RIP Barney Kessel

Janice Brooks · From: Pleasant Gap Pa

From the Telagraph

Barney Kessel, who died on Thursday aged 80, was one of the finest exponents of the electric guitar in jazz; his remarkable combination of artistry and craftsmanship made him the most sought-after studio guitarist in Hollywood, but he always contrived to keep his jazz connections in good repair, producing a stream of masterly recordings over almost half a century.

Kessel acknowledged his debt to Charlie Christian, the founding genius of the instrument, and was his most distinguished disciple. The stylistic influence was clear in everything Kessel played, but he was able to build his own broad and flexible vocabulary on this foundation over the course of several decades, whereas Christian died young and still developing.

Barney Kessel was born at Muskogee, Oklahoma, on October 17 1923. He took up the guitar at the age of 12, teaching himself to play by copying guitarists he heard on the radio and records. He made rapid progress, and within two years was playing regularly with a local band, its only white member. It was during this period that he first played with Christian, an encounter which he later referred to as a life-transforming experience. At the age of 18, Kessel left Muskogee for Los Angeles, intent on making his career in music.

After a brief period of casual gigs, eked out by washing dishes, he joined the band led by Chico Marx, later graduating to the bands of Hal McIntyre, Charlie Barnet and Artie Shaw. In 1944 he took part in the short film Jammin' The Blues, starring the tenor saxophonist Lester Young, the first serious attempt to present jazz on screen. Once again, he was the only white musician present. The convention of the time decreed that the two races should not be portrayed working together on equal terms, so Kessel appears throughout in deep shadow or silhouette.

The year 1947 saw the start of Kessel's rise to prominence. In February he played under the leadership of Charlie Parker, in a recording session which produced the Parker classic Relaxin' At Camarillo. Towards the end of that year he recorded his own composition, Swedish Pastry, with the clarinettist Stan Hasselgard. He also gained the Esquire Silver Award, the first of many such honours.

His reputation continued to grow over the next few years, particularly after 1952, when he joined the Oscar Peterson Trio for a long tour that took in 14 countries. By the time he left the trio the following year he was on the way to becoming the most admired guitarist in modern jazz.

Throughout the 1950s he maintained a phenomenal output, both in jazz and high-level studio work. Perhaps the best-known example of the latter is his exquisite accompaniment on Julie London's 1955 hit record, Cry Me A River.

His jazz recordings of the period, mainly for the Contemporary label, confirmed his position as a soloist of great poise and imagination. These included the albums To Swing Or Not To Swing (1955); Let's Cook (1957) and Some Like It Hot (1959). In all of these, the directness and clarity of his improvised lines mark Kessel out from the accomplished young players who looked upon him as their mentor.

The 1960s saw Kessel even more involved with studio work: I Spy, The Man From UNCLE, The Odd Couple - it seems that there was scarcely a popular television series without his guitar in the background, and it is even to be heard on the soundtracks of four Elvis Presley movies. His jazz output declined somewhat under this workload, but he found time to devise and write a number of guitar manuals.

One of his most ardent admirers was the young Phil Spector. Kessel offered him free guitar lessons, and after advising his protege that becoming a producer would be vastly more lucrative than guitar-playing, he gave his services as first call guitarist on virtually all of Spector's Wall of Sound sessions, including You've Lost That Loving Feeling and River Deep Mountain High.

Kessel also jammed with Buffalo Springfield, played the Danelectro bass on Sonny & Cher's The Beat Goes On and worked with the Beach Boys, bringing the theramin instrument to Brian Wilson's attention for Pet Sounds and later Good Vibrations.

In 1969 Kessel temporarily gave up studio work and moved to London. He performed throughout Britain and Europe for 14 months. Although he moved back to California in late 1970, he continued to make regular visits to Europe thereafter.

In 1973 he recorded a particularly fine album at the Montreux Festival with Stephane Grappelli and a band of leading British players. The following year he joined two other guitarists, Herb Ellis and Charlie Byrd, for a concert tour in Australia. The idea proved so popular that it became a semi-permanent institution, touring the world regularly under the title The Great Guitars.

Kessel continued to tour and record under his own name, in 1981 making Solo, his only unaccompanied album. A work of polished simplicity and candid sincerity, it conveys perfectly the essence of Kessel's musical character.

In 1992 Kessel suffered the stroke which put an end to his playing career. He recovered sufficiently to do a little teaching. He was married three times, and had two sons by his second wife.

Jerry Clardy · From: El Paso, Texas, USA * R.I.P.

Sorry to hear of Barney's passing. He was one of the greats.

Jerry Clardy

David L. Donald · From: Koh Samui Island, Thailand

A fine, fine player and a nice guy too, I met him briefly after a The Great Guitars concert.

He is notable for not being locked into any one music, but would play what came his way, rock, pop or jazz.
But in the jazz arena, he really covered it
Neat, reat and round the beat.

Andy Volk · From: Boston, MA

One of my all-time favorite guitarists. Barney played everything with authority, committment and unerring swing. And unlike many people, he wasn't afraid to have an opinion in public. The Poll Winners series proved the viability of the guitar trio. He had a good long life and was revered by his peers. I'll be listening to his music for years to come. A good interview with Barney is available here:
http://www.jazzprofessional.com/Main/interviewsindex.htm

[This message was edited by Andy Volk on 08 May 2004 at 05:57 AM.]

Roger Rettig · From: Naples, FL

I watched a seminar given by this great player back in 1964 in London. He played solo, and answered all manner of questions.

He endeared himself to me when some 'highbrow' in the audience asked him how he could lower himself and do 'pop' sessions - Kessel soundly berated him, saying that he'd done sessions with Ella Fitzgerald, Elvis Presley, and Gene Autry. He felt priviledged, and had learned something from all of them because they were each the best in their respective fields.

He advised this chap to open his mind more, and he advised ALL of us to be sure to breathe properly when playing in a difficult or stressful situation (something that came up recently on this Forum).

A great guitarist who will be missed.....

RR

Bob Watson · From: Champaign, Illinois, U.S.

Barney Kessell was one of my favorite guitarists. I got to see him play live in Chicago in the mid seventies performing with Herb Ellis, another one of my guitar heros. I have seen him playing occasionally on some re-runs of the Lawrence Welk show. Once they featured him playing an instrumental version of "San Antonio Rose", he was playing a Gibson ES 355, you could really hear his Southwestern roots coming out in this performance. He had a truly incredible career. God Rest his Soul

[This message was edited by Bob Watson on 08 May 2004 at 10:41 AM.]

[This message was edited by Bob Watson on 08 May 2004 at 10:52 AM.]

Roger Rettig · From: Naples, FL

I'd like to have seen that, Bob - I had no idea that he'd ever played a '355' - it's hard to picture him with a Bigsby tailpiece!

That's one of my 'dream guitars', by the way - I have a cherry-red 'Lucille' which is the nearest you can get these days and a fine instrument, but I abhor that 'signature guitar' thing.

Barney was best known for playing L4s and L7s.

Roger R.

Mike Perlowin · From: Los Angeles CA

Kessel also ran a guitar store in Hollywood called Barney Kessel's Guitar World for a few years, and he had a man named Milt Owen in charge of his repair department. Milt had previously worked at another big store named Wallachs Music City that eventually folded.

During his day, Milt was the best repaiman in town. I was one of many people who used him exclusively and follewed him from Wallachs to Kessel's store. I met Barney at the store a few times. He seemed like a nice guy.

Bill Hatcher · From: Atlanta Ga. USA

Barneys' main guitar was an old Gibson ES350 with the bar pickup on it. Great player--my fav is the Julie London record he did with vocal and only guitar and bass.

[This message was edited by Bill Hatcher on 08 May 2004 at 01:47 PM.]

[This message was edited by Bill Hatcher on 08 May 2004 at 01:52 PM.]

Smiley Roberts · From: Hendersonville,Tn. 37075

If I'm not mistaken,I believe it was Barney Kessel,that played guitar on one of Ricky Nelson's first recordings,"I'm Walkin' ". I have a copy of it somewhere,but can't seem to locate it right now. The one,& only,album I own by B.K. is entitled,"Music To Listen To Barney Kessel By",on Stereo Records # S7001. (1957)

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  ©¿©  It don't mean a thang,   


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       www.ntsga.com

Richard Bass · From: Sabang Beach, Philippines

Another great gone. I saw Barney, Herb Ellis, and Charlie Byrd here in Nashville in the 70's. Of course the crowd was full of guitar players. A humbling experience for us all. Richard

Roger Rettig · From: Naples, FL

Bill

When he did the seminar that I mentioned, he was playing an L7 with a 'Charlie Christian' pick-up.

RR

PS: 'Cry Me A River' is a masterpiece, isn't it?

[This message was edited by Roger Rettig on 08 May 2004 at 07:47 PM.]

Roger Rettig · From: Naples, FL

Smiley

Barney played on 'I'm Walking' and three other sides with Ricky Nelson. One of these songs was Kessel's own composition 'You're My One and Only Love' - in all honesty, it's not one of the best pop songs of the '50s, but it made #14. That was deemed a relative failure, and Nelson changed his record company from Verve to Imperial shortly afterwards, thus ending Kessel's involvement.

Joe Maphis was an early soloist too, but soon James Burton had established himself as a vital component of Nelson's sound.

RR

[This message was edited by Roger Rettig on 08 May 2004 at 07:50 PM.]

Jody Carver · From: KNIGHT OF FENDER TWEED

I met Barney Kessel one time. It was on a RCA record session in NYC. I was handed a chart to play and I couldnt make heads or tales out of the part written for me.
When it came time for me to play my part,I missed the cue.My hands were moist with persperation and my knees were weak.

The arranger Hank Ross director for the session for Como asked me what was wrong.I told Hank Ross,I dont know,it dont sit right
on my instrument.Maybe I should forget it.

Ross asked,can you not read what it scored for you? with that Barney Kessel stood up for me and said,Hank that part written for steel guitar is not at all suited for the range of that instrument.

Ross,who respected Barney said,well why dont
you (Barney)help this young man work out something suitable and we'll give it a try.

Kessel said to me,kid,see if you can execute this,and Barney wrote a more effective and simplified part for me.

Ross said,,hey that sounds better than what I had wrote. Lets cut it.

Barney smiled at me and said,dont let it get you down guy,these writers dont realize that steel guitar is bastard of an instrument and the part they wrote for you was not suitable.Dont ever back down,but most of all dont put the arranger down,always show them you are trying and they will realize what they wrote was not practical for your axe. The guys are not Albert Einsteins,they are musicians like you and I and they make mistakes like everyone else.

His advice was always try to satisfy the arranger,their egos get the best of them.
When you cant cut what is written tell whoever,the arrangment is fine but somehow it just dont feel comfortable.

Como who was standing by said,good or bad that steel guitar sounds fine to me so whats the problem? Hank Ross explained to Perry Como and Como's reply was,the only thing that needs improving is that this kid needs a haircut

Como said kiddo if I had my scissors I'd make you look like Sinatra but better.

Barney saved my butt,and from that time on I was able to find it easier to work with the arrangers.

Barney Kessel was a Giant of a musician and bigger than life as a human being.

I am proud and privledged to say that Barney
Kessel took a personal interest in a frightened young steel guitar player and turned my reputation among the studio players in NYC as one of the boys.

Rest in peace Barney and thank you for helping me and giving me the confidence I needed.

A finer musician and man you could not find.

Cal Sharp · From: the farm in Kornfield Kounty, TN

A great player, one of the best. I used to look forward to his column in Guitar Player every month. I think I read somewhere he was instrumental in getting Ricky the record deal w/Verve. He was buddies w/Ozzie or something.

Roger Rettig · From: Naples, FL

Exactly right, Cal - Ozzie had worked with Kessel previously, and used his connection to set up Ricky's first record deal (with Verve). Verve was a good start, but Imperial was where he really took off.

Jody, that's a heart-warming story! I had a similar experience in the '60s in a London studio. I was on '2nd' guitar, but turned the page to find a scary 16-measure section that was way beyond my reading capabilities. I suddenly got the 'sweaty palm syndrome', but the gentle giant of a man sitting on my left unobtrusively turned the volume down on his Gibson 355 and, looking over my shoulder, ran through that section so only I could hear it. Once I had heard it played, it was easy, and I pulled it off.

That was the great 'Big Jim' Sullivan - better known as Tom Jones' guitarist in the '70s; he brushed my thanks aside, saying he'd been in the same position once or twice himself - another fine player with nothing to prove to anybody. That session could have destroyed my confidence had it not been for Jim's selflessness, and I went on to brush up on those skills as a result.

RR

[This message was edited by Roger Rettig on 09 May 2004 at 05:59 AM.]

Bob Watson · From: Champaign, Illinois, U.S.

Roger, I don't remember seeing a Bigsby on the 355 that he was playing on the Lawrence Welk show. It was a red 335 body with the big abalone rectangles on the neck like the Les Paul Custom's have. I assumed it was an ES 355, but I could be wrong. Nevertheless, he sounded great. BTW, those are great stories that you and Jody shared with us about your early studio experiences. It is also interesting to hear all of the different TV and Movie sessions that Barney Kessell played on, I can't wait to see a re-run of "I Spy" again.

Roger Rettig · From: Naples, FL

Thanks, Bob.

If it had the rectangular inlays, it was almost certainly a 355 ('though there was briefly an ES-347 that had these), and I shouldn't have assumed it had a Bigsby - there were some without, but not many. All those 'rectangle-inlaid' guitars (Les Pauls too) have ebony boards - that's what elevates them above 335-status.

RR

Andy Volk · From: Boston, MA

Great story, Jody. I've heard a number of stories about Barney's warmth and humor.
Vestapol video (Stephan Grossman's company) has a great DVD out called "Barney Kessel Rare Performances" that shows his artistry in a variety of settings from early 60's TV through the Great Guitars. http://guitarvideos.com/dvd/13013dvd.htm

There's also a little know but fantastic album called "Barney Kessel - on Fire" from about '66 that was only reissued on a Japanese CD. I paid about $28 for my copy but it was worth it - same format as the Poll Winners albums but more intense and off the cuff; less arranged. There's a pricey copy here but it may show up on other used venues from time to time: http://www.musicstack.com/tsearch/kessel,_barney/on_fire_-_20_bit

[This message was edited by Andy Volk on 09 May 2004 at 02:24 PM.]

Jerry Hayes · From: Virginia Beach, Va.

I once read an interview with Barney where he was asked what other guitarists he admired and to my surprise, one of them was Joe Maphis who Kessel said was the fastest guitar player alive. I didn't expect this from a jazz giant. Kay guitars also used to make a Barney Kessel model guitar and I believe he used one from time to time...JH

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Livin' in the Past and the Future with a 12 string Mooney Universal tuning.

Bill Cunningham · From: Atlanta, Ga. USA

My dad met Barney backstage at an Original Texas Playboys show in Oklahoma in the late 70's - early 80's. Barney said he made the trip there because Eldon Shamblin was one of his early influences and he wanted to see him again.

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"Gimme a steel guitar, 2 or 3 fiddles and a Texas rhythm section that can swing"..W. Nelson

scott murray · From: Asheville, NC

Wow. I just heard the news.
What a life in music Barney had. So good to know that he's playing again with no physical handicaps to get in the way of his genius.

Another one of Barney's favorite guitarists is Jimmy Bryant. I believe he called Jimmy the cleanest player he'd ever heard.

and let's not forget the great "Barney's Blues" which inspired what I feel is the greatest PSG instrumental of all-time: At E's

The fact that Barney can be heard playing the swingingest jazz ever played, and then things like the intro of "Wouldn't It Be Nice" that plays a thousand times a day on radios all over the globe is another reason why he's one of my biggest heros.

Thanks, Barney!!!