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Published by mkwanazi
Johnathan Crossley's work on Johnny Fourie
Johnathan Crossley's work on Johnny Fourie

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Published by: mkwanazi on Oct 21, 2009
Copyright:Attribution Non-commercial


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Johnny Fourie and his influence on the development of the jazz guitar in South Africa.
Jonathan Mark Crossley
A research report submitted to the Faculty of Humanities,University of the Witwatersrand, Johannesburg, in partialfulfillment of the degree of Master of Music in Performance.
Prof Mary Rörich
I declare that this dissertation/thesis is my own unaided work. It is submitted for the degree of Master of Music in Performance in the University of theWitwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university.----------------------------------Jonathan Mark Crossley27 Day of February, 2003ii
‘Johnny is one of the greatest guitar players of our epoch’ (John McLaughlin).‘He is one of the greatest musicians in South Africa and is highly regarded bymany musicians around the world’ (Deepak Ram).‘One of the great cosmic guitar players on planet earth today’ (Clive Stevens).‘I always had the utmost respect for Johnny Fourie's musicianship, he was verypassionate about music and above all, he was a person that was devoid of anyego’ (Hennie Bekker).‘Playing with Johnny was for me among the most rewarding musical highs. He istruly a national treasure and deserves far, far wider recognition both here andinternationally’ (Avzal Ismail).‘To this day, I continue to think of Johnny, whose picture adorns my living room,alongside the piano. When I recently visited him and he picked up the guitar toplay along with me, the musical bonds were as strong as ever, and there was stillthat element of the unknown lurking just beyond our horizon’ (Robbie Payne).‘Johnny caused quite a stir when he came to New York. Musicians were talkingabout him and listening to what he was doing’ (Morris Goldberg).‘He has a tremendous youthful spirit and adventurous mind and I am fortunateand blessed to work with him’ (Wessel van Rensburg).iii

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