Legends of Jazz Guitar - Stefan Grossman's Guitar Workshop

personal mannerisms — the upward (or backward) rake
across the strings, the extroverted use of blue notes,
smears, chordal solos — (which) make his approach immediately
recognizable.” And Kessel’s signature sound
has become an indelible part of jazz guitar history. “You
look at the guitar as a tool,” he told Arnie Berle, “to help
you manifest what it is you already hear — to bring out
what you have inside.”
Photo Courtesy of Tropix International
KENNY BURRELL
“I can spot his playing anywhere. His chord
conception is wonderful, and you’re always aware
of the harmonic movement in his work.
That’s particularly evident in his single-string
solos. He’s just one of the greats.”
— Tal Farlow on Kenny Burrell
“I wanted to
play saxophone,”
Kenny Burrell once
said, “but we could
not afford a sax.”
Born in Detroit in
1931, Burrell grew
up in a musical family
(his older brother
Billy played guitar,
as did his father).
Burrell’s early heroes
were the great
sax men Coleman
Hawkins and Lester
Young, but he discovered
a guitarist
of comparable genius
when he heard
Charlie Christian.
“He wanted to get a
certain sound,” said Burrell, “and he felt this so deeply
that he was able to overcome the limits of the instrument
to obtain it.” Burrell got a $10 steel-string and be-
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