George Barnes (musician): Difference between revisions
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*arranger |
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*composer |
*composer |
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*producer |
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*author |
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*music educator |
*music educator |
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| label = {{Flatlist| |
| label = {{Flatlist| |
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*[[Okeh Records|Okeh]] |
*[[Okeh Records|Okeh]] |
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*[[Keynote Records]] |
*[[Keynote Records|Keynote]] |
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*[[Decca Records|Decca]] |
*[[Decca Records|Decca]] |
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*[[Grand Award]] |
*[[Grand Award]] |
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*[[Colortone]] |
*[[Colortone]] |
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*[[ABC-Paramount Records]] |
*[[ABC-Paramount Records|ABC-Paramount]] |
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* |
*Pleasure |
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*[[Mercury Records|Mercury]] |
*[[Mercury Records|Mercury]] |
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*[[Music Minus One]] |
*[[Music Minus One]] |
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*[[United Artists Records]] |
*[[United Artists Records|United Artists]] |
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*Carney |
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*[[Columbia Records]] |
*[[Columbia Records|Columbia]] |
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*A&R |
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*Famous Door |
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*[[Chiaroscuro Records]] |
*[[Chiaroscuro Records|Chiaroscuro]] |
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* |
*Improv |
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*[[RCA Records]] |
*[[RCA Records|RCA]] |
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*[[Concord Jazz]] |
*[[Concord Jazz]] |
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'''George Warren Barnes''' (July 17, 1921 |
'''George Warren Barnes''' (July 17, 1921<ref name=Birth>Ross, Sam [https://www.loc.gov/resource/wpalh0.08030211/?sp=2&st=text "Form B: Interview With George Barnes. 10 May 1939".] ''Jazz Music Chicago.'' Chicago, Illinois. Library of Congress. Retrieved 7 July 2022.</ref>– September 5, 1977) was an American swing jazz guitarist.<ref name=":0">{{Cite news|last=Wilson|first=John S.|date=1977|title=George Barnes, 56; Jazz Guitarist Won Acclaim for Style|newspaper=[[The New York Times]]|url=https://www.nytimes.com/1977/09/06/archives/george-barnes-56-jazz-guitarist-won-acclaim-for-style.html}}</ref> He was also a conductor, composer, arranger, producer, author, and educator. He was hired by the NBC Orchestra at the age of 17, making him the youngest musician on staff.<ref>[http://onemanz.com/guitar/articles-2/interviews-and-profiles/george-barnes/ "George Barnes – the first electric guitarist. George Barnes the best guitarist you (thought) you never heard".] One Man's Guitar. Retrieved 5 July 2022.</ref> At 17, he was considered to be a great player by many musicians, including [[Tommy Dorsey]], and [[Jimmy McPartland]].<ref name=Interview19391 /> Barnes was also proficient as a recording engineer.<ref name=Interview /> During his career, Barnes recorded with singers [[Mel Tormé]], [[Ella Fitzgerald]], [[Frank Sinatra]], [[Bing Crosby]], [[Patti Page]], [[Dinah Washington]], [[Lena Horne]], [[Billy Eckstine]] and [[Johnny Mathis]] among many others.<ref name=Interview>Yelin, Bob. "George Barnes Interview". ''Guitar Player,'' February 1975. Retrieved 6 July 2022.</ref> |
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He was an inspiration and |
He was an inspiration to, and influenced guitarists [[Chet Atkins]], [[Roy Clark]], [[Herb Ellis]] and [[Merle Travis]], among many others.<ref name=Herb /> |
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==Biography== |
==Biography== |
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Barnes was born in [[South Chicago Heights, Illinois|South Chicago Heights]], United States.<ref name=Birth /><ref name="LarkinJazz">{{cite book|title=[[Encyclopedia of Popular Music|The Guinness |
Barnes was born in [[South Chicago Heights, Illinois|South Chicago Heights]], United States.<ref name=Birth /><ref name="LarkinJazz">{{cite book|title=[[Encyclopedia of Popular Music|The Guinness Who's Who of Jazz]]|editor=[[Colin Larkin (writer)|Colin Larkin]]|publisher=[[Guinness Publishing]]|date=1992|edition=First|isbn=0-85112-580-8|page=33}}</ref> George had first started to play the Piano at the age of five.<ref name=Orchestra>Ross, Sam. [https://www.loc.gov/resource/wpalh0.08030211/?sp=5&st=text "Form C: Interview With George Barnes. 10 May 1939".] ''Jazz Music Chicago.'' Chicago, Illinois. Library of Congress. Retrieved 7 July 2022.</ref> When George was ten, the family were forced to sell the instrument along with the home because of the great depression.<ref name=Leh>Leh Barnes, Alexandra (2002). [https://www.scribd.com/document/54288718/George-Barnes-Don-t-Get-Around-Much-Anymore-CD-Liner-Notes "George Barnes ''Don't Get Around Much Anymore'' CD Liner Notes".] Accessed via Scribd. Retrieved 3 July 2022.</ref> There was an old Sears Roebuck Silvertone guitar left over, which George picked up and his father who was a guitarist began to teach him to play.<ref name=Lejazz>Sallis, James (1982). [https://books.google.com/books?id=0jmfI9SqYzMC&q=George+Barnes+&pg=PP194 "Further Adventures Of Captain Guitar: George Barnes".] In ''The Guitar Players. One Instrument And Its Masters In American Music.'' Lincoln and London: University of Nebraska Press. p.175. Retrieved 4 July 2022.</ref> In 1931, Barnes's older brother made a [[Pickup (music technology)|pickup]] and amplifier for him because he knew that George wanted to play solo lines that could be heard in a band.<ref>Milkowski, Bill (2002). [https://jazztimes.com/archives/secret-strings-10-most-underrated-guitarists-in-the-history-of-jazz/ "George Barnes 7/17/21-9/5/77".] In ''Jazz Times Archives. Secret Strings: 10 Most Underrated Guitarists in the History of Jazz''. Retrieved 4 July 2022.</ref> He believed he might have been the first person to ever play an electric guitar.<ref name=Herb>Sallis, James (1982). [https://books.google.com/books?id=0jmfI9SqYzMC&q=George+Barnes+&pg=PP194 "Further Adventures Of Captain Guitar: George Barnes".] In ''The Guitar Players. One Instrument And Its Masters In American Music.'' Lincoln and London: University of Nebraska Press. p.184. Retrieved 4 July 2022.</ref> |
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When George was eleven, he heard some records with [[Bix |
When George was eleven, he heard some records with [[Bix Beiderbecke]] that featured [[Joe Venuti]] and knew then that he wanted to be a jazz musician.<ref name=Interview /> |
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He had become accomplished enough on guitar to join the local musicians' union at the age of twelve, and helped to aid the family's income by playing at local dances and weddings.<ref name=Leh /> |
He had become accomplished enough on guitar to join the local musicians' union at the age of twelve, and helped to aid the family's income by playing at local dances and weddings.<ref name=Leh /> |
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When Barnes was young he was given blues guitar lessons by the guitarist [[Lonnie Johnson (musician)|Lonnie Johnson]].<ref name=accoustic /><ref>National Public Radio, Inc. (NPR) (2021).[https://link.gale.com/apps/doc/A670201614/ITOF?u=wikipedia&sid=ebsco&xid=3af9c764 "Marking The Centennial Of 2 Early Electric Guitarists: George Barnes And Mary Osborne.', Fresh Air (podcast), 14 July".] Retrieved 4 July 2022.</ref> Johnson tuned his 12-string guitar down a whole-tone to make it easier for George to play. Lonnie Johnson influenced the way that Barnes played the blues.<ref name=Interview /> George Barnes wanted to play melody and not rhythm, but during his early years of playing because so few soloed, other than Johnson no guitarist influenced the way he played. He listened to records of [[Django Reinhardt]] but could not relate to his playing.<ref name=Interview /> So players of other instruments were also primary inspirations to him, particularly the clarinetist [[Jimmie Noone]], whom George Barnes played with at the age of 16 and claimed was his single greatest influence. |
When Barnes was young he was given blues guitar lessons by the guitarist [[Lonnie Johnson (musician)|Lonnie Johnson]].<ref name=accoustic /><ref>National Public Radio, Inc. (NPR) (2021).[https://link.gale.com/apps/doc/A670201614/ITOF?u=wikipedia&sid=ebsco&xid=3af9c764 "Marking The Centennial Of 2 Early Electric Guitarists: George Barnes And Mary Osborne.', Fresh Air (podcast), 14 July".] Retrieved 4 July 2022.</ref> Johnson tuned his 12-string guitar down a whole-tone to make it easier for George to play. Lonnie Johnson influenced the way that Barnes played the blues.<ref name=Interview /> George Barnes wanted to play melody and not rhythm, but during his early years of playing because so few soloed, other than Johnson no guitarist influenced the way he played. He listened to records of [[Django Reinhardt]] but could not relate to his playing.<ref name=Interview /> So players of other instruments were also primary inspirations to him, particularly the clarinetist [[Jimmie Noone]], whom George Barnes played with at the age of 16 and claimed was his single greatest influence. Barnes was also inspired and influenced strongly by the playing of the cornetist [[Bix Beiderbecke]]. He wanted to capture the same feeling on guitar that Beiderbecke did through his own playing.<ref name=Interview19391 /><ref name=Inspiration>Ross, Sam. [https://www.loc.gov/resource/wpalh0.08030211/?sp=7&st=text "Form C: Text 3. Interview With George Barnes. 10 May 1939".] ''Jazz Music Chicago.'' Chicago, Illinois. Library of Congress. Retrieved 7 July 2022.</ref> Other influences were [[Louis Armstrong]],<ref>Sallis, James (1982). [https://books.google.com/books?id=0jmfI9SqYzMC&q=George+Barnes+&pg=PP194 "Further Adventures Of Captain Guitar: George Barnes".] In ''The Guitar Players. One Instrument And Its Masters In American Music.'' Lincoln and London: University of Nebraska Press. p.181. Retrieved 4 July 2022.</ref> and saxophonist [[Johnny Hodges]].<ref name=Leh /> |
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From 1935 to 1937 |
From 1935 to 1937, Barnes led a band that performed in the Midwest.<ref name="Yanow">{{cite book |last1=Yanow |first1=Scott |title=The Great Jazz Guitarists |date=2013 |publisher=Backbeat |location=San Francisco |isbn=978-1-61713-023-6 |page=16}}</ref> |
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In 1937 he played in an eight piece band called the Rhythm-Aires. |
In 1937 he played in an eight piece band called the Rhythm-Aires. Barnes did all of the arranging and orchestration for this band. Because most of the players switched from one instrument to another, he had to often double the orchestration. They toured at night around Chicago Heights.<ref name=Orchestra /> |
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He was spotted by [[Johnny Mince]] of the Tommy Dorsey Orchestra in 1937. Mince set up an appearance for Barnes on Dorsey's Amateur Hour after driving past his house in his car and hearing him play. George won the $75 first prize along with an appointment to play at the Chicago Theatre for a week.<ref name=Leh /> |
He was spotted by [[Johnny Mince]] of the Tommy Dorsey Orchestra in 1937. Mince set up an appearance for Barnes on Dorsey's Amateur Hour after driving past his house in his car and hearing him play. George won the $75 first prize along with an appointment to play at the Chicago Theatre for a week.<ref name=Leh /> |
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On March 1, 1938, |
On March 1, 1938, Barnes played electric guitar on the recorded songs "Sweetheart Land" and "It's a Lowdown Dirty Shame" with blues guitarist [[Big Bill Broonzy]].<ref name="LarkinJazz"/> In 1938, when he was seventeen, Barnes was hired as staff guitarist for the NBC Orchestra.<ref name=":0" /> He was also staff guitarist and arranger for [[Decca Records|Decca]] and recorded with [[Blind John Davis]], [[Jazz Gillum]], [[Merline Johnson]], [[Curtis Jones (pianist)|Curtis Jones]], and [[Washboard Sam]].<ref name="Yanow" /> Because he only knew Barnes as a sideman to these artists, [[Hugues Panassié]] in ''Le Jazz Hot'' mistakenly referred to Barnes at around this time as "the great Negro blues guitar player from Chicago."<ref name=Lejazz /><ref>{{Cite journal|last=Ferguson|first=Jim|date=1994|title=George Barnes Plays So Good|journal=[[Guitar Player]]|volume=28|pages=18|via=Gale}}</ref> |
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From January 1939, while still only seventeen |
From January 1939, while still only seventeen, Barnes began playing at the Three Deuces nightclub in Chicago.<ref name=Inspiration /> He became a featured performer there. He would sit on a chair in front of the band and improvise for as long as he possibly could on different jazz tunes. He became a sensation and the audience would ask for many encores.<ref name=Interview19391>Ross, Sam. [https://www.loc.gov/resource/wpalh0.08030211/?sp=3&st=text "Form D: Interview With George Barnes. 10 May 1939".] ''Jazz Music Chicago.'' Chicago, Illinois. Library of Congress. Retrieved 7 July 2022.</ref> |
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On 17 February 1940, Barnes released his first solo recording, "[[I'm Forever Blowing Bubbles]]" and "[[I Can't Believe That You're in Love with Me]]" on [[Okeh Records]].<ref>[http://www.78discography.com/OK5600.htm "Okeh 05798".] In OKeh 5600 - 6000 (1940 - 41). Retrieved 5 July 2022.</ref> He was drafted in 1942 and served with the [[U.S. Army]] as an intercept operator in [[the Pentagon]]. After his discharge in 1946, he formed the George Barnes Octet and was given a fifteen-minute radio program on the ABC network.<ref>Yanow, Scott (2021). [https://syncopatedtimes.com/george-barnes-guitar-in-velvet/#:~:text=In%201946%20for%20the%20fun,were%20from%20the%20Chicago%20Symphony) "Album Reviews: George Barnes. Guitar In Velvet".] In ''The Syncopated Times,'' 29 January 2021. Retrieved 8 July 2022.</ref> On January 17, 1947, he married Evelyn Lorraine Triplett in Chicago. |
On 17 February 1940, Barnes released his first solo recording, "[[I'm Forever Blowing Bubbles]]" and "[[I Can't Believe That You're in Love with Me]]" on [[Okeh Records]].<ref>[http://www.78discography.com/OK5600.htm "Okeh 05798".] In OKeh 5600 - 6000 (1940 - 41). Retrieved 5 July 2022.</ref> He was drafted in 1942 and served with the [[U.S. Army]] as an intercept operator in [[the Pentagon]]. After his discharge in 1946, he formed the George Barnes Octet and was given a fifteen-minute radio program on the ABC network.<ref>Yanow, Scott (2021). [https://syncopatedtimes.com/george-barnes-guitar-in-velvet/#:~:text=In%201946%20for%20the%20fun,were%20from%20the%20Chicago%20Symphony) "Album Reviews: George Barnes. Guitar In Velvet".] In ''The Syncopated Times,'' 29 January 2021. Retrieved 8 July 2022.</ref> On January 17, 1947, he married Evelyn Lorraine Triplett in Chicago. |
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In 1951, |
In 1951, Barnes was signed to Decca by [[Milt Gabler]], and moved from Chicago to New York City.<ref name=":0" /> In 1953, he joined the orchestra for the television show ''[[Your Hit Parade]]''. The band was conducted by [[Raymond Scott]], and Barnes was a featured soloist. Barnes, Scott, and vocalist [[Dorothy Collins]] (Scott's wife) also recorded together. |
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Barnes worked often as a [[studio musician]] in New York City, playing on hundreds of albums and jingles from the early 1950s through the late 1960s. He played guitar on [[Patsy Cline]]'s New York sessions in April 1957. Although he was primarily a [[swing jazz]] guitarist,<ref>{{cite web|url=http://www.rockabillyhall.com/Extra2.html |title=Rock-a-billy Hall |publisher=Rock-a-billy Hall. |access-date=2011-11-01}}</ref> he participated in hundreds of pop, rock, country, and R&B recording sessions. He played on many hit songs by [[the Coasters]], on "[[This Magic Moment]]" by [[the Drifters]],<ref>[https://www.discogs.com/release/2140788-The-Drifters-This-Magic-Moment "Atlantic – 45-2050".] Accessed via Discogs. Retrieved 6 July 2022.</ref> and on "[[Lonely Teardrops]]".<ref name=Leh /> His electric guitar can be heard in the movie ''[[A Face in the Crowd (film)|A Face in the Crowd]]''. |
Barnes worked often as a [[studio musician]] in New York City, playing on hundreds of albums and jingles from the early 1950s through the late 1960s. He played guitar on [[Patsy Cline]]'s New York sessions in April 1957. Although he was primarily a [[swing jazz]] guitarist,<ref>{{cite web |url=http://www.rockabillyhall.com/Extra2.html |title=Rock-a-billy Hall |publisher=Rock-a-billy Hall. |access-date=2011-11-01 |archive-date=2011-10-11 |archive-url=https://web.archive.org/web/20111011233205/http://rockabillyhall.com/Extra2.html |url-status=dead }}</ref> he participated in hundreds of pop, rock, country, and R&B recording sessions. He played on many hit songs by [[the Coasters]], on "[[This Magic Moment]]" by [[the Drifters]],<ref>[https://www.discogs.com/release/2140788-The-Drifters-This-Magic-Moment "Atlantic – 45-2050".] Accessed via Discogs. Retrieved 6 July 2022.</ref> and on "[[Lonely Teardrops]]".<ref name=Leh /> His electric guitar can be heard in the movie ''[[A Face in the Crowd (film)|A Face in the Crowd]]''. |
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Barnes recorded three albums for [[Mercury Records|Mercury]]: ''Movin' Easy'' (1961) with his Jazz Renaissance Quintet,<ref>[https://www.discogs.com/release/5486817-Jazz-Renaissance-Quintet-Movin-Easy "Mercury – MG 20605.(1961)".] Jazz Renaissance Quintet – ''Movin' Easy.'' Accessed via Discogs. Retrieved 7 July 2022.</ref> ''Guitar Galaxies'' (1960), and ''Guitars Galore'' (1961). The latter two contained his orchestrations for ten guitars, known as his guitar choir, which used guitars in place of a horn section. The two albums employed a recording technique known as Perfect Presence Sound.<ref>[https://www.discogs.com/release/15551694-George-Barnes-Guitar-Galaxies "Mercury – PPS 6011.(1960)".] George Barnes - ''Guitar Galaxies.'' Accessed via Discogs. Retrieved 7 July 2022.</ref><ref>[https://www.discogs.com/release/15960670-George-Barnes-Guitars-Galore "Mercury – PPS 6020.(1961)".] George Barnes - ''Guitars Galore.'' Accessed via Discogs. Retrieved 7 July 2022.</ref> |
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Between 1953 and 1961 he was featured on many recordings with [[The Three Suns]].<ref name=Interview /> |
Between 1953 and 1961 he was featured on many recordings with [[The Three Suns]].<ref name=Interview /> |
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Barnes's style took shape before the development of [[bebop]], and he remained a swing stylist throughout his career. His lines were usually short, melodic, bluesy and "inside" (i.e., diatonic), compared to the chromaticism and long lines of bop-era guitarists. His improvisations often employed [[call and response]] phrases, and his tone was clearer, cleaner and brighter than many other jazz guitarists (such as [[Joe Pass]] or [[Jim Hall (musician)|Jim Hall]]) and reflected his "happy" approach to music. His playing was noted for its bright quality and melodic style.<ref name=":0" /> |
Barnes's style took shape before the development of [[bebop]], and he remained a swing stylist throughout his career. His lines were usually short, melodic, bluesy and "inside" (i.e., diatonic), compared to the chromaticism and long lines of bop-era guitarists. His improvisations often employed [[call and response]] phrases, and his tone was clearer, cleaner and brighter than many other jazz guitarists (such as [[Joe Pass]] or [[Jim Hall (musician)|Jim Hall]]) and reflected his "happy" approach to music. His playing was noted for its bright quality and melodic style.<ref name=":0" /> |
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The single note lines in his solos never strayed far from the tune that was being played. He often made use of blues phrases, string bends and vibrato. His use of vibrato was developed from watching Violinists and would start slowly, then the speed increased.<ref name=Technique>[http://onemanz.com/guitar/articles-2/interviews-and-profiles/george-barnes/ "The Technique: George Barnes – the first electric guitarist. George Barnes the best guitarist you (thought) you never heard".] One Man's Guitar. Retrieved 5 July 2022.</ref> |
The single note lines in his solos never strayed far from the tune that was being played. He often made use of blues phrases, string bends and vibrato. His use of vibrato was developed from watching Violinists and would start slowly, then the speed increased.<ref name=Technique>[http://onemanz.com/guitar/articles-2/interviews-and-profiles/george-barnes/ "The Technique: George Barnes – the first electric guitarist. George Barnes the best guitarist you (thought) you never heard".] One Man's Guitar. Retrieved 5 July 2022.</ref> When creating vibrato he did it across the fingerboard, rather than in line with it.<ref name=accoustic>[https://acousticdisc.com/george-barnes/ "George Barnes".] Via Acoustic Disc.com. Retrieved 3 July 2022.</ref> |
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He played a right-handed guitar, but George Barnes was left handed, seeing it as an advantage to use the strongest hand for work on the fretboard.<ref name=Technique /> |
He played a right-handed guitar, but George Barnes was left handed, seeing it as an advantage to use the strongest hand for work on the fretboard.<ref name=Technique /> |
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Claiming that it gave him more control, |
Claiming that it gave him more control, Barnes held the pick between his thumb and middle finger playing mainly with downstrokes. He only used alternate picking when picking very rapid notes on the fretboard. By tightening or loosening his grip on the pick, Barnes could change the volume and dynamics of his guitar sound.<ref>Sallis, James (1982). [https://books.google.com/books?id=0jmfI9SqYzMC&q=George+Barnes+&pg=PP194 "Further Adventures Of Captain Guitar: George Barnes".] In ''The Guitar Players. One Instrument And Its Masters In American Music.'' Lincoln and London: University of Nebraska Press. p.186. Retrieved 4 July 2022.</ref> Believing that it helped to give him good tone, he always used the thickest picks, and the heaviest gauge strings possible.<ref name=Technique /> |
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Not long before his death, |
Not long before his death, Barnes recorded three live albums—two produced from an April 17, 1977, concert at the San Francisco club [[Bimbo's 365]], the other at the Willows Theatre in Concord, California. The albums are good examples of his swinging, happy and often mischievous style. The albums also include his banter with the audience and his introductions of tunes and his band, giving the listener a glimpse of his sense of humour. |
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In a review of the album ''Don't Get Around Much Anymore'' (material from a 1977 concert in Concord, California, recorded a little more than a month before Barnes's death at the age of 56), [[Jim Ferguson]] wrote, "Often overlooked in a sea of more modern-sounding, bebop-oriented guitarists, George Barnes could swing like mad and spin out intricate, frequently bluesy phrases with awesome precision and musicality...From start to finish, this well-recorded performance demonstrates the qualities that qualify Barnes for a position among the most elite players in the annals of jazz guitar."<ref>[http://jazztimes.com/articles/13828-don-t-get-around-much-anymore-george-barnes-quartet JazzTimes review of ''Don't Get Around Much Anymore'' (George Barnes Quartet)] by [[Jim Ferguson]] (retrieved 3 October 2011)</ref> |
In a review of the album ''Don't Get Around Much Anymore'' (material from a 1977 concert in Concord, California, recorded a little more than a month before Barnes's death at the age of 56), [[Jim Ferguson]] wrote, "Often overlooked in a sea of more modern-sounding, bebop-oriented guitarists, George Barnes could swing like mad and spin out intricate, frequently bluesy phrases with awesome precision and musicality...From start to finish, this well-recorded performance demonstrates the qualities that qualify Barnes for a position among the most elite players in the annals of jazz guitar."<ref>[http://jazztimes.com/articles/13828-don-t-get-around-much-anymore-george-barnes-quartet JazzTimes review of ''Don't Get Around Much Anymore'' (George Barnes Quartet)] by [[Jim Ferguson]] (retrieved 3 October 2011)</ref> |
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==Discography== |
==Discography== |
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===As leader=== |
===As leader=== |
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* ''The George Barnes Sextet'' ([[Keynote Records]], 1946) |
* ''The George Barnes Sextet'' ([[Keynote Records|Keynote]], 1946) |
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* ''Country Jazz'' ([[Colortone]], 1957) |
* ''Country Jazz'' ([[Colortone]], 1957) |
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* ''Guitar in Velvet'' ([[Grand Award]], 1957) |
* ''Guitar in Velvet'' ([[Grand Award]], 1957) |
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* ''Guitars...By George!'' ([[Decca Records|Decca]], 1958)<ref>"New Releases: Barnes, George. ''Guitars...By George!'' Decca – DL 8658". ''Billboard,'' 3 November 1958, p.6. Retrieved 9 July 2022.</ref> |
* ''Guitars...By George!'' ([[Decca Records|Decca]], 1958)<ref>"New Releases: Barnes, George. ''Guitars...By George!'' Decca – DL 8658". ''Billboard,'' 3 November 1958, p.6. Retrieved 9 July 2022.</ref> |
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* ''Guitar Galaxies'' ([[Mercury Records|Mercury]], 1960) |
* ''Guitar Galaxies'' ([[Mercury Records|Mercury]], 1960) |
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* ''Guitars Galore'' ( |
* ''Guitars Galore'' (Mercury, 1961) |
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* '' |
* ''Something Tender'' with Bud Freeman and [[Carl Kress]] (United Artists Jazz, 1962) |
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* ''Guitars, Anyone? Why Not Start at the Top?'' with Carl Kress ( |
* ''Guitars, Anyone? Why Not Start at the Top?'' with Carl Kress (Carney, 1963) |
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* ''Smokey and Intimate'' with |
* ''Smokey and Intimate'' with Carl Kress and Flo Handy (Carney, 1964) |
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* '' |
* ''Town Hall Concert'' with Carl Kress ([[United Artists Records|United Artists]], 1963) |
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* '' |
* ''Guitars Pure and Honest'' with [[Bucky Pizzarelli]] (A&R, 1971) |
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* ''The Guitar Album: The Historic Town Hall Concert'' with Bucky Pizzarelli ([[Columbia Records|Columbia]], 1972) |
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* ''Swing, Guitars'' with [[Dick Hyman]] (Famous Door, 1973) |
* ''Swing, Guitars'' with [[Dick Hyman]] (Famous Door, 1973) |
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* ''Live at the New School'' with [[Ruby Braff]], [[Michael Moore]], Wayne Wright ([[Chiaroscuro Records|Chiaroscuro]], 1974) |
* ''Live at the New School'' with [[Ruby Braff]], [[Michael Moore]], Wayne Wright ([[Chiaroscuro Records|Chiaroscuro]], 1974) |
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* ''Gems'' with [[Joe Venuti]] ([[Concord Jazz]], 1975) |
* ''Gems'' with [[Joe Venuti]] ([[Concord Jazz]], 1975) |
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* ''Braff/Barnes Quartet Salutes Rodgers and Hart'' with [[Ruby Braff]] ( |
* ''Braff/Barnes Quartet Salutes Rodgers and Hart'' with [[Ruby Braff]] (Concord Jazz, 1975) |
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⚫ | |||
* ''Live at the Concord Summer Festival'' with Joe Venuti (Concord Jazz, 1977) |
* ''Live at the Concord Summer Festival'' with Joe Venuti (Concord Jazz, 1977) |
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⚫ | |||
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* ''Plays So Good'' (Concord Jazz, 1978) |
* ''Plays So Good'' (Concord Jazz, 1978) |
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* ''Two Guitars Volume 1'' with Carl Kress ([[Stash Records|Stash]], 1983) |
* ''Two Guitars Volume 1'' with Carl Kress ([[Stash Records|Stash]], 1983) |
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* ''Two Guitars and a Horn'' with Carl Kress |
* ''Two Guitars and a Horn'' with Carl Kress and [[Bud Freeman]] (Stash, 1983) |
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* ''Don't Get Around Much Anymore'' ([[Acoustic Disc]], 2002) |
* ''Don't Get Around Much Anymore'' ([[Acoustic Disc]], 2002) |
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⚫ | |||
'''With [[Louis Armstrong]]''' |
'''With [[Louis Armstrong]]''' |
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* [[Steve Allen]], ''Jazz for Tonight'' (Coral, 1955) |
* [[Steve Allen]], ''Jazz for Tonight'' (Coral, 1955) |
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* [[Tony Bennett]], ''Tony Bennett Sings 10 Rodgers & Hart Songs'' (Improv, 1976) |
* [[Tony Bennett]], ''Tony Bennett Sings 10 Rodgers & Hart Songs'' (Improv, 1976) |
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* |
* Tony Bennett, ''Tony Bennett Sings More Great Rodgers & Hart'' (Improv, 1977) |
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* [[Solomon Burke]], ''If You Need Me'' (Atlantic, 1963) |
* [[Solomon Burke]], ''[[If You Need Me]]'' (Atlantic, 1963) |
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* Solomon Burke, ''King Solomon'' (Atlantic, 1968) |
* Solomon Burke, ''King Solomon'' (Atlantic, 1968) |
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* [[Russ Case]], ''Dances Wild'' (Vik, 1957) |
* [[Russ Case]], ''Dances Wild'' (Vik, 1957) |
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* [[The Coasters]], ''Young Blood'' (Atlantic, 1982) |
* [[The Coasters]], ''Young Blood'' (Atlantic, 1982) |
||
* [[Hans Conried]], ''Peter Meets the Wolf in Dixieland'' (Strand, 1959) |
* [[Hans Conried]], ''Peter Meets the Wolf in Dixieland'' (Strand, 1959) |
||
* [[Sam Cooke]], ''[[Swing Low (album)|Swing Low]]'' (RCA Victor, 1961) |
|||
* [[Jackie Cooper]], ''The Movies Swing'' (Dot, 1958) |
* [[Jackie Cooper]], ''The Movies Swing'' (Dot, 1958) |
||
* [[Bob Dylan]], ''[[The Freewheelin' Bob Dylan]]'' (Columbia, 1963) |
* [[Bob Dylan]], ''[[The Freewheelin' Bob Dylan]]'' (Columbia, 1963) |
||
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* [[Jimmy Scott]], ''Little Jimmy Scott'' (Savoy, 1984) |
* [[Jimmy Scott]], ''Little Jimmy Scott'' (Savoy, 1984) |
||
* [[Lou Stein]], ''Honky Tonk Piano Featuring Lou Stein'' (Mercury, 1956) |
* [[Lou Stein]], ''Honky Tonk Piano Featuring Lou Stein'' (Mercury, 1956) |
||
* |
* Lou Stein, ''Saloon Favorites'' (Mercury, 1957) |
||
* [[Roy Smeck]], ''The Magic Ukulele of Roy Smeck'' (ABC Paramount, 1959) |
* [[Roy Smeck]], ''The Magic Ukulele of Roy Smeck'' (ABC Paramount, 1959) |
||
* [[Cootie Williams]], ''Cootie Williams in Hi Fi'' (RCA Victor, 1958) |
* [[Cootie Williams]], ''Cootie Williams in Hi Fi'' (RCA Victor, 1958) |
||
Line 206: | Line 210: | ||
[[Category:20th-century American male musicians]] |
[[Category:20th-century American male musicians]] |
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[[Category:American male jazz musicians]] |
[[Category:American male jazz musicians]] |
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[[Category:Bloom High School alumni]] |
Latest revision as of 01:41, 27 October 2024
George Barnes | |
---|---|
Background information | |
Birth name | George Warren Barnes |
Born | South Chicago Heights, Illinois, U.S. | July 17, 1921
Died | September 5, 1977 Concord, California | (aged 56)
Genres | |
Occupations |
|
Instrument | Guitar |
Years active | 1931–1977 |
Labels |
|
Website | georgebarneslegacy |
George Warren Barnes (July 17, 1921[1]– September 5, 1977) was an American swing jazz guitarist.[2] He was also a conductor, composer, arranger, producer, author, and educator. He was hired by the NBC Orchestra at the age of 17, making him the youngest musician on staff.[3] At 17, he was considered to be a great player by many musicians, including Tommy Dorsey, and Jimmy McPartland.[4] Barnes was also proficient as a recording engineer.[5] During his career, Barnes recorded with singers Mel Tormé, Ella Fitzgerald, Frank Sinatra, Bing Crosby, Patti Page, Dinah Washington, Lena Horne, Billy Eckstine and Johnny Mathis among many others.[5] He was an inspiration to, and influenced guitarists Chet Atkins, Roy Clark, Herb Ellis and Merle Travis, among many others.[6]
Biography
[edit]Barnes was born in South Chicago Heights, United States.[1][7] George had first started to play the Piano at the age of five.[8] When George was ten, the family were forced to sell the instrument along with the home because of the great depression.[9] There was an old Sears Roebuck Silvertone guitar left over, which George picked up and his father who was a guitarist began to teach him to play.[10] In 1931, Barnes's older brother made a pickup and amplifier for him because he knew that George wanted to play solo lines that could be heard in a band.[11] He believed he might have been the first person to ever play an electric guitar.[6]
When George was eleven, he heard some records with Bix Beiderbecke that featured Joe Venuti and knew then that he wanted to be a jazz musician.[5]
He had become accomplished enough on guitar to join the local musicians' union at the age of twelve, and helped to aid the family's income by playing at local dances and weddings.[9]
When Barnes was young he was given blues guitar lessons by the guitarist Lonnie Johnson.[12][13] Johnson tuned his 12-string guitar down a whole-tone to make it easier for George to play. Lonnie Johnson influenced the way that Barnes played the blues.[5] George Barnes wanted to play melody and not rhythm, but during his early years of playing because so few soloed, other than Johnson no guitarist influenced the way he played. He listened to records of Django Reinhardt but could not relate to his playing.[5] So players of other instruments were also primary inspirations to him, particularly the clarinetist Jimmie Noone, whom George Barnes played with at the age of 16 and claimed was his single greatest influence. Barnes was also inspired and influenced strongly by the playing of the cornetist Bix Beiderbecke. He wanted to capture the same feeling on guitar that Beiderbecke did through his own playing.[4][14] Other influences were Louis Armstrong,[15] and saxophonist Johnny Hodges.[9]
From 1935 to 1937, Barnes led a band that performed in the Midwest.[16]
In 1937 he played in an eight piece band called the Rhythm-Aires. Barnes did all of the arranging and orchestration for this band. Because most of the players switched from one instrument to another, he had to often double the orchestration. They toured at night around Chicago Heights.[8]
He was spotted by Johnny Mince of the Tommy Dorsey Orchestra in 1937. Mince set up an appearance for Barnes on Dorsey's Amateur Hour after driving past his house in his car and hearing him play. George won the $75 first prize along with an appointment to play at the Chicago Theatre for a week.[9]
On March 1, 1938, Barnes played electric guitar on the recorded songs "Sweetheart Land" and "It's a Lowdown Dirty Shame" with blues guitarist Big Bill Broonzy.[7] In 1938, when he was seventeen, Barnes was hired as staff guitarist for the NBC Orchestra.[2] He was also staff guitarist and arranger for Decca and recorded with Blind John Davis, Jazz Gillum, Merline Johnson, Curtis Jones, and Washboard Sam.[16] Because he only knew Barnes as a sideman to these artists, Hugues Panassié in Le Jazz Hot mistakenly referred to Barnes at around this time as "the great Negro blues guitar player from Chicago."[10][17]
From January 1939, while still only seventeen, Barnes began playing at the Three Deuces nightclub in Chicago.[14] He became a featured performer there. He would sit on a chair in front of the band and improvise for as long as he possibly could on different jazz tunes. He became a sensation and the audience would ask for many encores.[4]
On 17 February 1940, Barnes released his first solo recording, "I'm Forever Blowing Bubbles" and "I Can't Believe That You're in Love with Me" on Okeh Records.[18] He was drafted in 1942 and served with the U.S. Army as an intercept operator in the Pentagon. After his discharge in 1946, he formed the George Barnes Octet and was given a fifteen-minute radio program on the ABC network.[19] On January 17, 1947, he married Evelyn Lorraine Triplett in Chicago.
In 1951, Barnes was signed to Decca by Milt Gabler, and moved from Chicago to New York City.[2] In 1953, he joined the orchestra for the television show Your Hit Parade. The band was conducted by Raymond Scott, and Barnes was a featured soloist. Barnes, Scott, and vocalist Dorothy Collins (Scott's wife) also recorded together.
Barnes worked often as a studio musician in New York City, playing on hundreds of albums and jingles from the early 1950s through the late 1960s. He played guitar on Patsy Cline's New York sessions in April 1957. Although he was primarily a swing jazz guitarist,[20] he participated in hundreds of pop, rock, country, and R&B recording sessions. He played on many hit songs by the Coasters, on "This Magic Moment" by the Drifters,[21] and on "Lonely Teardrops".[9] His electric guitar can be heard in the movie A Face in the Crowd.
Barnes recorded three albums for Mercury: Movin' Easy (1961) with his Jazz Renaissance Quintet,[22] Guitar Galaxies (1960), and Guitars Galore (1961). The latter two contained his orchestrations for ten guitars, known as his guitar choir, which used guitars in place of a horn section. The two albums employed a recording technique known as Perfect Presence Sound.[23][24]
Between 1953 and 1961 he was featured on many recordings with The Three Suns.[5]
Barnes received the most attention as a jazz guitarist when he recorded as a duo with Carl Kress from 1961 to 1965.[16] He and Kress were invited to play at the White House Christmas party on December 17, 1964. For the occasion, Barnes wrote "Watusi for Luci" [25] for First Daughter Luci Baines Johnson because she was known for dancing the Watusi in clubs with Hollywood celebrities. The song was used as the theme for The Clay Cole Show in 1965 when the TV show was renamed Clay Cole's Discotek.
Barnes formed a duo with jazz guitarist Bucky Pizzarelli that lasted from 1969 to 1972.[2] In 1973, he and cornetist Ruby Braff formed the Ruby Braff–George Barnes Quartet.[16] The quartet recorded several albums, including Live at the New School (Chiaroscuro, 1974),[26] To Fred Astaire with Love (RCA, 1975),[27] and with singer Tony Bennett, Tony Bennett Sings 10 Rodgers & Hart Songs (Improv, 1976).[28] From 1973 until 1977, Barnes recorded several well-received solo albums for Concord Jazz and with the quartet he had formed with Braff. He also recorded two albums with jazz violinist Joe Venuti for the label.[29][30]
Barnes and his wife, Evelyn, left New York City after his last European tour in 1975 to live and work in the San Francisco Bay area. He died of a heart attack in Concord, California, in 1977 at the age of 56.[2]
Style and technique
[edit]Barnes's style took shape before the development of bebop, and he remained a swing stylist throughout his career. His lines were usually short, melodic, bluesy and "inside" (i.e., diatonic), compared to the chromaticism and long lines of bop-era guitarists. His improvisations often employed call and response phrases, and his tone was clearer, cleaner and brighter than many other jazz guitarists (such as Joe Pass or Jim Hall) and reflected his "happy" approach to music. His playing was noted for its bright quality and melodic style.[2]
The single note lines in his solos never strayed far from the tune that was being played. He often made use of blues phrases, string bends and vibrato. His use of vibrato was developed from watching Violinists and would start slowly, then the speed increased.[31] When creating vibrato he did it across the fingerboard, rather than in line with it.[12]
He played a right-handed guitar, but George Barnes was left handed, seeing it as an advantage to use the strongest hand for work on the fretboard.[31]
Claiming that it gave him more control, Barnes held the pick between his thumb and middle finger playing mainly with downstrokes. He only used alternate picking when picking very rapid notes on the fretboard. By tightening or loosening his grip on the pick, Barnes could change the volume and dynamics of his guitar sound.[32] Believing that it helped to give him good tone, he always used the thickest picks, and the heaviest gauge strings possible.[31]
Not long before his death, Barnes recorded three live albums—two produced from an April 17, 1977, concert at the San Francisco club Bimbo's 365, the other at the Willows Theatre in Concord, California. The albums are good examples of his swinging, happy and often mischievous style. The albums also include his banter with the audience and his introductions of tunes and his band, giving the listener a glimpse of his sense of humour.
In a review of the album Don't Get Around Much Anymore (material from a 1977 concert in Concord, California, recorded a little more than a month before Barnes's death at the age of 56), Jim Ferguson wrote, "Often overlooked in a sea of more modern-sounding, bebop-oriented guitarists, George Barnes could swing like mad and spin out intricate, frequently bluesy phrases with awesome precision and musicality...From start to finish, this well-recorded performance demonstrates the qualities that qualify Barnes for a position among the most elite players in the annals of jazz guitar."[33]
In 1942, Barnes wrote the first electric guitar method book, The George Barnes Electric Guitar Method, published by Wm. J. Smith. In 1961, he wrote and recorded George Barnes' Living Guitar Method: The Easy Way to Learn All the Chords and Rhythms and Ten Duets for Two Guitars (recorded with his partner Carl Kress) for Music Minus One. In 1965, he wrote How to Arrange for Solo Guitar, published by Peermusic. He also produced the first guitar course offered on cassette tape, The Great George Barnes Guitar Course, published in 1970 by Prentice Hall.
Discography
[edit]As leader
[edit]- The George Barnes Sextet (Keynote, 1946)
- Country Jazz (Colortone, 1957)
- Guitar in Velvet (Grand Award, 1957)
- Guitars...By George! (Decca, 1958)[34]
- Guitar Galaxies (Mercury, 1960)
- Guitars Galore (Mercury, 1961)
- Something Tender with Bud Freeman and Carl Kress (United Artists Jazz, 1962)
- Guitars, Anyone? Why Not Start at the Top? with Carl Kress (Carney, 1963)
- Smokey and Intimate with Carl Kress and Flo Handy (Carney, 1964)
- Town Hall Concert with Carl Kress (United Artists, 1963)
- Guitars Pure and Honest with Bucky Pizzarelli (A&R, 1971)
- The Guitar Album: The Historic Town Hall Concert with Bucky Pizzarelli (Columbia, 1972)
- Swing, Guitars with Dick Hyman (Famous Door, 1973)
- Live at the New School with Ruby Braff, Michael Moore, Wayne Wright (Chiaroscuro, 1974)
- Gems with Joe Venuti (Concord Jazz, 1975)
- Braff/Barnes Quartet Salutes Rodgers and Hart with Ruby Braff (Concord Jazz, 1975)
- Live at the Concord Summer Festival with Joe Venuti (Concord Jazz, 1977)
- The Uncollected George Barnes and His Octet 1946 (Hindsight, 1977)
- Blues Going Up (Concord Jazz, 1977)
- Plays So Good (Concord Jazz, 1978)
- Two Guitars Volume 1 with Carl Kress (Stash, 1983)
- Two Guitars and a Horn with Carl Kress and Bud Freeman (Stash, 1983)
- Don't Get Around Much Anymore (Acoustic Disc, 2002)
With Louis Armstrong
- I Love Jazz (Decca, 1962)
- Louis and the Angels (Decca, 1957)
- Louis and the Good Book (Decca, 1958)
With Al Caiola
- High Strung (RCA Victor, 1959)
- Italian Guitars (Time, 1960)
- Spanish Guitars (Time, 1976)
With Ben E. King
- Spanish Harlem (Atco, 1961)
- Don't Play That Song! (Atco, 1962)
- Young Boy Blues (Atco, 1964)
With others
- Steve Allen, Jazz for Tonight (Coral, 1955)
- Tony Bennett, Tony Bennett Sings 10 Rodgers & Hart Songs (Improv, 1976)
- Tony Bennett, Tony Bennett Sings More Great Rodgers & Hart (Improv, 1977)
- Solomon Burke, If You Need Me (Atlantic, 1963)
- Solomon Burke, King Solomon (Atlantic, 1968)
- Russ Case, Dances Wild (Vik, 1957)
- The Coasters, Young Blood (Atlantic, 1982)
- Hans Conried, Peter Meets the Wolf in Dixieland (Strand, 1959)
- Sam Cooke, Swing Low (RCA Victor, 1961)
- Jackie Cooper, The Movies Swing (Dot, 1958)
- Bob Dylan, The Freewheelin' Bob Dylan (Columbia, 1963)
- Bud Freeman, Something Tender (United Artists, 1962)
- Ronnie Gilbert, In Hi Fi The Legend of Bessie Smith (RCA Victor, 1958)
- Johnny Guarnieri, The Duke Again (Coral, 1957)
- Dick Hyman & Mary Mayo, Moon Gas (MGM, 1963)
- Little Willie John, Talk to Me (King, 1958)
- Betty Madigan, The Jerome Kern Songbook (Coral, 1958)
- Wingy Manone, Trumpet on the Wing (Decca, 1958)
- Carmen McRae, Mad About the Man/Carmen McRae Sings Noel Coward (Decca, 1958)
- Lou McGarity, Blue Lou (Argo, 1960)
- Jimmy McPartland, That Happy Dixieland Jazz (RCA Camden, 1960)
- Sy Oliver, Easy Walker (Sesasc, 1962)
- Glenn Osser, Be There at 5 (Mercury, 1956)
- Don Redman, Don Redman All Stars (Sesac, 1960)
- Buddy Rich & Gene Krupa, Burnin' Beat (Verve, 1962)
- Ernie Royal, Accent on Trumpet (Urania, 1956)
- Charlie Shavers, Excitement Unlimited (Capitol, 1963)
- George Siravo, Rodgers & Hart Percussion & Strings (Time, 1960)
- Tommy Reynolds, Jazz for Happy Feet (King, 1956)
- Jimmy Scott, Little Jimmy Scott (Savoy, 1984)
- Lou Stein, Honky Tonk Piano Featuring Lou Stein (Mercury, 1956)
- Lou Stein, Saloon Favorites (Mercury, 1957)
- Roy Smeck, The Magic Ukulele of Roy Smeck (ABC Paramount, 1959)
- Cootie Williams, Cootie Williams in Hi Fi (RCA Victor, 1958)
- Joe Venuti, Joe Venuti and the Blue Five (From the Jazz Vault, 1979)
References
[edit]- ^ a b Ross, Sam "Form B: Interview With George Barnes. 10 May 1939". Jazz Music Chicago. Chicago, Illinois. Library of Congress. Retrieved 7 July 2022.
- ^ a b c d e f Wilson, John S. (1977). "George Barnes, 56; Jazz Guitarist Won Acclaim for Style". The New York Times.
- ^ "George Barnes – the first electric guitarist. George Barnes the best guitarist you (thought) you never heard". One Man's Guitar. Retrieved 5 July 2022.
- ^ a b c Ross, Sam. "Form D: Interview With George Barnes. 10 May 1939". Jazz Music Chicago. Chicago, Illinois. Library of Congress. Retrieved 7 July 2022.
- ^ a b c d e f Yelin, Bob. "George Barnes Interview". Guitar Player, February 1975. Retrieved 6 July 2022.
- ^ a b Sallis, James (1982). "Further Adventures Of Captain Guitar: George Barnes". In The Guitar Players. One Instrument And Its Masters In American Music. Lincoln and London: University of Nebraska Press. p.184. Retrieved 4 July 2022.
- ^ a b Colin Larkin, ed. (1992). The Guinness Who's Who of Jazz (First ed.). Guinness Publishing. p. 33. ISBN 0-85112-580-8.
- ^ a b Ross, Sam. "Form C: Interview With George Barnes. 10 May 1939". Jazz Music Chicago. Chicago, Illinois. Library of Congress. Retrieved 7 July 2022.
- ^ a b c d e Leh Barnes, Alexandra (2002). "George Barnes Don't Get Around Much Anymore CD Liner Notes". Accessed via Scribd. Retrieved 3 July 2022.
- ^ a b Sallis, James (1982). "Further Adventures Of Captain Guitar: George Barnes". In The Guitar Players. One Instrument And Its Masters In American Music. Lincoln and London: University of Nebraska Press. p.175. Retrieved 4 July 2022.
- ^ Milkowski, Bill (2002). "George Barnes 7/17/21-9/5/77". In Jazz Times Archives. Secret Strings: 10 Most Underrated Guitarists in the History of Jazz. Retrieved 4 July 2022.
- ^ a b "George Barnes". Via Acoustic Disc.com. Retrieved 3 July 2022.
- ^ National Public Radio, Inc. (NPR) (2021)."Marking The Centennial Of 2 Early Electric Guitarists: George Barnes And Mary Osborne.', Fresh Air (podcast), 14 July". Retrieved 4 July 2022.
- ^ a b Ross, Sam. "Form C: Text 3. Interview With George Barnes. 10 May 1939". Jazz Music Chicago. Chicago, Illinois. Library of Congress. Retrieved 7 July 2022.
- ^ Sallis, James (1982). "Further Adventures Of Captain Guitar: George Barnes". In The Guitar Players. One Instrument And Its Masters In American Music. Lincoln and London: University of Nebraska Press. p.181. Retrieved 4 July 2022.
- ^ a b c d Yanow, Scott (2013). The Great Jazz Guitarists. San Francisco: Backbeat. p. 16. ISBN 978-1-61713-023-6.
- ^ Ferguson, Jim (1994). "George Barnes Plays So Good". Guitar Player. 28: 18 – via Gale.
- ^ "Okeh 05798". In OKeh 5600 - 6000 (1940 - 41). Retrieved 5 July 2022.
- ^ Yanow, Scott (2021). "Album Reviews: George Barnes. Guitar In Velvet". In The Syncopated Times, 29 January 2021. Retrieved 8 July 2022.
- ^ "Rock-a-billy Hall". Rock-a-billy Hall. Archived from the original on 2011-10-11. Retrieved 2011-11-01.
- ^ "Atlantic – 45-2050". Accessed via Discogs. Retrieved 6 July 2022.
- ^ "Mercury – MG 20605.(1961)". Jazz Renaissance Quintet – Movin' Easy. Accessed via Discogs. Retrieved 7 July 2022.
- ^ "Mercury – PPS 6011.(1960)". George Barnes - Guitar Galaxies. Accessed via Discogs. Retrieved 7 July 2022.
- ^ "Mercury – PPS 6020.(1961)". George Barnes - Guitars Galore. Accessed via Discogs. Retrieved 7 July 2022.
- ^ "Carney Records – 45-1005". George Barnes And Carl Kress – Watusi For Luci. Written by G. Barnes. Accessed via Discogs. Retrieved 6 July 2022.
- ^ "Chiaroscuro Records – CR 126". The Ruby Braff ~ George Barnes Quartet* – Live At The New School. Accessed via Discogs. Retrieved 9 July 2022.
- ^ "RCA – APL1-1008". Ruby Braff / George Barnes Quartet – To Fred Astaire, With Love. Accessed via Discogs. Retrieved 9 July 2022.
- ^ "Improv - 7113". Tony Bennett Sings 10 Rodgers & Hart Songs. Accessed via Discogs. Retrieved 9 July 2022.
- ^ "Concord Jazz - CJ-14 (1975)". Joe Venuti And George Barnes - Gems. Accessed via Discogs. Retrieved 9 July 2022.
- ^ "Concord Jazz - CJ-30 (1977)". Joe Venuti And George Barnes - Live At The Concord Summer Festival. Accessed via Discogs. Retrieved 9 July 2022.
- ^ a b c "The Technique: George Barnes – the first electric guitarist. George Barnes the best guitarist you (thought) you never heard". One Man's Guitar. Retrieved 5 July 2022.
- ^ Sallis, James (1982). "Further Adventures Of Captain Guitar: George Barnes". In The Guitar Players. One Instrument And Its Masters In American Music. Lincoln and London: University of Nebraska Press. p.186. Retrieved 4 July 2022.
- ^ JazzTimes review of Don't Get Around Much Anymore (George Barnes Quartet) by Jim Ferguson (retrieved 3 October 2011)
- ^ "New Releases: Barnes, George. Guitars...By George! Decca – DL 8658". Billboard, 3 November 1958, p.6. Retrieved 9 July 2022.