Kenny burrell what kind of guitar

That was years before the Florentine cutaway on the L-5 and Super How did it come about? I played that guitar for Add Your Gear Setup. Kenny Burrell. Blues Jazz. ALL 14 Guitars 8 Amplifiers 6. Hide incorrect submissions.

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See details Upvote the most relevant gear Upvote the most relevant gear 1. This is a community-built gear list for Kenny Burrell. And, I took up golf. He always had a great piano there. He gave me one night — a Monday night or something. The second week we recorded live for Cadet. That was a dream fulfilled because it had been in my mind for a long time and felt I could do it well. If you do, things will flow. But I do love that format.

In retrospect, it not only affected jazz players but also rock players. You had a close association with Wes Montgomery. I was very close to Wes and his brothers. I met Wes when I was a teenager in Detroit. He and his friends used to drive from Indianapolis to hear me play. I had no idea of who he was or his ability. We just met and talked, a couple of guitar players who liked each other. I was working hard to get better, practicing six hours a day on my way up the ladder.

We got together often in New York when he started traveling and had many nights jamming in the hotel room. My guitar-playing friend Warren Stevens worked closely with Wes. He knew his schedule and put us together when Wes was in town.

Warren loved to hear us play together. I got a call from Orrin Keepnews, the head of Riverside, asking if Wes could use my guitar and amp. I think he used my Fender Deluxe. Did you influence each other? When his music got more popular, Wes talked to me about his concerns. The predominant sound on his hit records was octaves, more so than chords or single notes. People responded to that sound. It was a mixed blessing.

He wanted people to love his music and knew musicians could see through all the pop stuff. But the people who paid a lot of money to see him wanted to hear the record they knew. He was on Blues: The Common Ground. He is very diverse and great to work with. I particularly admire his fresh approach to harmony. I began teaching at UCLA in , in the winter quarter.

They wanted to do something with jazz as a natural outgrowth of the program. My inclination was to do a class on Duke Ellington. To me, he was the most successful jazz musician — jazz and beyond. I had the first one and called it Ellingtonia, an umbrella phrase for all his music. I still teach that class now, 35 years later. The course was increasingly popular and people here understood I was a capable teacher as well as a jazz musician of note.

When UCLA decided to create a jazz program in , they came to me. I agreed because it was one of my lifelong dreams. So I took a full-time faculty position as founder and director of the Jazz Studies program.

I had a wonderful faculty — still do. Every year, it has gotten better and the reputation has grown; we have well over applicants a year, and accept about Herb Alpert has donated a tremendous amount of money and resources.

The Monk Institute of Jazz is here, and we have great relationship with them. I am still very excited about it.

Duke Ellington has named you his favorite guitarist. Did you ever play with him? I was happy to learn I was his favorite guitarist. I had an invitation to play on his record, My People , but it was in Chicago and I was unable to make it. I played on several recordings by his key side men, notably saxophonists Johnny Hodges and Paul Gonzalves and trumpeter Clark Terry, where he was present and submitted music. He was ahead of his time and a leader in American music at its best.

I learned many lessons from Ellington, but probably the most important one is to be yourself. Like Mae West said, be who you are because all the other bodies are taken.

How do stay yourself when inundated with external influences? One stands guard, the other just acts. Express your deep self. Then the influences will surface in a unique way that only you can determine. Another thing I learned from Ellington is be free with yourself. We have a greater intelligence than we realize. As Einstein said, imagination is more important than knowledge or information. And more powerful. My first teacher, my brother Billy, gave me some advice when I was leaving for New York: play what you feel and mean it.

If I had a question about what to do in a musical situation, I followed that advice and it never failed. Same is true of a musical phrase, no matter what you may think or how weird it may seem.

A friend of mine was transcribing some Ellington music and was amazed by some of the combinations he found. This article originally appeared in VG March issue. All copyrights are by the author and Vintage Guitar magazine.

Unauthorized replication or use is strictly prohibited. Current Issue Read Now! Home Artists Kenny Burrell. But there was nothing like the timbre, volume, grandeur, and dazzling appearance of the Super When did you first begin playing one, and what attracted you?

It was probably in the late s. I like that body size — and where my elbow rests. But the humbuckers had no noise and worked better, especially when I had to turn up the volume with people like Jimmy Smith.

I prefer the Super model with two humbuckers and a Florentine cutaway. With that cutaway, I can get my whole hand up there. Search forums. Log in. Change style. Contact us. Close Menu. Click Here. Home Forums Instruments Guitars in General. JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.

Kenny Burrell - what kind of guitar? Thread starter Otis Start date Dec 21, Otis Member. Messages Looking for a sound like his, and curious to know what kind of guitar he typically played when he recorded some of his most acclaimed albums.

I'm certain someone here will know. Messages 1, If memory serves, he had a Gibson Super the one time I saw him live. I believe he has more recently been an endorsee for Heritage. Resonance7 Member. Would love to know what amp s he liked to play though, in his prime Messages 23, I think his earliest stuff is a P equipped ES, then the Super for most of the early-mid '60s stuff like Midnight Blue, etc.

Amps are harder to pin down, but I think the earliest stuff was a tweed Deluxe the one that wound up as the house amp for Rudy Van Gelder's studio?