Burrell pays honest tribute to Charlie Christian without trying to be him — that restraint is the whole point.
Kenny Burrell had an interesting problem with A Generation Ago Today (1967): how do you honor Charlie Christian and the Benny Goodman Sextet without just making a nostalgia record? Christian essentially invented the vocabulary of modern jazz guitar in a handful of years before his death in 1942, and by the mid-1960s that vocabulary had become so absorbed into the instrument's DNA that revisiting it directly was a tricky proposition. Burrell threads this needle pretty well. He is not trying to replicate Christian's tone or attack — he brings his own warmer, more rounded approach to this material, which actually makes the album feel like a conversation with the past rather than a costume party.
The repertoire leans on the small-group swing staples that Christian and Goodman made famous — tunes built for a sextet format that breathes and grooves without a lot of clutter. Burrell sounds relaxed and confident throughout. These are not technically demanding performances designed to show off; they are well-played, unhurried readings of material that holds up on its own. The album was recorded across 1966 and 1967 and released on Verve, which at the time was doing a solid job of documenting mainstream jazz without pushing artists toward either commercial pop crossover or avant-garde experimentation.
This is not an essential Burrell record in the sense that Guitar Forms (1965) is essential. But it is a genuinely enjoyable one, and it serves a real purpose — reminding listeners where the electric guitar's place in jazz actually came from. If you already know Christian's work, this gives you a warm companion piece. If you don't, it might send you back to the source, which is probably the best outcome any tribute record can hope for.