March
Thu 12: Boomslang @ The Black Swan, Newcastle. 7:30pm. Free.
Thu 12: Ray Stubbs R&B All Stars @ The Mill Tavern, Hebburn. 8:30pm. Free.
Fri 13: Paul Skerritt Quartet @ Bishop Auckland Methodist Church. 1:00pm . £9.00.
Fri 13: The SH#RP Collective @ Jesmond Library, Newcastle. 1:00pm. £5.00.
Fri 13: Classic Swing @ Cullercoats Crescent Club. 1:00pm. Free.
Fri 13: Rendezvous Jazz @ The Monkseaton Arms. 1:00pm. Free.
Fri 13: New Orleans Preservation Jazz Band @ The Oxbridge Hotel, Stockton. 1:00pm. £5.00.
Fri 13: Soothsayers + Rookie Numbers @ Cobalt Studios, Newcastle. 7:00pm (doors). £17.51., £14.33., £11.16.
Sat 14: The Too Bad Jims @ Claypath Deli, Durham. 7:00pm (6:30pm doors). £13.20., £11.00. R&B.
Sat 14: NUJO @ Venue, Newcastle University Students’ Union. Time TBC. £15.00. supporter; £10.00. standard; £5.00. student. Seated event.
Sun 15: Michael Young Trio @ The Engine Room, Sunderland. 2:30pm. Free.
Sun 15: The Too Bad Jims @ The Georgian Theatre, Stockton. 3:00pm. £12.00. R&B.
Sun 15: 4B @ The Ticket Office, Whitley Bay. 3:00pm. Free.
Sun 15: Rebecca Poole @ The Globe, Newcastle. 8:00pm. £14.00., £12.00., £7.00. Poole w. Dean Stockdale & Ken Marley. CANCELLED!
Mon 16: Milne Glendinning Band @ Yamaha Music School, Blyth. 1:00pm.
Mon 16: Friends of Jazz @ Cullercoats Crescent Club. 1:00pm. Free.
Mon 16: Russ Morgan Quartet @ The Black Bull, Blaydon. 8:00pm. £10.00.
Tue 17: Jam session @ The Black Swan, Newcastle. 7:30pm. Free. House trio: Alan Law (piano); Paul Grainger (double bass); Scotty Adair (drums).
Wed 18: Vieux Carré Jazzmen @ Cullercoats Crescent Club. 1:00pm. Free.
Wed 18: Darlington Big Band @ Darlington & Simpson Rolling Mills Social Club, Darlington. 7:00pm. Free. Rehearsal session (open to the public).
Wed 18: The ’58 Jazz Collective @ Hartlepool Cricket Club, West Park,
7:30pm. £7.00.
Wed 18: Brand New Heavies @ The Glasshouse, Gateshead. 7:30pm.
Wed 18: Take it to the Bridge @ The Globe, Newcastle. 7:30pm. Free.
3 comments :
Sad to hear this. He was one of the greats. Some pals saw him at the Wales Guitar Fest a few years back and said he was amazing and a perfect gentleman too, and very humble. His vertically stacked, close voiced chords were a trademark of his and something new at the time. They are very difficult to finger (big hands help) and in that respect he pushed the existing boundaries of jazz guitar playing. He had immaculate technique. Also he played a key role in guitar development and design both with Gibson and Guild. A truly nice guy who became a legendary figure and a member of jazz guitar royalty.
Roly
Although I never met Johnny Smith – I did have had mail contact with him over the years and found him to be a perfect gentleman. He was always totally modest about his enormous talent and about the extent of his influence on so many other guitarists.
I first heard his distinctive lush chording and crystal clear single-note soloing on the historic 1952 recording of ‘Moonlight in Vermont’.. This recording, with Stan Getz, gained great popularity even outside the regular jazz audience – and enjoyed very large sales. I soon began collecting every available Johnny Smith recording – and I still have and enjoy them all to this day.
Many people do not know that although the guitar was his first instrument, Johnny Smith began his professional career in the late 1940's as a trumpeter with the New York Philharmonic. However once Johnny’s mastery of the guitar in his inimitable and unique style was recognised he became staff guitarist with the NBC in the 1950s.
All the great jazz guitarists I have known have always spoken of their great admiration of Johnny both as a person and as one of the most influential jazz guitarists of all times.
Maurice Summerfield
Lance - you are the bearer of the bad news. As you know Johnny Smith was a major influence in my style of chordal playing. I also have everything he ever recorded. I had some fascinating conversations with him at a guitar seminar in Wrexham when he recalled some of his memories of recording with Jerri Southern and Ruth Price among others. He was a true gentleman who in recent years enjoyed game fishing in the gulf of California.
He was totally surprised by the reception he received from the guitarists at the seminar. I went to the seminar simply so I could meet him and a great moment for me was to have my photograph taken with the great man which was published in the Just Jazz Guitar magazine.
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