In this, the tenth installment of my Great Guitarists series, I’m a little ashamed to say we have only looked at male guitar players so far. So, to round off my first ‘dectet’ of influential guitar players (and keeping in a jazz theme, like the previous installments), let me introduce to you Mary Osborne…
Osborne was born into a musical family in North Dakota, 1921. Both her parents were musicians and her father’s barbershop was a known gathering place for local players. Already playing live by the time she was a teenager, Osborne was influenced by the playing of early jazz pioneers Django Reinhardt and Eddie Lang. However, it was Charlie Christian who first captivated her, and mentored her for a while, fine tuning her great sense of swing.
Osborne’s career ranged from trios (her own, and the Winifred McDonnell Trio near the start of her professional career), as well as some work as a sideman (or sidewoman) for the likes of Buddy Rogers, Joe Venuti (whose act included vocalists Kay Starr and The Andrews Sisters), amog many others. In the first of two spells in New York, she was the guitarist in Minton’s house band, where bebop was invented during the jams the legends of jazz had there. Her career continued throughout her life, and she was still performing live up until her death in 1992, at the age of seventy.
Osborne purchased the same model of Gibson archtop that Charlie Christian played – the ES-150, an early version of the classic archtop ‘jazz boxes’ we know and love today. It came with a large spruce body and a single-coil pickup near the neck, itself containing a large magnet that helped deliver good definition and attack. She later played other guitars by Gibson, as well as models by Gretsch, such as the White Falcon. In the 1970’s, Osborne founded her own guitar company, Osborne Sound Laboratories, formed from the ashes of the Mosrite Guitar Company (whom her husband had worked for at the end of the 1960’s). Osborne Sound Laboratories made amplifiers personally tested by Mary herself, as well as a selection if interesting instruments (including funky looking solid bodies such as in the picture below). Sadly, they couldn’t penetrate the market due to the dominance of the big manufactures, such as Fender (despite their well-known quality issues in this decade) and the company folded in 1980.
Osborne’s 1959 LP A Girl And Her Guitar (Warwick) stands testament to her talents in a golden era for jazz guitar. Her later record Now And Then (Stash, 1981) shows a player who survived longer than most of her contemporaries, and continued to play beautifully.
Also, check out The Mighty Two (1963, Roulette), an LP by the two legendary drummers Louis Bellson and Gene Krupa. Although this was conceived as an instructional album for budding drummers, several tracks feature six musicians accompanying both drummers through nine of the songs on the record. As well as featuring Osborne on guitar, you can hear Milt Hinton (bass), Joe Wilder and Joe Newman (trumpet), Phil Woods (alto sax), Dick Hymen (piano) and Tyree Glenn (trombone) – something of a who’s who in sidemen for the time. The ensemble playing is tight, and the entire LP is a unique artefact of jazz history.
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