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The following article was published in our article directory on April 11, 2013.
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Charlie Byrd - Thought To Be The Greatest Bossa Nova Guitar Player In History

Article Category: Entertainment

Author Name: Steven Herron

Charlie Byrd was at first a plectrum or pickstyle guitarist but became interested in classical guitar and fingerstyle guitar playing in the late 1940s. By 1950 he had dedicated himself to the nylon string classical guitar as his instrument of choice. Charlie Byrd studied in Washington, D.C. along with regional jazz classical guitar player Bill Harris and later on with classic guitar master Sophocles Papas. He likewise studied theory and harmony with musicologist Thomas Simmons. In 1954 Charlie Byrd went to a classic guitar master class in Sienna, Italy, instructed by virtuoso guitarist Andres Segovia.

In 1961 Charlie Byrd traveled to South America on a State Department recruited tour. There he obtained the inspiration to incorporate Brazilian bossa nova guitar music with American jazz sounds and his very own classical guitar technique. Charlie Byrd's early recordings included music pieces by Antonio Carlos Jobim, Luiz Bonfa, Joao Gilberto, and various other important Brazilian guitarists and artists.

Charlie Byrd is right away identifiable and sonically unique from his jazz guitar counterparts of the 1950s and 1960s with his use of classically tinged fingerstyle techniques and nylon string acoustic guitar timbre. Originally a plectrum or pickstyle player, he very often applied fingerpicking sequences based on the classical, flamenco, and Spanish guitar methodologies and repertory to a jazz context. His fingerstyle articulation of jazz chord sonorities and improvisational melodic lines resulted in a exciting and unusual musical fusion!

Charlie Byrd's early background in swing and bop music merged along with classic techniques and made his style unique amongst jazz guitar players surfacing from the typical swing and bebop schools of the 1940s, and remained so through his lifetime. One instance of his merging of classical and jazz guitar music was his usage of the right hand index fingertip to strum chords and to develop extensive tremolo passages as if along with a plectrum. In various other settings, Charlie Byrd plucked chords and chord partials to create perceptions of saxophone-horn section figures or pianistic textures as in his solo on "Air Mail Special" with The Great Guitars.

Another facet of Charlie Byrd's uniqueness was his application of American jazz sensibilities and classic techniques to Brazilian rhythms and repertory. That is probably his greatest contribution to the form and a combination he kept at the center of his music throughout his career. What is unique about the bossa nova guitar music Charlie Byrd played is the sultry feel of the samba pattern and other Brazilian tempos along with their common syncopation, rather than the swinging feel of a lot of mainstream American jazz.

Although pieces like "Air Mail Special" proved he never abandoned standard American jazz, his vision was closely lined up along with the South American guitar music he introduced to the U.S.A. in the very early 1960s. The Brazilian tempo feeling afforded Charlie Byrd and numerous artists of the time a different and more unique road to explore in their improvisations, still significantly in vogue today and undoubtedly an important dialect of jazz and pop music languages.

While improvising in bossa nova songs, Charlie Byrd preferred jazz elements. His solos were packed with modern-day blues licks, swing jazz figures, groove riffs, free modal lines, and bebop lines. These he phrased as naturally American jazz lines juxtaposed over Brazilian samba rhythms provided along with a classical tone and fingerstyle articulation. Charlie Byrd's innate musicianship smoothly integrated these seemingly contrasting ingredients, as displayed by his numerous single note solos in the repertory.

Charlie Byrd commonly inserted chordal phrases and intervallic designs in to single note solos. He complied with no particular format or template, choosing to expand improvised lines with off the cuff arpeggiations, chord partials, or full chord figures as if accompanying himself. The harmonic resource material inevitably came from jazz along with its' expanded and modified chords and characteristic chord progressions and held true for Charlie Byrd's main approach.

Keywords: charlie byrd, jazz guitar books, jazz guitar instruction, jazz guitar tab books, jazz guitar dvds,

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