Barney Kessell
| Barney Kessel | |
|---|---|
 |
|
| Background information | |
| Born |
October 17, 1923 Muskogee, Oklahoma, U.S. |
| Died | May 6, 2004 (aged 80) San Diego, U.S. |
| Genres | Jazz, pop, R&B, rock |
| Occupation(s) | Musician, composer |
| Instruments | Guitar |
| Years active | 1940s–1992 |
| Labels | Columbia, Contemporary, Reprise, Black Lion |
| Associated acts | Chico Marx, Oscar Peterson, Ray Brown, Sonny Rollins, Phil Spector, The Beach Boys, The Monkees, Milt Jackson, The Wrecking Crew, Sam Cooke |
Barney Kessel (October 17, 1923 – May 6, 2004) was an American jazz guitarist born in Muskogee, Oklahoma. 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.
Kessel began his career as a teenager touring with local dance bands. When he was 16, he started playing with the Oklahoma A & M band, "Hal Price & the Varsitonians". The band members lovingly nicknamed him "Fruitcake" because he used to practice up to 16 hours a day. He then moved on to bands such as that led by Chico Marx. He quickly established himself as a key post-Charlie Christian jazz guitarist. In 1944 he participated in the film Jammin' the Blues, which featured Lester Young, and in 1947 he recorded with Charlie Parker's New Stars on the Relaxin' at Camarillo session for Dial Records. He was rated the No. 1 guitarist in Esquire, Down Beat, and Playboy magazine polls between 1947 and 1960.
Kessel was known for his innovative work in the guitar trio setting. In the 1950s, he made a series of four albums called The Poll Winners with Ray Brown on bass and Shelly Manne on drums. He was also the guitarist on the album Julie Is Her Name (1955) by Julie London, which includes the standard "Cry Me a River"; this million-selling song features a guitar part from Kessel which illustrates his melodic chordal approach in a minimal jazz group. Also from the 1950s, his three Kessel Plays Standards volumes contain some of his most polished work.
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