone poem. Yet nothing is lost of the Hayman. Young melody. Essence and embellishment are united. Hearing Unforgettable (track 12) for the first time, I was acutely aware of the unhurried tempo and the apparent presence of vibraphone on the track. Like a vast, slow moving river, the melody reveals itself whilst crystal-pure solo passages sketch just how deep the river is - and how teem. ing with abundant life. There are no scales and no clichés on this record my friend. At this table, there is a feast for the traditionalist, the purist and the innovator. The mantle of Tal Farlow, the camaraderie of John McLaughlin, the melodic concepts of Bill Evans, the ghost of first mentor George Shearing are all here. And it is a unique re-union."
Robert Trunz: Sadly the release of the album took place after Johnny's passing and served as a Celebration of his rich life enjoying his audience and loving his guitar. RIP
As a teenager, Johnny played hundreds of sessions at Johannesburg's Gallo, EMI and Trutone music "factories" in the early fifties, backing innumerable hit musicians of the day. He can be heard on the records of the Manhattan Brothers, Lemmy"Special" Mabaso, Spokes Mashiane, Nico Carstens, the Merry Blackbirds and others. This was his day job."I'd put on my suit, pick up my guitar case and go to work. I wasn't even nineteen and was soon to be married with a baby daughter, so this was a way of covering the rent and paying off my guitar".His real passion was the music he was playing after hours in clubs like the Mogambo, Maxims, Ciro's, the Bal Tabarin and wherever jazz was embraced. Crucial learnings also came from performing with the gifted pianist/ arranger George Haydn at The Grove Hotel in Orange Grove.