"but then following it with his own ideas. By 1939 there had already been electric guitar soloists—Leonard Ware; George Barnes; Eddie Durham, who had recorded with Count Basie; Floyd Smith, who recorded ""Floyd's Guitar Blues"" with Andy Kirk in March 1939, using an amplified lap steel guitar; and the Texas Swing pioneer Eldon Shamblin, who was playing with Bob Wills. Christian paved the way for the modern electric guitar sound that was followed by other pioneers, including T-Bone Walker, Eddie Cochran, Cliff Gallup, Scotty Moore, Franny Beecher, B.B. King, Chuck Berry, Carlos Santana and Jimi Hendrix. For this reason Christian"
"is buried under the concrete slab. The bar-style pickup used on the ES-150 and ES-250 became known as the “Charlie Christian pickup”. Christian never recorded as a leader. Compilations have been released of his sessions as a sideman in which he is a featured soloist, of practice and warm-up recordings for these sessions, and some lower-quality recordings of Christian's own groups performing in nightclubs, by amateur technicians. With Benny Goodman With Lionel Hampton With others Charlie Christian Charles Henry Christian (July 29, 1916 – March 2, 1942) was an American swing and jazz guitarist. Christian was an important early performer"
"Buddy Christian Narcisse J. ""Buddy"" Christian (1895? - 1958?) was an American jazz banjoist, guitarist, and pianist. Christian worked professionally as a pianist starting in the early 1910s. He played in New Orleans with Peter Bocage in 1912-1913 and with King Oliver at Lala's Cafe in the middle of the decade. Around 1920 he moved to New York City, where he began playing banjo in addition to piano. He played with Lucille Hegamin, June Clark, and the Red Onion Jazz Babies, and played in the studio on Clarence Williams's sessions, including Eva Taylor and the Blue Five (with Louis Armstrong"
"with electric guitar when he recorded with the Kansas City Five in the 1930s. He played a Gibson ES-150 arched-top which Gibson had started producing a couple years before. Durham persuaded Floyd Smith to buy an electric guitar, and while on tour he showed he showed his amp to Charlie Christian. Many musicians were inspired to pick up guitar after hearing Charlie Christian with the Benny Goodman orchestra. Christian was the first person to explore the possibilities created by the electric guitar. He had large audiences when he played solos with passing chords. According to jazz critic Leonard Feather, Christian"
"summation of all the styles, personal and traditional, of jazz."" One of the pioneers of the new style, which would eventually become known as bebop, was the young electric guitarist from Benny Goodman's band, Charlie Christian. He played nightly at Minton's and was one of its stars. Although Christian was in his early twenties in 1941, his time at Minton's was significant, but brief; he would die the next March after being confined to a sanatorium stricken with tuberculosis. As evidenced by recordings made by Columbia University student Jerry Newman in 1941, Christian's playing was breaking new ground. Gunther Schuller's"
"Charlie Christian play on a Benny Goodman record, which he calls his ""spiritual awakening"". As a teenager in Cleveland, he performed professionally, and also took up the double bass. Hall's major influences since childhood were tenor saxophonists Coleman Hawkins, Lester Young, Paul Gonsalves, and Lucky Thompson. While he copied out solos by Charlie Christian, and later Barney Kessel, it was horn players from whom he took the lead. In 1955, Hall attended the Cleveland Institute of Music where he majored in composition, studying piano and bass in addition to theory. About a year later, he moved to Los Angeles, where"
"former Gibson employee Lloyd Loar on his Vivi-Tone guitar). The Charlie Christian pickup consists of a coil of copper wire wound around a black plastic bobbin. The coil has a rectangular hole in its center, and the coil and bobbin fit around a chrome-plated steel blade polepiece. Attached at right angles to the bottom of the polepiece are a pair of five-inch-long (13 cm) steel bar magnets, which remain out of sight inside the instrument. These magnets are secured to the top of the ES-150 by the three bolts visible on the guitar's top. Gibson made three varieties of the"
"played a single-note line alongside a trumpet and saxophone, moving the guitar away from its secondary role in the rhythm section. He tried diminished and augmented chords. His rhythm suggested bebop. While in New York City, he spent many late hours at Minton's Playhouse in Harlem, playing with musicians such as Thelonious Monk and Dizzy Gillespie. Although Charlie Christian had a brief career, his impact was big enough that some critics divide the history of jazz guitar into pre-Christian and post-Christian eras. Mary Osborne saw Christian perform when he visited her home state of North Dakota in 1938. The performance"
"of the new music; Parker did the same with bassist Gene Ramey while with McShann's group. Guitarist Charlie Christian, who had arrived in New York in 1939 was, like Parker, an innovator extending a southwestern style. Christian's major influence was in the realm of rhythmic phrasing. Christian commonly emphasized weak beats and off beats and often ended his phrases on the second half of the fourth beat. Christian experimented with asymmetrical phrasing, which was to become a core element of the new bop style. Bud Powell was pushing forward with a rhythmically streamlined, harmonically sophisticated, virtuosic piano style and Thelonious"
"His father ""also sang and played the blues on piano in speakeasies and rent parties, but ultimately stopped performing and followed his wife into the church"". Christian attended Wendell Phillips High in Chicago. Christian was one of the founders of the Association for the Advancement of Creative Musicians (AACM) with pianist Muhal Richard Abrams, drummer Steve McCall, and composer Phil Cohran. He and Abrams were also part of the Experimental Band. Christian worked at the Jazz Showcase club in Chicago and performed with Eddie Harris, Stan Getz, Dexter Gordon, Gene Ammons, Roscoe Mitchell, Buddy Montgomery, and John Klemmer. Christian led"
"Christian. Hammond had seen Christian perform in Oklahoma City in 1939 and recommended him to Goodman, but Goodman was uninterested in electric guitar and was put off by Christian's taste in gaudy clothing. During a break at a concert in Beverly Hills, Hammond inserted Christian into the band. Goodman started playing ""Rose Room"" on the assumption that Christian didn't know it. But his performance impressed everyone. Christian was a member of the Benny Goodman Sextet from 1939 to 1941, and during these two years he turned the electric guitar into a popular jazz instrument. Goodman continued his success throughout the"
"made famous by Charlie Christian?"" In the late 1960s, Gibson introduced the ES-150DC, which was a significantly different instrument, despite its similar model number. The ES-150DC was a hollowbody electric guitar with a double-cutaway body similar in appearance to the semi-hollow 335 guitars (except for a greater body thickness). It featured two humbuckers, a rosewood fingerboard with small block inlays, and a master volume knob on the lower cutaway. This model, however, was not particularly popular, and it was discontinued by Gibson in the mid-1970s. Shipping numbers for the ES-150 in its first full year, 1937, were relatively strong at"
"in the 1920s and '30s Edward Christian led a band in Oklahoma City as a pianist and had a shaky relationship with the trumpeter James Simpson. Around 1931, he took the guitarist ""Bigfoot"" Ralph Hamilton and began secretly schooling the younger Charles in jazz. They taught him to solo on three songs, ""Rose Room"", ""Tea for Two"", and ""Sweet Georgia Brown"". When the time was right they took him out to one of the many after-hours jam sessions along ""Deep Deuce"", Northeast Second Street, in Oklahoma City. ""Let Charles play one,"" they told Edward. ""Ah, nobody wants to hear them"
"playing his guitar at his one year post-op appointment. Three weeks after their first meeting Dr. Linskey successfully excised the tumor followed by a two-week medically induced coma. Soon after waking from the coma, and not able to eat or walk on his own, from his recovery bed, he was composing in his head his “Ode to Charlie Christian” – a complex arrangement. At his one year post-op appointment he walked in with his Heritage Golden Eagle and amazed Dr. Linskey and his staff by playing a compilation of Charlie Christian licks and lines consisting of single string and chord"
"the higher four strings on the guitar for the melody and chord structure, with the two bottom strings for bass counterpoint, which he played with his thumb. His only professional training was as an apprentice sign painter. He requested the night shift so he could listen to big band standards on the shop radio. He listened to Bix Beiderbecke, Louis Armstrong, and Eddie Lang. His career was influenced by hearing Charlie Christian playing electric guitar with the Benny Goodman band. He said he made his own electric guitar because he couldn't afford one. Farlow employed artificial harmonics and tapped his"
"Chris Christian Chris Christian (born February 7, 1955 as Lon Christian Smith is an American songwriter, record producer, and a record label executive. His songs have been recorded by Elvis Presley, Olivia Newton-John, Hall and Oates, Natalie Cole, Sheena Easton, The Pointer Sisters, Al Jarreau, The Carpenters, Amy Grant, Patti Austin, Dionne Warwick, America, The Imperials, B.J. Thomas, B W Stevenson, Marilyn McCoo, Dan Peek, Cheryl Ladd, Jane Olivor, Sandi Patti, Pat Boone, Ali Lohan, Donnie Osmond, and others. As a member of the trio of Cotton, Lloyd & Christian (put together by Mike Curb) in the early 1970s, he"
"electric four-string tenor guitar with the Art Tatum Trio. Kenny Burrell established himself in the guitar-bass-drums format during the 1950s as did Barney Kessel and Herb Ellis with the Oscar Peterson Trio. Kessell continued the swing aspect of Christian's music into the 1950s. As the swing era turned to bebop, guitarists moved away from Charlie Christian's style. Two pioneers of bebop, Charlie Parker and Dizzy Gillespie, recorded with young guitarists Bill DeArango and Remo Palmier and inspired Chuck Wayne to change his approach. After playing in big bands with Woody Herman and Benny Goodman, Billy Bauer explored unconventional territory with"
"Charlie Christian pickup, all distinguished by the polepiece: Charlie Christian pickups produce a clear sound because of their narrow string-sensing blade—and a strong signal because of their relatively high coil impedance. Uneven magnetic flux within the steel magnets can cause some distortion in the signal. These pickups are relatively sensitive to electromagnetic hum because of their large surface area and lack of shielding. Gibson ES-150 The Gibson Guitar Corporation's ES-150 guitar is generally recognized as the world's first commercially successful Spanish-style electric guitar. The ES stands for Electric Spanish, and Gibson designated it ""150"" because they priced it (in an"
"Charlie Green (musician) Charlie Green (1893 – November 27, 1935) was an American jazz musician, who was born in Omaha, Nebraska, and died in New York City. He was one of the early jazz trombonists and the soloist in the Fletcher Henderson orchestra (joining slightly before Louis Armstrong). He played locally in Omaha between 1920 and 1923, before his two stints with Henderson (July 1924 and April 1926; and late 1928 to early 1929). Described as ""A superior blues player who could also swing fairly early"", Green played on several Bessie Smith recordings, notably ""Trombone Cholly"" featuring his trombone, along"
"Charlie Winston Charlie Winston Gleave (born 14 September 1978), better known as Charlie Winston, is an English singer-songwriter based in London. Winston has so far had his most significant commercial success in France. Charlie played bass guitar for his brother Tom Baxter, appearing on Baxter’s ""Feather and Stone"" album. As well as touring with Tom, much of Charlie’s early career saw him composing music for, and performing in, London-based contemporary theatre productions. His first ever unreleased and rarest record was ""Mischifus"", a mix between beatbox, guitar and piano, which appeared as a theater/dance production that he had performed on stage"
"often performed in an organ trio, a small group with an organ and drummer. Apart from guitarist Charlie Christian, Green's primary influences were saxophonists, particularly Charlie Parker, and his approach was therefore almost exclusively linear rather than chordal. He thus rarely played rhythm guitar except as a sideman on albums led by other musicians. The simplicity and immediacy of Green's playing, which tended to avoid chromaticism, derived from his early work playing rhythm and blues and, although at his best he achieved a synthesis of this style with bop, he was essentially a blues guitarist and returned almost exclusively to"
"together key swing figures of the late 1930s, including singer Karl Schwedler (""Charlie""), clarinetist Kurt Abraham and trombone player Willy Berking. They escaped notice by pasting pro-German lyrics over sheet music and using instruments like harpsichords for boogie-woogie rhythms. Goebbels recognized that both art and propaganda were meant to bring about a spiritual mobilization in its audience, and was well aware of the popularity of swing and big band music in Allied countries. He gave permission to bring Berlin's best jazz musicians into the music-propaganda program, and in 1940 Charlie and his Orchestra was born. As an official ""Reichsministerium"" band,"
"interesting harmonies."" Hill bought Christian an amplifier to use so he would not have to bring his along. Hill had it up until his death in 1978. Gillespie and Monk do not appear on the Christian recordings. Joe Guy and Kenny Kersey are the trumpet and piano on ""Swing to Bop"" and ""Stompin' at the Savoy."" Soon after Charlie Christian's death, alto saxophonist Charlie Parker emerged as a new leader of the bebop movement. Parker's collaboration with Dizzy Gillespie, Thelonious Monk and Kenny Clarke, at sessions at Minton's, would build on the earlier experiments of Christian. Before 1942, Parker was"
"""This was basically a contractual album - Steve had gone off to work with Iron Maiden as a drum tech and John had a job in the telecommunications industry. I ended up making the whole album by myself - it put me in the hospital!"" After a long lay off, in 2009 Charlie released their first album of new material in 23 years, ""Kitchens Of Distinction"". The album began life as a Terry Thomas solo project, but as the finished product included contributions from Martin Smith and Julian Colbeck (amongst others), the decision was made to credit the CD to"
"pickup"" in 1935 for its new line of Hawaiian lap steel guitars. The pickup's basic construction is that of a metal blade inserted through the coil as a shared pole piece for all the strings. A pair of large flat magnets were fastened below the coil assembly. In 1936 Gibson introduced the ES-150, its first electric Spanish styled guitar. The ES-150 was outfitted with the bar pickup. Jazz guitar innovator, Charlie Christian, began playing an ES-150 in the late 1930s with the Benny Goodman Orchestra. This caused the popularity of the electrified guitar to soar. Due to Christian’s close association"
"Count Basie, longtime Duke Ellington trumpeter Cootie Williams, former Artie Shaw tenor saxophonist Georgie Auld and later drummer Dave Tough. This all-star band dominated the jazz polls in 1941, including another election to the Metronome All Stars for Christian. Johnny Guarnieri, who replaced Henderson in the first sextet, filled the piano chair in Basie's absence. In 1966, 24 years after his death, Christian was inducted into the ""Down Beat"" Jazz Hall of Fame. In 1989, he was one of the first inductees into the Oklahoma Jazz Hall of Fame. Christian's solos are frequently described as ""horn-like"", and in that sense"
"It's like having your heart ripped out. It's horrible"". Some days later, the thief was caught but had on-sold the goods, Owen then paid a third-party $200 to buy back his guitars. Charlie Owen (musician) Charles Lothian Lloyd ""Charlie"" Owen is an Australian multi-instrumentalist and producer. He has been a member of The New Christs (1987–90), Louis Tillett and His Cast of Aspersions (1990), Tex, Don and Charlie (1993–95, 2005–06), and Beasts of Bourbon (1996–97, 2003). His solo album, ""Vertigo and Other Phobias"", appeared in 1994 on Red Eye/Polydor. Owen has produced albums by The Plunderers, Louis Tillett (both solo"
"and His Money."" Bowman's repertoire of traditional songs included ""Forked Deer"" and ""Turkey in the Straw."" Charlie Bowman Charles Thomas Bowman (July 30, 1889 – May 20, 1962) was an American old-time fiddle player and string band leader. He was a major influence on the distinctive fiddle sound that helped shape and develop early Country music in the 1920s and 1930s. After delivering a series of performances that won him the first prize in dozens of fiddle contests across Southern Appalachia in the early 1920s, Bowman toured and recorded with several string bands and vaudeville acts before forming his own"
"Solo Flight: The Genius of Charlie Christian Solo Flight: The Genius of Charlie Christian is a 1972 double album collecting many of the few recordings that captured performances by Charlie Christian. Most of the selections are from sessions with Benny Goodman's bands. Until the advent of CD, it was considered to be the definitive ""Charlie Christian"" collection On some tunes, the producers spliced various takes together to include more of Christian's solos, or to create a better overall tune. Track 1 Side 1 recorded in New York, 2 October 1939. Tracks 2 & 3 Side 1 recorded in New York"
"put on school concerts. In 2003 he was diagnosed with lung cancer. Charles Christian Hammer died on 18 February 2004 at St. Mary’s Hospital in Rogers, Arkansas. Hammer was survived by his long-time partner, Poco Carter, and their dog Prema. ""Adapted from the article Charles Christian Hammer, from Wikinfo, licensed under the GNU Free Documentation License."" Charles Christian Hammer Charles Christian ""Sir Charles"" Hammer (17 May 1952 – 18 February 2004) was an American classical guitarist. Charles Christian Hammer was born in Chicago and grew up in Riverdale, Illinois. Hammer took up the guitar in his youth after hearing The"
"pop. Because of his wide range of musical knowledge, Jennings can be found on recordings from complicated bebop to popular songs such as ""Fever"" by Little Willie John, which made the ""Billboard"" R&B Best Sellers in the US and peak at number 24 on the ""Billboard"" Hot 100. A left-handed player, Jennings played the guitar upside down, with the high strings at the top, which gave him an interesting approach to his phrasing and bending the strings. He was also compared to the great Charlie Christian and some critics called him ""the greatest find in jazz since Christian."" It was"
"Jimmy Dorsey and Benny Goodman began to dominate. These large orchestras produced a number of instrumentalists that had a profound effect on the later evolution of jazz, including Coleman Hawkins' tenor saxophone innovations, electric guitarist Charlie Christian, and improvisational Lester Young. Star vocalists also emerged, mainly women, such as the bluesy Billie Holiday and the scat singer Ella Fitzgerald. New York's jazz scene was the home of bebop, which evolved over many years and reached its full identity in the mid-1940s. Charlie Christian, Dizzy Gillespie, Charlie Parker, and Thelonious Monk were among the major innovators of the style. Bebop ""polarized"
"Charlie Lowell Charlie Lowell (born Charles Daniel Lowell on October 21, 1973) is an American pianist most known for being the pianist and keyboardist for Christian alternative folk rock group Jars of Clay. Lowell was raised in Rochester, New York, where he attended McQuaid Jesuit High School. Lowell attended Greenville College as a musical studies major. While there, Lowell spotted another student wearing a T-shirt for the band Toad the Wet Sprocket. He introduced himself to this man whose name was Dan Haseltine, who was also studying music at Greenville. The two began making music with guitarist Steve Mason and"