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I hadn't seen Barnes play and did not know this about him, but Monk pointed it out to me in a conversation we had about different pick grips. (I was desperate until Benson, and now I am happy all the day! ;o)
Originally Posted by Greentone
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08-22-2014 11:40 AM
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If our moderator will forgive a little shameless promotion in the name of information, there's a new interview about Barnes life and career with his daughter Alexandra included in my just-published book, Guitar Dreams. He was a fascinating guy, great musician and a true prodigy on the instrument - he turned pro at 12!
volkmedia.com/Volkmedia.com/Guitar_Dreams_Book
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Does anyone have his Guitar methods book? I've been searching everywhere for a pdf and can't seem to find one.
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They are very hard to find - I don't have them myself. His daughter is selling lots of his tuition material on her website devoted to her father, but at a high price.
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I saw that she had them on her website for something like $100, but man there has to be a cheaper way to get it. I'd be open to buying it from her as well as the other material she has on there if it weren't hundreds of dollars to do so.
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My thoughts too!
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I just started listening to George Barnes (what a gifted player he was, huh?), specifically Guitars Anyone on iTunes, and I can hear, without a doubt, where Cal Collins got his influence from. The quick trills, the piercing highs with short blasts of fury. It's all there. Very cool to see (hear?) these types of connections
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Yeah! Don't Get Around Much Anymore is probably in my top 5 albums!
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Interesting! I never thought about it that way, but now I see what you mean. And let's not forget the bends. George and Cal both have something reminescent of country or western swing in some of what they do too. Originally Posted by TheGrandWazoo
I have always felt that Tal Farlow's tone and phrasing might have been an important influence on Cal, but I definitely can hear the Barnes connection, now that you said it.
Moreover, the fact that Cal had also been a bluegrass mandolin player certainly has influenced his develoment as a jazz guitarist.
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He IS a major name in blues guitar history. Originally Posted by Rob MacKillop
(For those who are students of blues guitar history)
Back when Broonzy was Chicago's juke-box king, Barnes was often on the session, too.
Can't remember how old was he when he started recording.
Sixteen, was it?
Anyway.... great, important, historic musician.
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Volume 2 has some incredible guitar playing from Mr. Barnes too.
His rendition of Hound Dog shows a super-cool arpeggio lick for the V change at about 1:00. The song is in C and Barnes plays a Dm triad starting from D (than F and A) and adding a nice motive C-D-Eb-D on top.
It's pretty fast and very smooth, sounds like he's alternate picking instead of sweeping to my ear.
How would you guys play that line?? Any suggestion about position and fingering?Last edited by Mark78_blues; 08-18-2015 at 06:02 PM.
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check this very hip jsb arrangement by barnes..very downtown modern sounding
cheers
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Thank you, it's Bach and still it's George Barnes! Originally Posted by neatomic
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Mark78_Blues, Originally Posted by Mark78_blues
The first solo is Barnes, the second solo, with the lick that you asked about, is Jethro Burns playing mandolin. I'm not certain who played the third solo but Hank Garland and Grady Martin are likely candidates. If I had to guess, I'd say Garland.
Regards,
Jerome
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Thanks for the info Jerome, you're right Barnes plays the first solo! Originally Posted by monk
Actually this should be the line-up for that session:
157 G2-WB-7664 HOUN‘ DAWG 20/47-6706/CAS-948 [alt.:] BFX-15281
2 October 1956 [13:30-16:30] RCA Victor Studio, 155 East 24th St., Manhattan, New York City – Homer and Jethro (Henry D. Haynes [vcl/gt], Kenneth C. Burns [vcl/mandolin], Chet Atkins [gt],George Barnes [gt], Charles Grean [bass], Irving Goldberg [drums], Bob Davis [piano]. Producer: Steve Sholes)
Still that second solo doesn't sound like mandolin to me
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Originally Posted by Mark78_blues
that's because you are expecting it to sound like a typical 8 string acoustic mandolin…sounds like burns is using a brand new (at the time-1956) fender electric mando-caster (4 strings!)..leo fender was huge country fan, and i'd bet he got one of his early production models to burns...
btw the first solo sounds like pure barnes…but the third solo is very crude for chet atkins..hard to believe
some heavyweights tho, for what is essentially a novelty tune
cheers
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ps- just found this pic of homer & jethro..
cheers
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Thank you, I'm learning a lot of new stuff here! Originally Posted by neatomic
that's because you are expecting it to sound like a typical 8 string acoustic mandolin…sounds like burns is using a brand new (at the time-1956) fender electric mando-caster (4 strings!)..leo fender was huge country fan, and i'd bet he got one of his early production models to burns...
btw the first solo sounds like pure barnes…but the third solo is very crude for chet atkins..hard to believe
some heavyweights tho, for what is essentially a novelty tune
cheers
I've had heard some Jethro's acoustic stuff but never the mandocaster, which sounds great by the way.
That could also explain the fast arpeggio which would be weird on the guitar but more natural on mandolin. Those D and A notes actually sound as open strings (third and second strings on the mandolin). I play a little mandolin myself.
Still in the solo you can hear some low notes that you won't have in a 4 string mandolin in standard tuning!
As for the last solo, couldn't be homer?
Cheers
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I was lucky enough to catch the guitar duo of Geo. Barmes and Bucky P. many times in NY during the early 70s.
They seemed to be everywhere.
When I saw him and Bucky at Carnegie Recital Hall, I happened to be outside when George was just coming out after a great concert. He was about to load his tweed Fender Tremolux into the taxi waiting for him.
I had the honor of loading the amp into the taxi for him, and telling him how great the concert was, and he seemed very pleased.
Carnegie Recital Hall was probably the best place in the world to hear a duo like that, because of the perfect acoustics and size of the small hall. The audience was absolutely silent there, unlike jazz clubs and large halls.
I caught the Jim Hall and Ron Carter duo there the same year, and it was equally exquisite.
I resolved that my goal in life would be to play a concert there someday, and a few years later, I was called to accompany a singer there.
On a break after the sound check, I took a pen and scrawled "sgcim was here" on the floor in the back of the stage to immortalize the realization of my dream.
A few minutes later, the stage manager yelled out, "Where the hell is sgcim?"
He gave me a little bucket, sponge and soap, and stood there while I scrubbed out the immortalization of my life's goal, in abject humiliation...
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Hi, anyone knows if is it possible to find somewhere The "George Barnes Electric guitar method? or some pdf ?
I love his playing and tecnique. Thanks
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I this what you are looking for?
Own The Legacy ? GEORGE BARNES: THE METHODS | The George Barnes Legacy Collection
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HA!
Yes! George Barnes.
Lemme see, lemme see:
I love his work with Ruby Braff, and the banter they created on stage from the live recordings I have.
That twang a lang, mmmm mmmm mmmmmmmmmmmmmmmmmmm
They also played the hell outta the Beatles catalog.
I love the Bach rendition, btw. Who is that on clarinet, Kenny Davern or Kenny Peplowski (EDIT: nope)? I love those guys too! I was watching Amadeus last night with my g/f. I can still hear that high pitched cackle. I picked up the ol' guitar and played through some Mozart from memory. My pops raised me on that stuff, hope it will find a way into my playing some day...Last edited by Irez87; 01-03-2016 at 06:32 PM.
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