The Gibson Barney Kessel Pages (Part 5)
Below: Barney with customized es-350 with CC pickup, sans pickguard.
Below: the tried and true es-350……and fat 1970’s bow-tie.
In Barney’s hard-cover
Guitar Book, he explains why pickguards are bad….notice it
is always missing from his es-350.
Below: Among the handful of artists that played the Barney Kessel Regular, T-Bone
Walker enjoyed playing
it in the 60’s. Sister Rosetta Tharpe with a ’68 Barney
Kessel Regular.
The author, in concert, with 1965 Barney Kessel Custom (the parts on this one were
changed to
nickel; it is a “players guitar”).
http://www.provide.net/~cfh/gibson3.html#bk is ordinarily a fine website for researching the detail characteristics of
the Gibson models. However, in their grading of the Barney Kessel models as a “D-” for collectibility and being "an ugly model", they
are in complete error. Their writing seems to be based on feelings that may have existed one or two decades ago. Their
out-of-date evaluation completely disregards fast-climbing market prices for the BK guitars, and seems oblivious to a rapidly changing
interest in this model. Like many others, who seem to have a bias towards solid body guitars, they have totally misunderstood the
instrument as a top-notch jazz performer which has a highly unique 50’s artistic style design. One could also argue that
their grading reflects an evolutionary and cultural error which assigns higher value to solid-body instruments such as the Les Paul
and es-335. The solid-body tone is thin and weak, losing almost all of the acoustic properties. In contrast, the archtops – guitars
that are much harder to build - recreate the construction of fine violins, and emphasize the acoustic properties. The finest,
most advanced music has been that performed on the hollow-bodies, undiluted with effects: Wes Montgomery, Charlie Christian, Barney
Kessel, George Benson. A trend is starting that reflects a rediscovery of models that were previously disregarded, including
the Barney Kessel models...this list also includes the es-330, es-125, and other archtops that are now vigorously being collected
and played.
Evaluation of the Barney Kessel models should be based on (1) the market's interest in collecting those models (which
is strong and has changed since the time of writing of the provide.net website); (2) the viability of the models as professional
jazz instruments that can be considered as on a par with the L-5 and Super 400 models, and (3) as classic works of art that reflect
1950's 'modern' art.
Read through the Barney Kessel Pages, look at the pictures, and celebrate the music of Barney and his artist
signature model!
The Jazz Guitar Hardball Sideshow.....
- opinion editorial -