Editing Charlie Christian (section)

==Style and influences==
{{stack|[[File:Charlie Christian.jpg|thumb|upright=0.58|Christian playing guitar in-studio, summer 1940]]}}
{{stack|[[File:Gibson ES-150.png|thumb|upright=0.68|The [[Gibson ES-150]], the guitar model most associated with Christian]]}}

Christian is widely regarded as one of the most influential pioneers of [[jazz guitar]]. His solos are frequently described as "horn-like", and in that sense, he was more influenced by horn players such as [[Lester Young]] and [[Herschel Evans]]<ref>Goins, Wayne; McKinney, Craig. ''A Biography of Charlie Christian, Jazz Guitar's King of Swing'', pp. 369, 373-374.</ref> than by early arch-top guitarists like [[Eddie Lang]] and the jazz- and bluesman [[Lonnie Johnson (musician)|Lonnie Johnson]], although they both had contributed to the expansion of the guitar's role from the rhythm section to a [[solo (music)|solo]] instrument. Christian stated he wanted his guitar to sound like a [[tenor saxophone]].<ref>Lee, Amy (1940), "Charlie Christian Wanted to Play Hot Tenor!" ''Metronome''.</ref> The French gypsy jazz guitarist [[Django Reinhardt]] had little influence on him, but Christian was obviously familiar with some of his recordings.<ref name="autogenerated1">Feather, Leonard. "Inside Jazz".</ref> The guitarist [[Mary Osborne]] recalled hearing him play Django's solo on "[[St. Louis Blues (song)|St. Louis Blues]]" note for note, but then following it with his own ideas.<ref name="autogenerated1" />

By 1939 there had already been electric guitar soloists—[[Leonard Ware]]; [[George Barnes (musician)|George Barnes]]; [[Eddie Durham]], who had recorded with [[Count Basie]]; [[Floyd Smith (musician)|Floyd Smith]], who recorded "Floyd's Guitar Blues" with [[Andy Kirk (musician)|Andy Kirk]] and his Clouds of Joy in March 1939, using an amplified [[lap steel guitar]]; and the [[Western Swing]] pioneer [[Eldon Shamblin]], who was playing with [[Bob Wills]] and his Texas Playboys.{{citation needed|date=June 2016}}

Christian paved the way for the modern electric guitar sound that was followed by other pioneers, including [[T-Bone Walker]], [[Eddie Cochran]], [[Cliff Gallup]], [[Scotty Moore]], [[Franny Beecher]], [[B.B. King]], [[Chuck Berry]], [[Carlos Santana]] and [[Jimi Hendrix]]. For this reason Christian was inducted in 1990 into the [[Rock and Roll Hall of Fame]].<ref>{{cite web |title=Rock and Roll Hall of Fame Inductee |url=http://www.rockhall.com/inductees/charlie-christian |access-date=2012-03-02 |publisher=Rockhall.com}}</ref>

Christian's exposure was so great in the brief period he played with Goodman that he influenced not only guitarists but other musicians as well. The influence he had on [["Dizzy" Gillespie]], [[Charlie Parker]], [[Thelonious Monk]] and [[Don Byas]] can be heard on their early [[Bebop|bop]] recordings "[[Blue 'n' Boogie]]" and "[[Salt Peanuts]]". Other musicians, such as the trumpeter [[Miles Davis]], cited Christian as an early influence. Indeed, Christian's "new" sound influenced jazz as a whole. He reigned supreme in the jazz guitar polls up to two years after his death.<ref>Goins, Wayne; McKinney, Craig. ''A Biography of Charlie Christian, Jazz Guitar's King of Swing'', pp. 327–328.</ref>  [[Black Sabbath]]'s first manager Jim Simpson describes the band's first song, "A Song for Jim" as an “absolute Charlie Christian takeoff.”<ref>Popoff, Martin (2011). ''Black Sabbath FAQ''. Backbeat Books.<!-- ISSN/ISBN, page(s) needed --></ref>