It can be said without exaggeration that virtually every jazz guitarist that emerged during 1940-65 sounded like a relative of Charlie Christian. The first important electric guitarist, Christian played his instrument with the fluidity, confidence, and swing of a saxophonist. Although technically a swing stylist, his musical vocabulary was studied and emulated by the bop players, and when one listens to players ranging from Tiny Grimes, Barney Kessel, and Herb Ellis, to Wes Montgomery and George Benson, the dominant influence of Christian is obvious.
