Barney Kessel From Wikipedia, the free encyclopedia. Noted in particular for his knowledge of chords and inversions and chord-based melodies, he was a member of many prominent jazz groups as well as a "first call" guitarist for studio, film, and television recording sessions. Kessel was a member of the group of session musicians informally known as the Wrecking Crew. Biography Kessel began his career as a teenager touring with local dance bands.
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Like Christian, Kessel was from Oklahoma. Other than three months of guitar lessons, Kessel was self-taught on guitar. He received early experience playing with regional swing groups. After the Shaw period, Kessel ended up being a studio musician in Los Angeles while likewise playing bop-oriented jazz in the evening. While he left Peterson after a year to stick nearby the studios, Kessel taped his most significant recordings in the s making a string of extremely gratifying record albums for Contemporary Records.
While he continued to be a boppish soloist, the styles varied from swing to West Coast jazz. An additional series of recordings teamed him with Ray Brown and Shelly Manne as The Poll Winners, since they frequently won the "Downbeat" and "Metronome" polls of that time period.
Kessel also made recordings with Art Tatum and Sonny Rollins. Barney Kessel continued to be prominent on the scene during the next couple of decades. He appeared on lots of pop recordings including some with The Monkees and The Beach Boys , regularly developing well-known solos anonymously. While his later recordings as a leader typically lack the excitement and enthusiasm of his earlier dates, Barney Kessel still sounded at his intense best when playing guitar with Herb Ellis and Charlie Byrd as The Great Guitars during As one of the crucial transitional jazz guitarists in the period, his approach naturally embodied the lexicons of the swing and bebop eras.
Both jazz genres exerted a significant influence on his playing. To a lesser extent, Barney was influenced by the post-bop modal and hard bop movements and contemporary free jazz. Barney was an accomplished chord melody stylist and fantastic single-note soloist. His chord playing exuded the harmonic elegance, differing structures, and composing acumen of a pianist and orchestra leader. Barney was fond of the modern polytonal alternatives and chord extensions favored by jazz keyboardists and frequently worked these into his re-harmonizations of standard tunes like "Tenderly", "Misty," and "Spring Is Here.
Despite the heady bop-inflected lines and vibrant harmonic alternatives infused throughout his improvisations, cool sounding blues licks were also plentiful. Barney used blues elements in both chord and single-note style. His flowing solo passages were regularly punctuated with distinct string bending, grooving riff-like patterns, slurred ninth and 7th chords, and characteristic double stops.
Barney had numerous noteworthy phrasing techniques that made his single-note improvisations immediately identifiable and individualistic. Prime among these were the rake-picked smeared arpeggio figures that decorated lots of of his bop passages. Another significant Kessel signature was the extended guitar line harmonized in parallel 3rds. Noteworthy was his strong, unflagging sense of swing when rendering long strings of 8th notes like a wind instrumentalist.
Cross indexing makes this manual extremely easy to use and regardless of what style of music you play, we know you will find this to be a valuable, "must have" addition to your library.
He was a member of many prominent jazz groups as well as a "first call" guitarist for studio, film, and television recording sessions. Kessel was a member of the group of session musicians known as The Wrecking Crew. Contents [ show ] Biography Kessel began his career as a teenager touring with local dance bands before moving on to bands such as that led by Chico Marx. He quickly established himself as a key post-Charlie Christian jazz guitarist. He is featured on the compilation Charlie Parker on Dial. He was rated the 1 guitarist in Esquire, Down Beat, and Playboy magazine polls between and
History and Analysis of “Autumn Leaves”
As the year progressed I was able to sing just about every note of the album. More time passed, as did my enjoyment of this recording, and I ended up ripping out the cassette deck and throwing it out the window. This is an important recording for jazz guitar! I believe there is value in learning to sing a solo. Pick a solo you like, listen to it enough so you can sing it with out ever picking up your instrument. When you have it in your head, pick up your instrument and try to play the solo. This enforces the connection from your head to your hands.