![]() ![]() ![]() In 1969 Barney did an album for Atlantic Records, HAIR IS BEAUTIFUL. Customers included George Harrison, John Lennon, Neil Young, Stephen Stills, Chris Darrow, Frank Zappa, Al Jardine of the Beach Boys and Bobby Womack. “In 1967 Barney Kessel’s Music World was located on Vine St. “In the fifties and sixties he was a first-call session guitarist on recordings by Elvis Presley, the Coasters, Larry Williams, Julie London, Ricky Nelson, the Monkees, the Byrds, Sonny & Cher, the Beach Boys, John Lennon, Johnny ‘Guitar’ Watson, and Phil Spector-produced Wrecking Crew dates while working with Shelly Manne, Ray Brown, and collaborating with Herb Ellis and Charlie Byrd in the Great Guitars. “During 1956-1960 he headed A&R for Granz’s Verve label in Beverly Hills while holding the number one guitarist position in the Down Beat, Playboy and Esquire magazine polls from 1947-1960. “Barney resided in this now heralded region which gave him easy access to Hollywood and San Fernando Valley to drive to Norman Granz-produced recording sessions with Charlie Parker, Fred Astaire, Art Tatum, Billie Holiday and Ella Fitzgerald as well as live bookings in downtown Los Angeles and the Light House in Hermosa Beach. “As for Laurel Canyon…My father Barney Kessel, a jazz icon and record producer, lived in Laurel Canyon in the late forties on 8051 Willow Glen Road,” offers David Kessel, CEO. The film is produced by Ryan Suffern, The Kennedy/Marshall Company, and Erin Edeiken, Jigsaw Productions. ![]() It’s an intimate portrait implementing rare and newly unearthed footage mixed with audio recordings and photos, features all-new interviews with Love co-founder Johnny Echols, Chris Hillman and Roger McGuinn of the Byrds, Little Feat’s Paul Barrere, Sam Clayton and Bill Payne, Alice Cooper, Richie Furay, Michelle Phillips, Micky Dolenz, Graham Nash, Ray Manzarek and Robby Krieger of the Doors, the Turtles’ Mark Volman, Jim Ladd, David Crosby, Bonnie Raitt, Don Henley, Jackson Browne, Bernie Leadon, Eliot Roberts, David Geffen, Russ Kunkel, Owen Elliot-Kugell, daughter of Mamas Cass Elliot as well as photographers Nurit Wilde and Henry Diltz whose work is spotlighted.Įxecutive produced by Frank Marshall, The Kennedy/Marshall Company Darryl Frank and Justin Falvey, co-presidents of Steven Spielberg’s Amblin Television Craig Kallman and Mark Pinkus, Warner Music Group Alex Gibney, Stacey Offman and Richard Perello, Jigsaw Productions and Jeff Pollack. Laurel Canyon: A Place In Time debuts on cable television Premium network EPIX that will be broadcast on Sunday, May 31 st at 10 p.m., and conclude the following Sunday, June 7 th at 10 p.m. Alison Ellwood is the director who previously helmed the authorized History of the Eagles. His third marriage, to Victoria Kennedy, was from 2000 to 2011.Courtesy EPIX consultant on a new 2-part documentary Laurel Canyon: A Place In Time. He was then married to Kathryn Bild from 1976 to 1988. He had another son with Nurit Wilde, a photographer. First to Phyllis Barbour, with whom he had two sons and one daughter. Dolenz said in tribute, “I’m so grateful that we could spend the last couple of months together doing what we loved best – singing, laughing, and doing shtick.” Nesmith released his autobiography, Infinite Tuesday: An Autobiographical Riff, in 2017 and performed on a final tour with The Monkees last autumn, with a final show at the Greek Theatre in Los Angeles. The Rio project gave Nesmith the idea for creating a programme showing solely video, named PopClips, which in turn inspired the development of the MTV music television channel. A longer-form video, Elephant Parts (1981), featuring “Rio”, won the first Grammy award for Video of the Year. Instead of a standard format, with a singer or band playing the song, he devised a montage of moving images that told the story, accompanied by the music. In 1977 he was asked by Chris Blackwell of Island Records to create a promotional video for his new single, “Rio”. When The Monkees disbanded in 1970, Nesmith continued in the world of music with a number of solo projects. “I mean, where do you want to be in the Sixties except the middle of rock’n’roll, hanging out with the scene? London was an absolute blast, and so was LA back then. “It was fun for me and a great time of my life,” he said. ![]() Interviewed later, Nesmith recalled the era with fondness. ![]()
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