The pair were fired along with other stars by new management at WLW in 1948, and after a brief tour, they moved to Springfield, Missouri, and performed on KWTO with Chet Atkins, the Carter Family and Slim Wilson.

Burns was a highly-influential mandolin stylist, preferring clean single-note jazzy melodies and sophisticated chords over the dominant bluegrass stylings of Bill Monroe, and since he performed mostly in a country music setting, introduced many country mandolinists to sophisticated jazz harmonies and improvisational techniques, as well as standards from the songbooks of Duke Ellington, Django Reinhardt and Cole Porter.

By the 1970s, Burns's influence had spread to a younger generation of bluegrass and "new-acoustic" musicians, most notably New Grass Revival mandolinist Sam Bush.

His participation in Norman Blake/Tut Taylor/Sam Bush/Butch Robins/Vassar Clements/David Holland/Jethro Burns, an independently released album produced by promoter Hank Deane, was reportedly at Bush's suggestion.

Although Burns and Moore were approximately the same age and were among the few of their generation to make their reputations playing jazz and swing mandolin, the two had never met prior to the production of the album, its liner notes report.