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12/09/2024

Derek Trucks on stage with The Allman Brothers Band at Piedmont Park.

One of the final stops on the 2007 summer tour took place on the stomping grounds of the original band. Duane, Gregg and the rest of the band played several free concerts here when they were just starting off, so this date was circled on many ABB fans calendars for quite some time. Just as the original lineup started with Trouble No More back in their first free show, the current band hit that same note to begin this historic day. The crowd was treated to a day of classic Allman Brothers music, including Ain't Wastin' Time No More, Hot 'Lanta, Hoochie Coochie Man, Black Hearted Woman, Come and Go Blues, a 28-minute In Memory Of Elizabeth Reed that melted into Mountain Jam, and a grand Whipping Post encore. 38 years playing music for the masses, and it just doesn't get any better than this..
Atlanta, GA. September 8, 2007.
Photo by Kirk West.

12/08/2024

Joan Baez with Bob Dylan in 1965
Following the demise of their relationship, the two wrote a number of songs about each other. Baez composed “To Bobby” (her nickname for Dylan), “Diamonds & Rust,” and “Winds of the Old Days.” Dylan has been cagey about which songs of his are about Baez, though Baez had said she believes that “Like a Rolling Stone” and “Visions of Johanna” were inspired by her.

“Joan told us that she has only gratitude now for the time she and Bob Dylan had together,” the filmmakers say. “She told us this story: One day she was painting his portrait, and she put on his music and cried for a long time. Then all of the resentment, and whatever was lingering, just completely evaporated: ‘I’m happy that I was there when I was there. I’m happy that I was able to sing his songs. And I’m happy that I’ll be associated with him for the rest of my life.’”
Marlow Stern / Rolling stone
Photo: © Dezo Hoffman/Shutterstock
Credit: Don's Tunes

12/06/2024

Bonnie Raitt in 2002 Interview: I remember hanging out with Muddy Waters and John Lee Ho**er, these guys who were at the top of their sexual prime in their 50's, and I just couldn't believe how cool they were, but now I know how they felt. I feel funnier and sexier. I'm playing guitar better. It's like I finally know what I'm doing. I don't mean to boast, but I feel like I'm on top of my game."

"I love the whole gypsy life, having to prove myself every night," she said. "I make records so I can go on tour, not the other way around." (The tour stops at the Beacon Theater in Manhattan on Thursday.)

NY Times

Photo: Drew Gurian/AP

12/02/2024

Jas Obrecht: If someone was overhearing what you’re playing in the hotel room, would they be surprised? Are you a closet country player or a bluegrass guy or a flamenco player?

Rory Gallagher: Flamenco, definitely. No, I do actually do some country licks. I’m quite keen on the playing of Roy Nichols, who used to be on Merle Haggard’s records, and some of the players that have worked with Waylon Jennings and Johnny Paycheck.

I’m surprised to hear that.

Rory: I don’t like this commercial country. I can’t really play flamenco that well – I can fake it, just for my own ears. I do a little bits of jazz things and ragtime – anything that will loosen you up. Also it’s good for your mental health not necessarily to do what you play onstage. And also even if you’re playing cassettes in your room. I play a lot of folk things, like Martin Carthy and some Irish music and some Django [Reinhardt] and things. Particularly if you’re doing a very long tour, it’s quite hard to listen to similar kind of music in your room then, I find. So it’s good to play something slightly different. And country and folk is quite a departure. That’s not to say I don’t play blues in the hotel room – I do. It depends what phase you’re going through, what year it is, and what mood you’re in and all those other things.

© 2022 Jas Obrecht.

(Photo by Michael Putland/Getty Images)

12/01/2024

Derek Trucks:
"I started in standard tuning, but a few years into it I switched to open E, and that’s what I use all the time now. It’s just a matter of finding what felt good. It was easiest to express what I was hearing, and that came with getting rid of a pick, just playing with my hands. A lot of the stuff that I was really listening to was more geared towards slide playing, too.

You can grow as a musician and not be chained down to any one sound or something that happened thirty years ago. You don’t want to be stuck there when you weren’t around for it the first time. It was a liberating thing to get away from that, but things do come full circle. And when I got the chance to start playing with The Allman Brothers, it reinforced my roots that way.

The timing was perfect for that. Any time I’m playing with another group, and I’m headed in that, it’s going to reflect in what our band is doing, because it’s the music that you’re hearing, the music that you’re playing…it changes the way that you play. And so it’s been a delicate balance with our band, between their sound and what we’re trying to create. It’s been really nice to have both, to have the strong roots to fall back on, and then be completely free to do whatever you want, when you’re looking forward."

Playing For Change

12/01/2024

For guitarists who look up to you, can you give advice on how to play tastefully?

Susan Tedeschi: Yeah! Well, for one, don’t play real loud unless you know what you’re doing. A lot of people plow through as loud as they can. It’s like, “What are you doing? That’s not music. You’ve got to blend with the people you’re playing with.” Another thing is to actually play along with records. I did that a lot and it was very beneficial. I can’t get over how much you can learn by playing along with records and listening, so that’s some pretty good advice.

Another thing is, try not to just play riffs. If you’re trying to solo, don’t be like, ‘Oh, I love this riff and I’m going to fit it in here.’ Work on stuff and practice stuff, and then have it be in your arsenal. But think about singing a melody, like you’re trying to tell a story, if you’re going to solo. I mean, I’m still learning how to do all this stuff. I am by no means a badass guitar player. I always have so much to learn, and it’s amazing being able to be in a band with Derek because he’s one of the best.

Interview By Craig Shelburne
Photo by Jerome De Perlinghi/Corbis Outline
Credit: Don's Tunes

11/30/2024

Jeff Beck on some of his favorite albums:
BB KING: Live At The Regal (MCA)
I was into blues around 1963 and stumbled across this. It’s an electrifying live performance of blues guitar and BB is a master of microphone technique. He brings his music down to a whisper then bursts out with amazing solos.

MILES DAVIS: A Tribute To Jack Johnson (Sony)

This album got me out of the gutter after my split with Rod Stewart. I was working on a car outside my house when this amazing free-form shuffle came on the radio. Davis’s trumpet comes in randomly with the melody and that freedom appealed to me. McLaughlin played on this as well and gave me my next career move.

IMI HENDRIX: Are You Experienced? (Sony)

Just before this came out, I saw Jimi live at an underground club. Dollybirds in Biba clothing were probably expecting a folk singer but he came on and blew the house down. It shook all of us – me, Eric Clapton, Jimmy Page. He was so good, we all wondered what we were going to do for our living.

MUDDY WATERS: At Newport 1960 (Soul Jam)

Muddy Waters could sing with the worst guitar player and still sound amazing because the voice is so deep and thick, with the bad grammar that blues singers have. This is live and he played up a storm.

Express Interview

Jeff Beck 1966 Yardbirds by Chris Walter
Credit: Don's Tunes

11/29/2024

Stevie Ray Vaughan and Jimmie Vaughan shared a deep bond both as brothers and as musicians. Born into a musically inclined family in Dallas, Texas, the two brothers grew up surrounded by the sounds of the blues, which would profoundly shape their lives and careers.

Jimmie, the older of the two by about three years, was Stevie's first guitar hero. Jimmie's influence on Stevie was undeniable—he was not only a brother but also a mentor who introduced Stevie to the world of guitar playing and the rich tradition of the blues. As Stevie began to develop his own style, the two brothers often played together, learning from each other and pushing each other to greater heights.

Despite their shared passion for music, Jimmie and Stevie took different paths in their careers. Jimmie formed the Fabulous Thunderbirds, gaining recognition for his smooth, understated guitar style and classic blues sound. Stevie, on the other hand, became known for his fiery, emotionally charged playing that brought him international fame. Even though they were both successful in their own right, their bond remained strong, with mutual respect and admiration evident in their interactions.

Their relationship culminated in the album Family Style, released shortly before Stevie's untimely death in 1990. The album was a celebration of their brotherhood, showcasing their distinct styles while highlighting the deep musical connection they shared. It stands as a testament to their relationship—one that was built on a foundation of love, respect, and a shared passion for the blues..

Jimmie Vaughan: "I used to try to play fast, but I got bored with all these guitar players going “hidla-hidla-hidla, didlee-didlee-didlee.” So I started thinking of the instrument differently and listening to how saxophonists phrase solos. When someone like Gene Ammons plays, it’s like having a conversation with somebody who’s real comfortable with themselves. Guys like B. B. King or Junior Walker, when they play, they talk. So that’s all I want to do, with my own voice. It’s about communication."

Stevie's tragic death in a helicopter crash in 1990 was a devastating blow to Jimmie, but the memory of their shared musical journey continues to resonate through Jimmie's work. He has carried on the legacy of his brother, keeping the spirit of Stevie's music alive while continuing to forge his own path in the blues world. Their relationship remains one of the most iconic brotherly bonds in the history of music, illustrating how deep personal connections can fuel creative genius.

11/27/2024

R.L. Burnside was born on November 23, 1926 in Lafayette County, Mississippi (in either Harmontown, College Hill, or Blackwater Creek; all of which are near the area that would be covered by Sardis Lake a few years later). He was a blues singer, songwriter and guitarist. He played music for much of his life but received little recognition before the early 1990s. In the latter half of that decade, Burnside recorded and toured with Jon Spencer, garnering crossover appeal and introducing his music to a new fan base in the punk and garage rock scenes.

Burnside won one W. C. Handy Award in 2000 (Traditional Blues Male Artist of the Year), two in 2002 (Traditional Blues Male Artist of the Year; Traditional Blues Album of the Year, Burnside on Burnside), and one in 2003 (Traditional Blues Male Artist of The Year); he had 11 unsuccessful nominations in 8 years for the awards, starting in 1982, as well as one for a Grammy. Several of the Mississippi Blues Trail markers, which have been erected since 2006, mention him. In 2014 he was inducted to the Blues Hall of Fame in Memphis.

Burnside passed away in 2005.

11/26/2024

Jimi Hendrix: “Sometimes, you are going to be so frustrated you want to give up the guitar – you’ll hate the guitar. But all of this is just a part of learning, because if you stick with it, you’re going to be rewarded.”

I’m not necessarily trying to be loud. I’m just trying to get this impact. I don’t like to use mics. To get the right sound, it’s a combination of both amp and fretting.

You can’t just get stuck up on guitar. You have to use a little bit of imagination and break away. There are millions of other kinds of instruments. There’s horns, drums – everything.

Originally published in Guitar Player, December 1968

11/26/2024

Bonnie Raitt: “Someone put it best when they said, 'You can’t change the noodle, but you can change the sauce.' I play the way I play, just like I sing the way that I sing. I’m not a schooled guitar player, and I can’t say I’m getting appreciably better, but I know how to do what I do. It’s the songs that change.

“Taking risks is how I keep moving forward – that and being open to hearing things in a different way. Ultimately, I know there’s a safety net, and that’s the fact that I trust my ears and my instincts.

“I’ll always try something different. That’s how you grow, and you also don’t want to be overly influenced by an inclination to dismiss something that’s new. So, I may do something I’m not really into – out of respect for Tchad and the musicians – but if it’s not working for me after a few days of letting it sit, then I’ll go, 'We gave it a try, but this song is sucking.'”

“I look at a player’s musical vocabulary, but I also consider the kind of person they are. To me, you can’t separate who someone is from the way he or she plays. It makes complete sense to me that Jon Cleary is so badass on the keyboards, and that he also reads Graham Greene.

“I look for soul, intelligence, funk, and the ability to handle an extraordinary range of music styles. By the time I bring somebody into the fold, I already know they can do the things I need them to. I know George [Marinelli, guitarist in Raitt’s band] can do everything from Jimi Hendrix and Keith Richards to Richard Thompson, as well as being completely inventive in his own style.”

-Michael Molenda / Guitar Player
Credit: Don's Tunes
Photo: © Charlyn Zlotnik

11/24/2024

Tina Turner: I’m self-made. I always wanted to make myself a better person, because I was not educated. But that was my dream – to have class. Now it’s too late for that. You can’t read a book like my autobiography and say, “She’s classy.” You can say, “She’s a respectable woman,” but you can’t say “classy.” My role model was always Jacqueline Kennedy Onassis. Now, you’re talking about high stuff, right? [Laughs.] My taste was high. So when it came to role models, I looked at presidents’ wives. Of course, you’re talking about a farm girl who stood in the fields, dreaming, years ago, wishing she was that kind of person. But if I had been that kind of person, do you think I could sing with the emotions I do? You sing with those emotions because you’ve had pain in your heart. The bloodline of my family didn’t come from that kind of royalty. Why I relate to it, I don’t know. That’s the class I wanted to be. But I wasn’t, so I dealt with the class I was in. I have never disrespected myself, and I’m still very proud of myself. But society doesn’t look at that as class, that type of woman. Society respects me, I think, because I’m self-made and I climbed to the top. But it was the high-class black people I wanted respect from. So I never let go of that dream.

Interview by Nancy Collins / Rolling Stone - October 23, 1986
Photo by Herb Ritts
Credit: Dons Tunes

11/22/2024

Stevie Ray Vaughan wasn’t just a guitar legend; he was a man deeply shaped by the love, resilience, and guidance of his mother, Martha Vaughan. Martha raised Stevie and his older brother Jimmie in Dallas, Texas, nurturing not only their lives but their passion for music.

She was there through the highs and lows, from Stevie’s early days of experimenting with a guitar in his bedroom to his meteoric rise as one of the greatest blues musicians of all time. Martha believed in Stevie’s gift and supported him through his struggles and successes, embodying unconditional love and strength.

Their bond reminds us that behind every great artist is often a parent who believed in them first. Today, let’s celebrate Martha Vaughan’s quiet but profound role in shaping the legacy Stevie left behind.

11/20/2024

A Guitar Born from the Delta Blues

Billy Gibbons, the legendary guitarist of ZZ Top, recounts a unique project that involved creating a guitar from wood salvaged from Muddy Waters' childhood home. The wood, a piece of cypress, was retrieved from the Stovall Farms cabin, which was in danger of being demolished. Gibbons, along with Jim O'Neil, the founder of Living Blues magazine, visited the Delta Blues Museum in Clarksdale, Mississippi, where they learned of the cabin's plight.

Gibbons brought the cypress wood back to Memphis and enlisted the help of Rick Rayburn and Rick Hancock, the proprietors of the Pyramid Guitar Co., to craft a guitar from it. The project was challenging due to the wood's condition, filled with knots and nails. Despite these obstacles, two guitars were created: a prototype and a finished instrument. Gibbons kept the prototype for personal use, while the finished guitar was donated to the Delta Blues Museum.

When designing the guitar, Gibbons aimed to create an instrument that would be reminiscent of those played by Muddy Waters. He chose a Mississippi River paint scheme as a symbol of the region's significance in the development of the blues. The finished guitar not only sounded exceptional but also played with remarkable ease.

The guitar, named "Muddywood," serves as a tribute to Muddy Waters and the rich musical heritage of the Delta Blues. It offers modern blues musicians an opportunity to connect with the past and pay homage to one of the genre's most influential figures.

11/19/2024

"Despite having a career that spanned only seven short years, Stevie Ray Vaughan’s influence on blues guitar is immense. It’s impossible to overstate just how much his virtuosic yet accessible style informed those who came after him. By 1990, the year of his tragic death, Vaughan had already left an indelible mark on the world of blues.

But what made him so special? If there’s one thing I can say for certain, it’s that blues is full of highly skilled guitarists; hell, it’s the foundation of the whole style. BB King, Buddy Guy, Robert Johnson, Eric Clapton, Jeff Beck, the list is endless.

However, Stevie Ray Vaughan’s playing contained something indefinable, something which allowed him to play with more than just skill. He played with a tenderness and precision which seemed utterly at odds with one another and yet formed into a cohesive style. His playing was, in a word, sublime. Below, we put his style on the operating table. Join us as we dissect the guitar playing of Stevie Ray Vaughan.

The first thing most people notice about Vaughan’s style is its simplicity. His stripped-back approach to blues guitar heightens the style’s rhythmic properties. In tracks like ‘Pride And Joy’, Vaughen plays a simple 12-bar blues pattern on the off-beat, giving the track an energetic, bluegrass feel.

That’s not to say that Vaughan doesn’t know how to rip it. He is famed for his dynamic and highly skilled lead parts. He is second only to Hendrix in his ability to make his guitar sing like some sort of insane bird. His use of pentatonic scales, double stops, and triplets combine to form kaleidoscopic and intricate solos.
The influence of Hendrix was always present in Vaughen’s guitar playing and, in his own words: “I loved Jimi a lot. He was so much more than just a blues guitarist. He could do anything. I was about 16 when he died. I could do some of his stuff by then but actually, I’ve been trying to find out what he was doing more so lately than I was then. Now I’m really learning how to do it and I’m trying to expand on it – not that I can expand on it a whole bunch. But I try.”
Vaughan knew his fretboard so well, was so well-versed in finding the right route to any given note, that he could play an eight-minute solo without repeating himself even once. In this way, he was like many of jazz’s great guitarists. Vaughan’s solos were often generated from a pre-established structure around which he was able to improvise freely. That’s why the sound is so intoxicating: because we are listening to Vaughan in a moment of instantaneous creation. As a result, Vaughan admired the ability of guitarists who made their own rules, taking a foundation of knowledge and then breaking the rules.

It’s possible this jazz sensibility stems from his love of gipsy-jazz legend Django Reinhardt. As Vaughan himself once said: “To me, Django and Jimi were doing the same thing in a lot of ways. Django would do it with acoustic guitar and Jimi would do it on electric… Neither one of them had anything to build on, they just did it. Django didn’t have any book or anything to borrow from. He wrote the book. Same with Jimi. Nobody was doing those kinds of electronic things he was doing. He just did it.”
Sam Kemp / Far Out Magazine
Photo: William Snyder
Credit: Don's Tunes

11/19/2024

Joni Mitchell: When Blue first came out, I played it for Kris Kristofferson, who said, “God, Joan, save something of yourself.” He was embarrassed by it. I think generally at first that people were embarrassed by it, that in a certain way it was shocking, especially in the pop arena. People [usually sing], “I’m bad, I’m bad, I’m great, I’m the greatest.” It’s a phony business, and people accept the phoniness of it. It’s fluff, it’s this week’s flavor and it gets thrown out, and it isn’t supposed to be anything really more than that.

By the time I made the next albums, I had stabilized psychologically, I would say, to a degree where, like we all do, I had some defenses. But that descent cracked me wide open, and I remain wide open to this day. I don’t want to develop too many defenses. I’m a kind of experiment, a freak of nature. I’m going through the world in an open way trying to trust in a time when human nature is so mangled and corrupt, probably more so than it ever was, where there is no honor, and greed is fashionable. I know the world is wicked; it doesn’t shock me anymore. As a matter of fact the thing that stuns and shocks me is human kindness; I see so very little.

Jeffrey Pepper Rodgers Interview
Image: Joel Bernstein
Credit: Don's Tunes

11/17/2024

"A great solo is one that's so frail that it actually teeters on the edge of falling apart, but doesn't."
— Joe Bonamassa

Born on May 8th, 1977, Joe began as a child prodigy, mastering the guitar at an early age and captivating audiences with his soulful blues and rock performances. With over 20 albums to his name and numerous awards, including Grammy nominations, he's hailed as one of the greatest guitarists of his generation. From his electrifying solos to his heartfelt vocals, Joe's music transcends boundaries, earning him a dedicated global fanbase and accolades from critics and peers alike.

Throughout his illustrious career, Joe has shared the stage and recorded with some of the most iconic names in music, including legends like B.B. King, Eric Clapton, and Buddy Guy. His collaborations with these titans of the industry not only showcase his extraordinary talent but also cement his status as a true guitar virtuoso. Whether performing alongside blues royalty or headlining sold-out shows worldwide, Joe continues to inspire and amaze audiences with his unparalleled skill and passion for music. Here's to a living legend who has left an indelible mark on the world of blues and rock! 🎉🎸

Photo Credit: www.joebonamassa.com

11/16/2024

Wes Montgomery never used a pick, only the fleshy part of his right thumb. He never stood up but sat back, holding his guitar at a semi-horizontal angle, 45 degrees from his lap. His solos would swell into octaves and block chords, driven more swiftly and cleanly than most players can articulate single-string notes.
In later life one of Wes’ most intriguing quotes was: “You shoulda heard me 20 years ago, when I could really play.” Fans took this with a pinch of salt, yet his remarkable self-deprecation was probably genuine and rooted in the fact that he was an ear player, entirely self-taught and unable to sight-read music. Many great musicians have found it necessary to conceal this fact, because learning by ear instead of learning by eye remains the last taboo.

When asked if he could read, the great pianist Erroll Garner once replied: “Not enough to hurt my playing.” Art Tatum, Monty Alexander and Django Reinhardt (in his way every bit as distinctive a guitarist as Wes) did not read music either. All are or were not only wonderful ear players but also magnificent individualists whose recorded work, unlike that of so many conservatory graduates, can be recognised instantly. Guitarist Martin Taylor, who learned to read only after learning to play, once defined jazz as a process of elimination, involving the acceptance of attractive ideas and the rejection of unattractive ones. “In that sense all jazz musicians are self-taught,” he concluded. “Particularly the best ones.”
-jazzwise

Photo: Jean-Pierre Leloir.

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