Great Guitarists #9: Grant Green

Great Guitarists

Welcome back to the Great Guitarists series. We’re continuing along a jazz theme for now, with a sometimes underrated master of understated single line guitar soloing…

Grant Green

Green was born in St. Louis, Missouri, in 1935, and died in 1979, aged just 43. In his all-too-short career, he played on hundreds of records, including numerous solo titles – almost thirty cuts for Blue Note Records alone. Many of these were played as part of an organ trio (organ, guitar, drums) in a style known as Soul Jazz. This style was sometimes sniffed at by jazz purists, but has since gone on to be something of a cherished gem, and ripe pickings for sampling, especially in hip ho and acid jazz (Read Jorge Cervera’s defence of Grant Green and soul jazz here).

Although less well known than some of his contemporaries, such as Wes Montgomery, his friend George Benson and his main guitar influence Charlie Christian, Green nonetheless possessed a highly recognisable guitar sound, which can be heard in the playing of many guitarists today, myself included. Indeed, his mix of blues, soul and hard bop licks over a funky back beat has become the quintessential sound of upbeat jazz guitar playing.

Equipment and guitar sound

Green most famously used a Gibson ES-330, which is essentially the same shape as the brand’s better-known 335, but with P90 single coil pickups (not unlike an Epiphone Casino). Later on in his career, he played a Gibson L7, Epiphone Emperor and custom-made D’Aquisto guitars, all of which featured similar P90 style pickups. This type of pickup was one of the first kinds added to hollowbody guitars, and Green obviously enjoyed the full, clear sound they provided.

Interestingly, for a guitar player known for his fluid single line style, Green was known to roll the treble and bass entirely off on his amplifiers, to better emphasise the midrange for more bite and attack in his tone – try it with a P90 neck pickup, and see if you can recreate Green’s sound!

Essential listening

Idle Moments (1963) is a great place to start. It’s a slow, contemplative masterclass in cool jazz guitar,and one of my favourite jazz guitar records, along with Midnight Blue by Kenny Burrell (more about that here).

There’s a couple of good options for live cuts, but the recently released collection Funk in France, From Paris to Antibes (1969-1970) (2018, Resonance) captures Green at his best. A few of the tracks see the trio lineup complimented by none other than the legendary Barney Kessel, which makes it essential listening for me!

It’s also worth seeking out some of Greenvs funkier efforts, such as… He also made an interesting album of Latin music (The Latin Bit from 1963, on Blue Note again), in which the main theme (the ‘heads’) were played in the usual samba or bossa nova style, but the solos are swung – give it a listen and make of it what you will!

As a sideman, he played on hundreds of recording sessions. Among my personal favourites are Herbie Hancock’s My Point Of View (1963, Blue Note) and Art Blakey’s Hold On I’m Coming (1966, Limelight). However, each record in Green’s expansive discography features great playing and lead lines that we guitarists would benefit from adding to our repertoire!

Just as Green (and countless other great jazz guitarists) did with Charlie Christian’s recordings, listen, learn, then find a way of making it your own…

Great Guitarists #5: Charlie Christian

Great Guitarists

Many of the jazz guitarists featured so far will have been influenced by today’s Great Guitarist. Not only one of the foundations of how jazz guitar can be played & appreciated, but also one of the innovators behind bebop…

Charlie Christian

As one of the first players to ensure the guitar was taken seriously as a lead-playing instrument (along with Django Reinhardt), Christian arguably helped lay for foundation for all jazz guitar to follow. Born into a musical family Texas in 1916, he was the youngest of three brothers. His introduction to jazz and first break came while playing in his oldest brother Edward’s band across the state border in Oklahoma, impressing fellow musicians in late-night jam sessions while still only a teenager.

Taking his style from horns, Christian’s goal was for his guitar to sound like a tenor saxophone. Although he was undoubtedly aware of Django Reinhardt’playing, it does not appear to have influenced him anywhere near as much as the various horn and reed players Christian was surrounded by and worked alongside.

Christian was recommended to band leader Benny Goodman in 1939. Various accounts demonstrate a reluctance on Goodman’s part, largely due to the fact that the electric guitar was a very new instrument, and not regarded as a soloing one. Up until then, it has largely been an alternative to the banjo as an accompanying instrument. As Goodman was mainly leading a sextet at the time, he clearly preferred versatility in his performers. However, Christian’s skill at melodic improvising soon won him over. When Goodman overhauled his sextet in 1940,Christian was the only band member who stayed on, playing in a new ‘supergroup’ lineup which included Count Basie on piano and Cootie Williams on trumpet.

During this time, Christian was also a prominent figure in the after hours jams at Minton’s Playhouse in Harlem, where bebop was born. Many of the leading jazzmen of the day frequented these sessions, including Thelonious Monk, Dizzy Gillespie, Charlie Parker and Kenny Clarke, almost others. According to Leonard Feather (1960), several participants in these jams attribute Christian’s humming of the melodic phrases as the onomatopoetic origin of the name bebop.

According to the legendary guitarist (and Charlie Christian fan) Barney Kessel (read my Great Guitarists installment on Barney Kessel here), Christian played almost entirely using downstrokes with a large triangular pick held between his thumb and forefinger. His remaining right hand fingers apparently remained steadfast against his guitar’s pick guard. I’m always amazed at how early pioneers of single-note guitar playing sounded so smooth without using an alternate picking technique. It only goes to show what can be achieved when the music needs to come out…

Unfortunately, the world never got to see where Christian would take jazz, or at least his own playing, next. Having contracted tuberculosis in the late thirties, Christian’s health started to decline, not helped by the lifestyle of a busy working jazz musician. He died in a sanatorium on Staten Island in New York in 1942, aged just twenty-five. He was buried in an unmarked grave in Bonham, Texas, the town of his birth. Today, the exact location of the father of modern jazz guitar remains unknown.

Essential Listening

Due to his untimely demise, Christian never cut any records as a band leader. A few amateur recordings exist of groups he led playing live (presumably between Goodman dates), as well as some of those Minton’s Playhouse sessions, such as Swing To Bop (1941).

The main way to hear Christian’s playing is from recordings made with the Benny Goodman sextet between 1939-1941. Thankfully, Goodman recognised Christian’s talent and allowed him plenty of time in the spotlight. These solos have been listened to and learned by jazz guitarists the world over, not least greats such as Wes Montgomery, Kenny Burrell and many more. Among the recordings by the Goodman sextet , Solo Flight is a great starting point.

Christian (front row), between Count Basie (piano) and Benny Goodman (clarinet). Freddie Green, a guitarist famous entirely for his rhythm playing, can be seen in the back row.

Christian’s influence lives on beyond the world of jazz guitar. Countless musicians have credited him as an early influence, from Miles Davis to Charlie ‘Bird’ Parker. Outside of jazz, Christian’s pioneering use of the guitar as a lead instrument helped pave the way fir rock’n’roll. His direct musical influence can be heard in artists such T-Bone Walker, Chuck Berry, Scotty Moore and Eddie Cochran. Indirectly, he probably reached all of us…

Great Guitarists #2: Barney Kessel

Great Guitarists

Welcome back to my Great Guitarists mini series (you can read my previous piece, on Earl Klugh, here). Today, allow me to introduce you to my favourite guitar player of all time…

Barney Kessel

While Kessel might not be the most recognisable face or name to many, his prolific session work over several decades means you are guaranteed to have heard his guitar playing. Early gigs for Kessel included the bands of Chico Marx, Artie Shaw, Charlie ‘Bird’ Parker and Oscar Peterson.

Later, he was one of the regular LA session players known collectively (and famously) as The Wrecking Crew. Around the same time, Kessel found ample work as an accompanist. His most recognisable song is Julie London’s definitive version of ‘Cry Me A River’ (from her 1955 album Julie Is Her Name – worth checking out for Kessel’s guitar arrangements alone). He also provided similar guitar backing for several other great jazz singers, such as Billie Holiday, Ella Fitzgerald and Anita O’Day.

Born in Muskogee, Oklahoma, in 1923, Kessel was known by early bandmates for practising up to 16 hours a day. Judging by the amount of work he had, those hours of practice clearly paid off – and I haven’t even touched upon the countless records he released under his own name, not to mention his film scores, world tours with other legendary jazz guitarists or his regular guitar advice column!

In terms of a definitive track, where do I start? Pick up any album by him and you’ll be rewarded with his amazing guitar playing, from choral soloing through to wonderfully fluid single note lines. Kessel played hollowbody electrics almost exclusively, and although he moved around from various Gibsons to Kay models and back again, his thick tone with a piano-like clarity rings through. Perhaps we should begin with his beautiful version of the jazz standard Autumn Leaves, performed live in this video from 1979. Enjoy!

As always, do tell me what you think. The full list of guitar players featured in this week’s series aren’t set in stone yet, so if you have any suggestions (ideally with a jazz bent for this week’s run), please do get in touch. I love hearing what you guys think!

Until next time…