Barney Kessel 1923 - 2004: Thoughts and memories on the 100th anniversary of his birth by Maurice J. Summerfield

October 17, 2023, marks the 100th anniversary of the birth of legendary jazz guitarist Barney Kessel. His long-time friend and biographer, Maurice Summerfield, has written this appreciation for BSH which highlights Barney Kessel's important and unique contribution to both jazz history and to the jazz guitar.  Barney, due to his friendship with Maurice, was a frequent visitor to the north east in the 1970s and 1980s. I was privileged to attend many of those concerts and, as a longtime acquaintance and friend of Maurice, I'm delighted to be able to post Maurice's thoughts and memories of Barney as well as his own reflections as to how it all came about. Lance

"I began to play the guitar at the age of fifteen in 1955, and first became interested in jazz after hearing some marvellous Django Reinhardt records in 1956. A few friends, who had similar tastes in jazz as myself, decided to form a small jazz combo. One day the drummer in the group played us a September 1952 recording of the Oscar Peterson Trio featuring bassist Ray Brown and Barney Kessel on guitar. It was recorded live at a Jazz at the Philharmonic concert held at New York's Carnegie Hall. I was stunned by the group's performance as a whole, but especially with the incredible guitar playing of the then 29-year old Barney Kessel. I still find this historic recording (Giant Steps GIST 011) a great inspiration and listen to it regularly. For me this is one of the best small group jazz recordings of all time. Hearing it inspired me to start what has become a 68 years' study, and appreciation, of the music and life of Barney Kessel.

In 1955 I took some guitar lessons with the well-known Newcastle upon Tyne guitarist and guitar teacher Charles (Charlie) Smith, pictured left in between Barney and myself. After playing him some of my Barney Kessel recordings, Charlie also became a fan appreciating the great spectrum of Barney’s unique musical talents. By the time I was 18 I was playing in several local jazz combos including the Bernie Thorp Trio at the 'Marimba Coffee Bar' in Newcastle, the Mike Carr Quintet at the 'High Point Hotel' in Whitley Bay and with trumpeter Bobby Carr's quintet at the 'The Avenue' also in Whitley Bay. 

By the end of 1956 Charlie said that he had taught me all that he knew and recommended that if I wanted to extend my musical knowledge and guitar technique I should (1) travel to London and have lessons with the great English guitarist Ivor Mairants, and (2) write to Barney Kessel in Los Angeles for some tips and advice. Never dreaming that either of these great guitarists would respond, I still followed Charlie's advice and wrote to both. I was wrong! Ivor accepted me for some private lessons at his music school in central London and eventually he became a close and good friend for over 40 years. In the photo I'm at the far left with Bill Bay, Herb Ellis, Barney Kessel, Ivor Mairants and George Van Eps in Chicago, July 1978.

Barney responded to me at length, answering in great detail all my questions. Over the next few years he always found time to respond to my letters. Bearing in mind that at that time Barney was regarded as the world's number one jazz guitarist, and one of Hollywood’s top studio musicians, you can fully appreciate the measure of the man. This correspondence was the beginning of my life-long association, and close friendship with Barney Kessel. It was several years before we actually met face-to-face. This came about through our mutual friend, guitarist Ike Isaacs and we finally shook hands in 1972 over dinner at a London restaurant. 

(The Great Guitars) 

Over the following years, from October 1973, I organised each year, for 12 successive years, his four-day jazz guitar seminar 'The Effective Guitarist' at the Imperial Hotel in Newcastle upon Tyne.  This unique seminar attracted students from all over the UK and Europe. At the same time, together with the late Chris Yates of 'Jazz North East', I organised each year, to coincide with his seminars, memorable concerts by Barney with his trio, or as part of 'The Great Guitars' (see photo: l-r: Charlie Byrd, Joe Pass, Herb Ellis, Barney Kessel, Mauurice J. Summmerfield) at various north east venues in the UK.

The music of Barney Kessel has continued to be a major part of my life. I decided in 1998 to write a bio/discography of Barney.  I worked on his biography (finally published in 2008) for over ten years and its comprehensive jazz discography for well over fifteen years. In some small way it was my thank you to Barney for the pleasure his music had given me, and for his warm friendship over so many years.

After his stroke, in May 1992, I visited Barney every year at his home in San Diego until his death in 2004. As a result Barney did see most of the detailed jazz discography in my  book and confirmed that he was very pleased with it. The discography does not include the thousands of studio rock and pop recordings on which Barney played, however I included a few worthy ‘easy listening’ recordings which have some jazz content. I know he would have loved to have worked on the rest of the book with me. Fortunately, over 40 years he gave many interviews and I was therefore able to include some quotations from Barney’s own words to help illuminate the story of his life. His widow Phyllis Kessel, with whom I am still in regular contact, also provided me with enormous support in supplying information, photographs and memorabilia for the book.

Barney Kessel is a legend in the history of jazz.  Born 17 October 1923, Barney Kessel played and recorded with a long list of jazz greats including Lester Young, Charlie Parker, Dexter Gordon, Sonny Criss, Buddy Rich, Billie Holiday, Art Tatum, Red Norvo, Oscar Peterson, Buddy de Franco, Sarah Vaughan, Ella Fitzgerald, Ben Webster, Anita O'Day, The Candoli Brothers, Ruby Braff, Andre Previn, Herb Ellis, Charlie Byrd, Tal Farlow and Sonny Rollins. 

Charlie Christian heard of Barney and came to see him play in 1939 in Oklahoma City, and then jammed with him for four days.  Kessel was only 16 years old. 

From the early 1940s Kessel played and recorded with the big bands of Chico Marx (1942-43), Artie Shaw (1944-45), Benny Goodman (1947, 1958) and Charlie Barnet (1945, 1946 and 1947). He was one of the original members of Oscar Peterson's Trio in 1952-53. A winner of all the major jazz polls including Downbeat, Metronome, Melody Maker and Playboy for several years, he was the most popular jazz guitarist of the 1950s and 1960s. He worked for almost 40 years in Hollywood as an arranger and freelance musician for radio, hundreds of films and TV shows such as Steve Allen and Hollywood Palace, and created original music for many commercials including 'Der Wiener Schnitzel' and 'Rice Krispies'. 

He performed and recorded with such diverse talents as Fred Astaire, Lawrence Welk, the Beach Boys, Barbara Streisand, Liberace, Elvis Presley, Frank Sinatra, Marlene Dietrich, Maurice Chevalier, Doris Day, Dean Martin, Gene Autry, Sonny and Cher and the Righteous Brothers. He was part of the 'Wrecking Crew' on many of Phil Spector's hit records.  He actually taught Spector jazz guitar when the producer was 16 years old. Barney Kessel was also an A&R man for Verve Records for whom he produced Ricky Nelson’s first big hit.  He also produced the Verve records that Woody Herman sang on. Barney was featured in the 1944 award-winning documentary film 'Jammin' The Blues' with Lester Young and other jazz greats.  As a member of Norman Granz's Jazz at the Philharmonic, Barney became well-known world-wide from the time of the JATP 1952 tour.  He was also a featured soloist with George Wein's Newport All Stars.

Barney Kessel was a USA musical ambassador for the State Department during the Carter Administration and he played in the White House for both Presidents Carter and Nixon. Successful 1991 tours included the United States, Canada, Portugal, Sweden, Italy, Germany, the British Isles and Japan. 1991 also marked his induction into the Oklahoma Jazz Hall of Fame along with the late Chet Baker. In early 1992 prior to his stroke he got rave reviews playing in Australia, New Zealand and all across the United States. On May 26, 1992, Kessel suffered a severe stroke which ended his playing career. His memory was not affected and he kept active in the music field until December 2002 when it was found he had a brain tumour. He died on 6 May 2004 at his home in San Diego. His recordings for Contemporary, Concord and many foreign labels, too numerous to mention, are collectors items today and an important part of jazz history. He even composed and arranged a jazz version of Bizet's opera Carmen and recorded it in 1958 featuring Andre Previn on piano. The last Kessel album to be recorded was the superb Red, Hot and Blues on Contemporary. It has as his backing group Kenny Barron, Bobby Hutcherson, Rufus Reid and Ben Riley playing Barney's own compositions, standards and jazz classics. 

Kessel has been featured on television many times over the years, including the Johnny Carson show. In 1995, Vestapol Videos released a one hour video called Barney Kessel Rare Performances, 1962-1991 of TV performances, a British interview and his acceptance speech at the Oklahoma Jazz Hall of Fame. Additional film clips of him are included in the 'Legends of Jazz Guitar' 1, 2 and 3 video series from Vestapol. Books of jazz photography in which he is included are 'Jazz Photographs of the Masters' by Jacques Lowe, Artisan Books, New York, 1995 and a photo documentary by Esther Bubley, text by Hank O’Neal, of a 1950s Norman Granz recording session. Titled 'Charlie Parker Jam Sessions', it was published in France by Hachette Filipacchi, 1995. It includes hundreds of photographs of Barney Kessel, Charlie Parker, Oscar Peterson, Ben Webster and other giants of jazz laughing, talking and playing.

In 1994 Kessel was flown to Turin, Italy for a huge tribute concert and since then there have been benefit concerts in England, Germany and Los Angeles honouring him. He was also a guest at Flip Phillips’ 80th birthday jazz party in Florida in 1995. At the July 1995 memorial concert for Concord Records founder Carl Jefferson, Kessel walked out on stage (with a cane) for the first time since his stroke and took a bow. In May of 1996, Kessel was flown to his home state and given an honorary doctoral degree by the University of Oklahoma for his lifetime contribution to music. For someone who only had formal schooling through the ninth grade, this was a well-deserved and meaningful honour. At George Wein's JVC Jazz Festival in New York City, June 1997, Kessel was given a special tribute; a concert by both the up and coming and old guard of the guitar world. At this concert Kessel walked on stage and spoke to an audience for the first time since his stroke. The September 1997 issue of Just Jazz Guitar magazine was devoted entirely to Kessel, and is today a collector’s item. 

Barney Kessel was the first to record the guitar as the predominate voice of a jazz trio with bass and drums. His five history-making Poll Winners albums, with Shelly Manne on drums and Ray Brown on bass, changed the course of jazz history.  Kessel was also the first one to use the guitar to sound like a full jazz orchestra. His landmark 1955 recording with Julie London, 'Julie is Her Name' and its memorable track Cry Me a River is an early example of his ability to make arrangements that bring out full orchestral tonal colours with only a string bass and electric guitar.  Barney was also the first musician in modern jazz to use the flute and oboe on his recordings. 

Author of the tuition book,'The Guitar', Barney Kessel made three videos explaining improvisation in detail for Rumark Video, and released three volumes of his original guitar solos with my company the Ashley Mark Publishing Company.

Barney Kessel spent the last few years of his life in San Diego, California with his wife, writer Phyllis Van Doren, senior editor of San Diego Home/Garden Lifestyles magazine. He died in May 2004". Maurice J. Summerfield

Barney Kessel is the most rhythmically vital guitarist in modern jazz.’  - Joachim Ernst Berendt

Barney Kessel's guitar sounds combine lyricism and dexterity with a romping, cooking, jumping, exciting happiness’ - Leonard Feather