Barry Galbraith: Guitar and the Wind

Over the course of his career, guitarist Barry Galbraith appeared on 594 recording sessions. Yet he made only one album as a featured leader—Guitar and the Wind. The album was recorded over three days in January 1958 for Decca. The fact that Galbraith didn't record more extensively as a featured soloist for Decca and other labels is unfortunate.

There are only two possible explanations for Galbraith's lack of spotlight time: Either he was too busy as an East Coast sideman (he was recording virtually every other day at the time) or he was introspective and more comfortable in a group setting. The answer, according to Hal McKusick, who knew Galbraith well, is both.

What makes Galbraith's lack of output notably disheartening is the exceptional quality of Guitar and the Wind. Galbraith's ability rested not in speed or technique—though he was capable of both. Instead, Galbraith was about extraordinary chord voicings and swinging harmony lines. His sound also was strong and large, with enormous confidence. Guitar and the Wind not only demonstrates this side of Galbraith but also features two superb orchestras behind him on the different recording dates.

The first and third sessions featured Urbie Green, Chauncey Welsch and Frank Rehak (trombones); Dick Hixson (bass trombone); Bobby Jaspar (flute and tenor sax); Eddie Costa (piano and vibes); Barry Galbraith (guitar); Milt Hinton (bass) and Osie Johnson (drums), with Billy Byers arranging.

The second session featured Bobby Jaspar (flute and tenor sax); Phil Bodner, Romeo Penque and Spencer Sinatra (reeds); Eddie Costa (piano and vibes); Barry Galbraith (guitar); Milt Hinton (bass) and Osie Johnson (drums), with Al Cohn arranging.

The "wind" on both sessions was Bobby Jaspar on flute, though Cohn's charts triple up on flutes on some tracks. The sound of Galbraith with flutes is positively gorgeous, particularly on I Like to Recognize the Tune. Other tracks feature superb trombone arranging by Byers [pictured], particularly on Anyplace I Hang My Hat.

Hal McKusick knew Galbraith well, both as a session-mate and as a member of Hal's own groups. Here's what Hal shared with me yesterday:

"You're assumption is correct: Barry was content to be busy doing all the dates he did. A wise a&r man would have been wise to capture his talent on many albums, in different settings, but sadly it was not to be.

"Barry was very organized with his time. He would go home after a day of recording, with a night gig added in some cases, and practice classical and other pieces in his basement. He was a truly dedicated musician, quiet, efficient and a great sight-reader. He also had the finest taste in phrasing, articulation and voicings.

"We spent many hours at his home (when he lived on Long Island) exploring songs and working out ensemble sounds with guitar and alto. That was the beginning of my recording career as a leader, utilizing what we had discovered together.

"Barry is one of the great unsung heroes in music, known and respected by those who are aware of his contribution and terrific musical ability."

If you dig Galbraith, you have 593 recording sessions to choose from. If you want to hear his brilliance up close, you have just Guitar and the Wind.

JazzWax tracks: Barry Galbraith's Guitar and the Wind is hidden at Amazon on a two-fer release from LoneHill called The Manhattan Jazz Septette, a group led by Oscar Pettiford and recorded in June 1956 that included Hal and Galbraith. You'll find the CD here.

If you're still craving pure Galbraith, you'll find him on three tracks on Guitar Soul (Status), recorded in May 1957 with Kenny Burrell on guitar, Leonard Gaskin on bass and Bobby Donaldson on drums. The three tracks are Billie's Bounce, Prelude to a Kiss and It Don't Mean a Thing. Remaining tracks feature other guitarists. Unfortunately, this album is rare and doesn't seem to have made its way onto CD yet.

JazzWax clip: Here's Barry Galbraith soloing on Love Is for the Very Young (also known as the theme to The Bad and the Beautiful), from Guitar and the Wind...

Comments

[Rab Hines]

As you mention, the excellent Mr. Galbraith is on many available sessions, but one worth noting is "Mundell Lowe: Satan in High Heels"

The cover(!) and a link is seen here everyday on the front page of Jazzwax.

[Bill Kirchner]

On the superb Gil Evans album called "Into the Hot" (Impulse, 1961)--for which, ironically, Evans did none of the writing; it was split between Johnny Carisi and Cecil Taylor for their respective ensembles--Carisi wrote a feature for Barry Galbraith called "Barry's Tune".

By all accounts, Galbraith was a superb sight-reader, including single lines--a glaring weakness for many guitarists. As a result, he was the most employed NYC studio guitarist of the '50s. George Russell wrote intricate single-line parts for Galbraith on several albums, including ones led by Hal McKusick. "The Day John Brown Was Hanged" (which Russell told me was one of his favorite pieces from the '50s) is an outstanding example, played by McKusick, Galbraith, Milt Hinton, and Osie Johnson.

[James Cimarusti]

Barry Galbraith is one of my favorite guitarists. One of my favorite tracks (besides all his work with Hal McKusick)is his solo on Gigi Gryce's "Blue Lights" on Coleman Hawkins' Riverside release of "The Hawk Flies High". I just wish Barry got more solo space on that album (since he plays rhythm only on the rest of the session), but he gets off a good solo on that one tune.

[Joel Lewis]

I'm to understand that Galbraith had injured his hand at some point and turned to teaching in the latter part of his life. I think he may have written an instruction book that is popular among students and teachers.

Russell used albraith to great effect on "jazz in the Space Age" & "new York, New York", often using his guitar as part of the brass section parts. In the LP repackaging of the two discs, Russell --in the liner notes-- makes special note of the role that Galbraith played in the realization of his music.

[Peter Rogine]

Hello fellow jazz guitarists,
Does anyone know how to get in touch with
Barry Galbraiths son or family members who may know the wereabouts of the scores/parts for Guitar and the Wind?

Our guitar ensembles at Five Towns College (Dix Hills) would benefit greatly from playing this material. Any help in this matter is well appreciated.

[Don Jansen]

Someone posted the The Manhattan Jazz Septette
~ Oscar Pettiford on Groove Shark..wonderful
Thank You