It was 26 years ago this week that one of the greatest guitar hero gatherings of all time got under way. The occasion was a remake of the 1972 Deep Purple hit “Smoke on the Water” that featured some of the biggest players in rock, including Ritchie Blackmore—who wrote the song’s classic riff—David Gilmour, Tony Iommi, Alex Lifeson and Brian May.

The guitarists and numerous other musicians recut the song as a benefit recording for Rock Aid Armenia, a humanitarian effort by the British music industry to raise money for victims of the 1988 Armenian earthquake, a devastating event that killed up to 50,000 people.

The recording, which began on July 8, 1989, included a who’s who of the era’s best-known hard rock performers and went on to become a hit.

In addition to its cast of stellar guitarists, the track featured a different singer on each verse, including Deep Purple’s Ian Gillan (who sang the original), Paul Rodgers, Iron Maiden’s Bruce Dickinson and Bryan Adams. The session also featured Yes bassist Chris Squire, Queen drummer Roger Taylor, and keyboardists Keith Emerson and Geoff Downes (of Asia, who also co-produced the session with Gary Langan).

The session took place at the historic Metropolis Studios in Chiswick, London. Recording began on July 8, 1989 and was completed over five different sessions. The first session featured guitarist Geoff Beachamp filling in for Brian May, who’d broken his arm a few days before. May was healed up in time for the August 5 session, which he performed with David Gilmour.

Following a vocal and keyboard session on August 27, the recording saw the tracking of more guitars on September 10, when May showed up with his friend Tony Iommi and Ritchie Blackmore. Rush’s Alex Lifeson made it for the final session, on September 24. (If you want a complete rundown of what happened when, and with whom, check out the excellent web site RockAidArmenia.com.)

The single, which featured Black Sabbath’s “Paranoid” on the B-side, was released as “Smoke on the Water ’90” and made it to the U.K. Top 40 Singles Chart. It was also the lead track on The Earthquake Album, a full-length compilation of donated tracks from Pink Floyd, Iron Maiden, Led Zeppelin, Black Sabbath, and many of the other bands represented in the “Smoke on the Water” session.

The “making of” video below compiles scenes from the five tracking sessions. It’s actually the official promo video for the 2010 Wermut & Dee remix of the track and was to raise funds to rebuild a children’s music school in Gyumri in the Armenian earthquake zone.

We've already seen Led Zeppelin's "Stairway to Heaven" played on a sax ... why not Stevie Ray Vaughan's "Rude Mood" played on piano?

Below, you can check out Joe Jeremiah's mesmerizing piano version of Vaughan's instrumental shred fest, "Rude Mood," a track that appeared on SRV's first album, 1983's Texas Flood.

We have to admit that "Rude Mood," which was heavily inspired by Lightnin' Hopkins'"Hopkins' Sky Hop"—sounds like a natural boogie-woogie piano piece in this clip. Note that Jeremiah is playing SRV's guitar parts pretty much note for note, which is an achievement for any instrument.

Says Double Trouble drummer Chris Layton, “In early ’79, [country DJ] Joe Gracey made early recordings of Double Trouble while Lou Ann [Barton], Jack Newhouse and Johnny Reno were still in the band. That was blues stuff like, 'Ti Na Nee Na Nu,’ ‘Scratch My Back’ and ‘Sugarcoated Love,’ along with an early version of ‘Rude Mood.’ Those recordings were done in the tiny basement of KOKE, a country station. Gracey recorded us on a four-channel mixer with a reel-to-reel, with everything done totally live using just four microphones.”

It’s fascinating to hear the recording of “Rude Mood” from that period, because the Texas Flood version, which is much faster, is a note-perfect recreation of it. There is virtually no improvisation whatsoever. It is almost unheard of for a blues guitar player to compose something that lengthy and complicated, and perform it note-perfectly for years and years, just as Stevie did.

For more about Jeremiah, follow him on YouTube.

We thought we'd drop in on Queen—Brian May, John Deacon and Roger Taylor—who hosted the star-studded Freddie Mercury Tribute Concert on April 20, 1992.

Hey, why not?

The show, which was witnessed by a crowd of 70,000-plus, took place at London's Wembley Stadium.

Among the special guests that day were Black Sabbath's Tony Iommi and the Who's Roger Daltrey, both of whom sat in for this spirited performance of "I Want it All," a track that originally appeared on Queen's The Miracle (1989).

Queen singer Freddie Mercury had died the previous November 24.

I'm betting this is the most awesomely stupid guitar video you'll see today.

It's a scene from a 1958 comedy called Rock-A-Bye Baby, which stars Jerry Lewis as Clayton Poole, a small-town TV repairman whose former sweetheart, Carla Naples (played by Marilyn Maxwell), becomes a movie star.

We have no idea how that setup brings Lewis onto a stage, wearing a Gibson ES-175 (with P90s) and singing "Rock My Baby, Rock," but it happens, and it's awesome. Check it out below.

Since Rock-A-Bye Baby was filmed in 1958, Lewis, his fake band and the song are clearly parodying Bill Haley & His Comets, who released an album called Rockin' Around the World that year and Rockin' the Oldies the year before.

You can't help but fall for Lewis' hilarious dance moves and ridiculously awful guitar solos, which take place at :15 and :28.

Enjoy!

Guitarist, songwriter, photographer and filmmaker Andy Summers—formerly of the Police—will release his latest solo music project, Metal Dog, July 14.

Metal Dog is Summers’ new instrumental collection—a unique soundscape of cinematic jazz fusion.

The collection will be available via digital retailers, including Amazon and the CSLY web page.

The 10-track release includes instrumentals composed, produced and performed entirely by Summers at his studio, Mother Divine, in Venice, California. Metal Dog features his iconic guitar sound layered with multiple instruments including bass, drums, keyboards, electronics and a Paloma (an Indian stringed instrument that depresses notes along the neck with accordion like buttons).

“My original inspiration for this was music for contemporary dance, which still holds,” Summers said. “But as I got further into the music, it became a thing unto itself til it presented as a collection for a release, but definitely it scores by experimental music.”

In other news, Summers will release his film, Can’t Stand Losing You: Surviving the Police, July 14 on DVD. The documentary is based on his memoir, One Train Later. The film, which was theatrically released earlier this year, was directed by Andy Grieve; it follows Summers’ journey from the London music scene to his chance encounter with drummer Stewart Copeland and bassist Sting.

The film is distributed in North America by Cinema Libre Studio and is available on DVD, Blu-ray, and On Demand (Hulu Plus, Amazon Instant, iTunes).

For more about Summers, visit andysummers.com.

Metal Dog Track List:

01. Metal Dog
02. Animal Chatter
03. Ishango Bone
04. Vortex Street
05. Bitter Honey
06. Qualia
07. How Long is Now
08. Harmonograph
09. Ocean of Enceladus
10. Mare Imbrium

Louisa Wendorff has been singing since she was seven years old.  In June of 2014 she released Arrow, which climbed to #2 on the iTunes Singer/Songwriter chart, and #1 on Billboard’s HeatSeekers chart.

However, you probably most recognize her for her YouTube mashup of Taylor Swift’s “Blank Space/Style.”  Launched on December 23, 2014 it went viral when Taylor Swift shared it with one word, “OBSESSED.”  Now, with more than 21 million views, it earned Louisa and Devin Dawson a live spot on the E! News Red Carpet at this years Grammy’s.

Bedell: Do you have one word to sum up the last six months?

​Louisa Wendorff: magic.

​Bedell: Your video “Blank Space/Style” has had amazing success and even got you a live performance on the Red Carpet at the Grammy’s!  How was that?

LW: It was completely amazing! I was so grateful to have been apart of such an incredible day and am still in awe that that even happened!

​Bedell: How do you come up with the mashups you do?  Do you do the arrangements for them?

LW: I get inspiration for each one in different ways, and yes I arrange them myself. If I feel like a mashup is close but hit a creative block, I have a few friends I reach out to for input.

​Bedell: When you launch an original like “Every Little Thing,” which is beautiful by the way, do you get nervous that people won’t respond as well to your original work as they do your covers?

LW: Yes, that can be a huge fear of mine. My goal has always been to be an artist singing my own songs. While it’s been completely fabulous getting a fast pass to where I am now, I don’t want to be known as a cover artist. So I definitely get nervous that my fans will only like my covers.  But when it comes down to it, I’m not worried. I have an amazing team in place and have been working day in and out for as long as I can remember, so I’m just excited to see when it all goes from here. 

​Bedell: When did you pick up playing the guitar?

LW: I started playing the guitar when I was a sophomore in high school, so a little over 4 years ago.

​Bedell: Parlors are gaining in popularity – why does that body shape appeal to you?

LW: I am absolutely obsessed with the parlor shape.  It is small just like me so I truly feel like we are just made for each other. Its Louisa sized!

​Bedell: You spent quite a bit of time “stalking” the Earthsong Parlor.  What was it about that guitar that spoke to you?

LW: Stalking is a very accurate word, haha. From the 1st to the 7th time I came to visit my beloved Earthsong, the tone, color of the wood, and size were the definition of perfection to me.  Every time I played it in the store and now wherever I go, it just feels right.  A sense of peace just comes over me when I play.   

Bedell: And now it seems it’s taken a life of its own.  Many people name their guitars…yours is Baby B.  But it has it’s own Instagram page @BabyBedell?

LW: Yes it does! Those who know me, know I’m a goof, and having a page for my guitar is so fun. I mean, why not! People make pages for their cats and dogs all the time. And Baby B has it’s own cute little personality so how I could I not? 

​Bedell: Any new videos on the horizon we can look forward to?

LW: Yes! I am planning on releasing a new mashup sometime in April.

Photo Credit: Blythe Thomas

Check out this bonus acoustic track of Owl’s “Alive.”

A bit groovy. A bit mysterious. And more than a bit awesome. This stripped down version of what is obviously a heavy song incorporates strings, guitars and boomy bass.

Appearing on their upcoming album, Things You Can’t See, due out July 28, the song holds up well in this more naked form!

Owl frontman, bassist and producer Chris Wyse shares, "This acoustic version is a reworking of a the track ‘Alive’ that appeared on Owl's self-titled debut. We recorded it a few years back at my old home up on Laurel Canyon in Los Angeles. If you’re familiar music lore, you know that Laurel Canyon has so much rock and roll history. I felt like I just was given this song, almost like it wrote itself. It’s a timeless track, especially in its acoustic form with the slightly layered bows and vocal harmonies."

The LA/NYC-based rock band OWL - Chris Wyse (vocals/bass), Jason Achilles Mezilis (guitar), Dan Dinsmore (drums) - is set to release its third album, the propulsive and powerful Things You Can’t See on July 28th via Overit Records. Check out the album teaser here: http://bit.ly/1FXccEe.

Owl frontman, bassist and producer Chris Wyse started writing Things You Can’t See between his tenure as a band member in seminal rock outfit The Cult and his new position as bass player for former lead guitarist and founding member of KISS, Ace Frehley.

Chris played on Frehley’s 2014 solo album Space Invader, which led to him joining the band full time. Chris explains, “The Cult will always be my brothers in rock, and it was an honor to play with such brilliant musicians during our decade together. I now look forward to scorching the earth in The Ace Frehley Band. We’re currently working on an all-covers album due out on eOne Music, which has been a blast. Ace has always been a hero of mine and a big influence - playing with him, Scot Coogan and Richie Scarlet is awesome!" Frehley praises, "Chris is fun to work with and is a great talent. He is by far the best bassist I have worked with."

Creatively on fire and armed with song ideas for Owl, Chris and the band holed up at Overit Studios in Upstate New York in early 2014 to record the six-track collection. For the first time, the band didn’t work off of completed songs - instead they jammed in the studio, honing and cultivating the music in the moment. This new approach on Things You Can’t See inspired Owl to be bold, experimental, and even more musically ambitious than on their previous two releases. “We’ve evolved to a place where we completely trust each other musically,” shares Chris. “And it really shows in the character and attitude on this record.”

First single, “Who’s Gonna Save You Now,” blares a wall of distortion as Chris delivers an urgently searing and sharp hook, while the title track poses ponderous questions via raw thunderous rhythms and poetic lyricism. “Lake Ego” follows with an immersive soundscape stomper, and “Star Up” offers a strong, hyper-charged sonic catharsis. “Witch’s Familiar” is progressive and heavy through a haze of psychedelia, and “Alive (Acoustic)” closes out the set with lush, soaring melodies amidst a booming bass line.

“We’ve really come into our own as a band with Things You Can’t See,” concludes Dan. “This record is a great, formidable showcase of everything we do best, and we’re very proud of it,” adds Jason. Chris leaves off, “The style we’ve developed is unbridled and unfiltered, as is our message. We stand behind every single note front to back.”

Tour dates:
7/17 New York, NY @ Lucille's Bar & Grill in BB King’s Blues Club
7/18 Saratoga Springs, NY @Putnam Den
7/19 Providence, RI @Aurora Providence
7/21 Los Angeles, CA @Whiskey A Go Go (with Philm featuring Dave Lombardo of Slayer)
7/23 San Jose, CA @Rockbar (with Philm featuring Dave Lombardo of Slayer)

As a result of their world-conquering commercial success, it's easy to consider the Police—Sting,Andy Summers and Stewart Copeland—mere "hit makers."

But stopping there would undermine a truly phenomenal—and musically progressive—body of work by an undeniably talented trio of musicians and songwriters.

Though Sting's dark, brooding songwriting seemed to dominate the band, equally crucial were the musical contributions of Summers, the band's soft-spoken by hard-edged guitarist.

Summers' easily identifiable playing, influenced by everything from reggae to classical music, built the bridge between Sting's steady bass lines and Copeland's busy, virtuosic percussion work.

In celebration of Can't Stand Losing You: Surviving the Police, Summers' new documentary about his time with the band—and Metal Dog, his new instrumental album, we've decided to collect what we consider Summers' top 10 guitar moments with the Police.

And if you haven't heard it, be sure to sample Certifiable: Live in Buenos Aires, the band's 2008 live album, which captures these three musicians—not to mention Summers' biting guitar sound—at their peak. Several videos below are from the band's massive 2007/2008 tour.

To keep up with Summers—who's been fairly busy of late—visit andysummers.com. Enjoy!

"Message in a Bottle"
Reggatta de Blanc (1979)

Unquestionably one of the band's most unforgettable tunes, Summers shines here. His opening riff, and the gorgeous arpeggios he unleashes at the end of the chorus are enough to make you feel happily lost on an island.

"So Lonely"
Outlandos d'Amour (1978)

Although overshadowed by the the Police's first-album hits "Can't Stand Losing You" and "Roxanne,""So Lonely" has persevered as a classic fan-favorite. Summer's playing on this tune—a joyful explosion of pop songwriting—is loose and nimble, providing the song with flexibility and excitement.

"Roxanne"
Outlandos d'Amour (1978)

The song that began the Police's brief but astoundingly successful run might be more famous for Sting's vivid portrait of its titular character, but without Summers' simple, easygoing but effortlessly cool riffing, it's unlikely that it would have become the gargantuan, career-launching hit it turned into. It's also a great song to sing if you ever happen to get on an elevator with Sting.

"When the World Is Running Down, You Make the Best of What's Still Around"
Zenyatta Mondatta (1980)

Though this track offers more than a touch of bass-heavy disco, Summers' fretwork still defines the atmosphere. He embraces a philosophy of "less is more," almost answering Sting's vocals and thick bass lines with clean, echoing chords. The fast double-picking he engages in toward the song's finale adds tension to an otherwise pristine, soothing pop gem.

"Synchronicity II"
Synchronicity (1983)

Almost as if responding to the dark story Sting lays out for this song, Summers' riffing on "Synchronicity II" sounds almost impatient. Eschewing his normally clean tone, Summers embraces something close to distortion, creating angular melodic lines that seemingly want to break down the walls of the troubled family home Sting discusses in the lyrics.

"Next to You"
Outlandos d'Amour (1978)

Though the Police were originally inspired by London's punk movement, the music they ended up creating bore little resemblance to the aggressive, politically charged music that scene created. That is, except for "Next to You." Summers' tightly coiled riffing works beautifully in tandem with Sting's frustrated, romantic laments.

"Bring on the Night"
Reggatta de Blanc (1979)

For "Bring on the Night," Summers incorporates numerous distinct flavors into his playing. While his upstrokes in the chorus are pure reggae, the angular series of notes he unleashes in the verses recall prog-rock masters like Robert Fripp of King Crimson. While not the most unforgettable of the band's hits, this track is really a showcase for Summers' amazing versatility.

"Can't Stand Losing You"
Outlandos d'Amour (1978)

Coming as it does from the band's debut, 1978's Outlandos d'Amour, "Can't Stand Losing You" has the obvious reggae influence Summers, Sting and Copeland frequently displayed in their early days. But Summers' upstrokes are never sunny; they have enough spunk and edge to match Sting's words of desperation blow for blow.

"Driven to Tears"
Zenyatta Mondatta (1980)

This is another track where Summers completely controls the atmosphere. Though the song could almost be a James Bond theme in the verses, the clean, cathartic chords Summers throws down in the chorus are pure bliss.

"Every Breath You Take"
Synchronicity (1983)

A creepy slow-burner that became the band's final, monumental hit, "Every Breath You Take" is one of Summers' greatest contributions to not only the Police, but to Eighties rock. Inspired by Hungarian composer Béla Bártok, Summers crafted an iconic, oft-sampled riff that perfectly balanced the tender and sinister qualities of the song.

As an addition to their Fluence line of Multi-Voice pickups, Fishman has announced the Fluence Modern 8-String Humbucker Pickup.

Like all Fluence pickups, the new Modern Humbucker 8-String pickups have two voices. The Alnico version offers full, round, boosted, with articulation and dynamics in Voice 1, and a Fluence-exclusive crisp, clean and fluid tone in Voice 2.

Voice 1 of the Ceramic 8-string model delivers a ceramic active tone––crisp, searing, big yet tight. The modern passive attack of Voice 2 provides organic, high output, passive ceramic tone for more distortion. This model is ideal for the neck position.

Fluence Modern HB, 8-String, Alnico, Black Plastic: $181.75 MSRP, $139.95 MAP
Fluence Modern HB, 8-String, Ceramic, Black Plastic: $181.75 MSRP, $139.95 MAP
Fluence Modern HB, 8-String, Set of 2, Black Plastic: $324.61 MSRP, $249.95 MAP

For more information, visit fishman.com.

Today, GuitarWorld.com presents the exclusive premiere of "Djenstrumental," a new song by guitarist, solo artist, bespectacled metalist and YouTube personality named Steve Terreberry—better known as Stevie T.

The track is from Stevie's awesomely named new release, Album of Epicness.

The album, which was written solely by Stevie and produced by Carmen Sorge, was released April 28. On the disc, Stevie parodies a number of rock artists but also shows off his six-string prowess.

In other words, he's more than just the "metal comedian" you might recognize from "Guitar Does NOT Get Chicks!" and "What If Deathcore Sounded Happy?"

Terreberry began building a huge fan base through his YouTube channel by incorporating metal music, guitar chops and comedy. Last year, Artery Recordings' Shan Dan Horan took note of Stevie's guitar playing, songwriting abilities and comedic approach and signed him to a record deal.

On "Djenstrumental," Stevie takes a step back from the comedic approach to showcase his guitar skills in this ode to progressive metal instrumentals and djent.

Follow him on Facebook right here.

Legendary LA metal band W.A.S.P. have announced Golgotha, their first new studio album in six years.

The album, which is set to be released October 2 via Napalm Records, is available for pre-order right here.

"There are times in any band's career that somehow all things mesh together," says W.A.S.P. frontman Blackie Lawless. "Their experiences, influences and personal timing bring them into a common space.

"This has happened with this record. Four years in the making has provided direction, but even greater reflection."

For more information, follow W.A.S.P. Nation on Facebook.

Golgotha Track List:

01. Scream
02. Last Runaway
03. Shotgun
04. Miss You
05. Fallen Under
06. Slaves of the New World Order
07. Eyes of My Maker
08. Hero of the World
09. Golgotha

After many years of shooting our annual Buyer’s Guide in California’s sun-drenched warm weather, under beautiful blue skies and on idyllic sand beaches, my photo director, Jimmy Hubbard, decided to change things up this year and head toward the sunny and bucolic shores of Williamsburg, Brooklyn.

Huh? My thoughts exactly.

I was a little hesitant about the idea, considering Williamsburg’s reputation as an unwelcoming hipster-filled concrete jungle. But when six lovely tattooed models showed up I quickly changed my tune.

Chelsea Nyegaard, Sarah Ve, Jesse Lee D, Karla Lambert, Kat Livingston and Jennifer Lynn—all of whom are in-demand tattoo models—brought the heat to the 2016 Buyer’s Guide shoot in a major way. All the ladies, some of whom are musicians, surprised us by how well they knew how to wield a guitar and rip some cool licks.

As always, the Buyer’s Guide offers a vast selection of the newest and most cutting edge gear, some of which you won’t find anywhere else, for you to consider on your next purchase. You’ll also find our alluring Model Search winner, Anne Bergstedt (check out this self-taught musician’s impressive resume), and if that isn’t enough.

After spending two days surrounded by these cool ladies and their stunning tattoo work, I seriously started to consider finally getting some ink myself. But I’ll do that in sunny California, thank you.

Below, check out a gallery of photos from the 2016 Buyer’s Guide, plus a behind-the-scenes video.

To order the new Buyer's Guide, head to the Guitar World Online Store now!

Photos: Christian Saint

Kenny "Blue" Ray is a life-long blues musician who has played with greats such as Stevie Ray Vaughan. Kenny also is a JamPlay instructor who teaches live and pre-recorded classes on blues guitar.

In this lesson, Kenny discusses 7th chords and how they can be used to enhance any blues progression.

He also demonstrates short forms of the chords that can be used for a softer sound. While discussing the 7th chords, he also talks about some of Jimi Hendrix's favorites.

Check out the lesson video below — complete with video. For more JamPlay lessons on GuitarWorld.com, check out Andy James'"Three Pentatonic Hybrid-Picked Runs to Increase Speed and Dexterity" and Glen Drover's Mysterious Harmonic Minor Walk Down.

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The blues is ripe for endless and constant reinvention.

Through the decades, it has developed in many different incarnations.

These include plantation field hollers; the acoustic guitar playing and songwriting mastery of Charlie Patton, Blind Blake, Blind Lemon Jefferson, Blind Willie McTell and Robert Johnson; the Chicago, Memphis and Texas blues of Muddy Waters, Howlin’ Wolf and T-Bone Walker; and the mid-to-late-Sixties blues-rock revolution spearheaded by Cream and the Jimi Hendrix Experience.

Today, bands such as the North Mississippi All-Stars, the Black Keys and Alabama Shakes continue to explore new ways to navigate the dark, swampy sounds honed through this long tradition of blues interpretation. In this edition of In Deep, we’ll be taking a look at the guitar work of two essential early blues guitar masters: John Lee Hooker and Lightnin’ Hopkins.

John Lee Hooker was born in 1917 in Coahoma County, Mississippi, and learned to play guitar from his stepfather, Willie Moore, who, conveniently for John Lee, was friends with Blind Lemon Jefferson and Charlie Patton. Hooker went on the road at age 14, joining legendary bluesman Robert Nighthawk in Memphis.

In 1948, Hooker began his recording career in style, cutting two incredible tunes—“Boogie Chillen’ ” and “Sally Mae”—at his first sessions, cut in Detroit. The songs were released on the Modern label, owned by the Bihari Brothers (who also recorded B.B. King’s earliest sides), and Hooker’s ascent to blues superstardom was underway.

Hooker performed and recorded a great many tunes on both acoustic and electric guitar in open A tuning (low to high, E A E A C# E), oftentimes using a capo at the first, second or third fret to perform in different keys. He picked with his fingers, primarily using his thumb to strike the bass strings and index finger to pluck the higher strings, and achieved a warm and very percussive sound, often performing alone or with another guitarist for accompaniment.

FIGURE 1 illustrates a rhythm figure along the lines of “Boogie Chillen’.” Though written in 4/4, this figure is played with a triplet, or swing-eighths, feel, which means that notes indicated as pairs of eighth notes are actually sounded as a quarter note followed by an eighth note within a triplet bracket.

Throughout this passage, the thumb and index finger alternate striking the lower and higher strings, with a quick, rolling double hammer-on occurring at the end of each bar. In bar 1, the hammer-on begins on the fourth fret and moves chromatically (one fret at a time) up to the sixth fret. In bar 2, the hammer-on starts on the second fret and moves up chromatically to the fourth fret. In bar 3, rapid slides up to the third fret are executed with an index-finger barre across the top two strings.

One of the fascinating aspects of Hooker’s open A playing was that he often used only two primary chords, the “I” (one) and the “IV” (four), forgoing the use of a “V” (five) chord that is common to the majority of blues music. In open A tuning, Hooker would use a standard C “cowboy” chord grip as his four chord, which yields an unusual Dadd9/C sound, as illustrated in FIGURE 2.

Another interesting aspect of Hooker’s solo work is that he would often shift from a swinging triplet feel to the use of even, or “straight,” eighth notes, which provides great rhythmic contrast and tension. As shown in FIGURE 3, I begin with straight eighths on a sliding A7 chord voicing and then move back to the swinging feel when the initial riff is restated in bars 5–7.

Hooker also often used the D7/A voicing shown in FIGURE 4 for his four chord: with the index finger barred across the top three strings at the fifth fret, the pinkie is added and removed from the high E string’s eighth fret. Robert Johnson often used this pattern to great effect as well.

Hooker devised some great and very distinct licks in open A tuning, a few of which are presented in FIGURE 5. Following index-finger slides on the top two strings, different A and A7 voicings are followed by great single-note and double-stop licks played on the middle strings using a bit of rhythmic syncopation. You can hear Hooker play riffs like these on his classic song “Sally Mae.” ZZ Top’s Billy Gibbons is a Hooker fanatic, and you can hear many of these kinds of licks on Top classics like “La Grange” and “Jesus Just Left Chicago.”

Combining open strings with single-note riffs is a central element of Hooker’s style, made more effective with fingerpicking. FIGURE 6, inspired by “Crawling Kingsnake,” and FIGURE 7, a nod to “Tease Me,” offer a few more examples of how Hooker would combine a catchy melody with an insistent root-note, open-string pedal tone.

In later years, Hooker relied more often on standard tuning, while still using the capo on the first few frets for changing keys. A great example of his playing style in standard tuning can be heard on “Boom Boom Out Go the Lights.” FIGURE 8 offers an example in this style, marrying a repeated melody, based on E minor pentatonic (E G A B D) to an alternating bass line.

Lightnin’ Hopkins was born in 1912 in Centerville, Texas. Like Hooker, he learned directly from encounters with Blind Lemon Jefferson. He began his recording career in 1946 and went on to become one of the most influential blues guitarists ever. Elements of his style are clear in the playing of Jimi Hendrix, Eric Clapton, Jimmy Page, Jeff Beck, Stevie Ray Vaughan and just about everyone that played or plays blues guitar.

Hopkins often performed unaccompanied acoustic guitar (or amplified acoustic), picking with his fingers in a manner similar to Hooker but with the use of a thumb pick. FIGURES 9 and 10 offer examples of a mid-tempo swinging 12/8 blues played in his style, akin to his take on the blues classic “Goin’ Down Slow.”

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Here’s a feel good, get your butt moving song by Rhode Island artist Christina Holmes called “Give A Little Bit More.”

The song appears on her new mixtape song EP collection called Take a Chance.

It’s got some sweet guitar strumming and the lovely and full vocal stylings of this talent artist.

Holmes shares, “’Give A Little Bit More’ is about learning to think of others instead of just yourself. When I wrote it, I was going through a very difficult time with my health which ended up bringing out the true colors of one of my best friends. I thought of her as someone I could always count on but later realized that she was very selfish and would only do something for me if she was getting something in return. This was not only my way of dealing with all of it but also my way of showing the world how important it is to think of those around you no matter what the situation."

Listen now:

The Take a Chance Mixtape shows off the elegant song craft they’ll discover on her debut album, Peace Love and C. Holmes, melodies full of buoyant emotion, tempered by a realistic approach to life’s difficulties. “Give A Little Bit More,” a lilting, openhearted song, opens quietly with Christina’s sprightly acoustic guitar and effervescent vocals. The funky, gospel-tinged chorus underlines the song’s positive suggestion to “Give a little bit more, take a little bit less.”

“Summer Fun” lives up to its name with a blend of funk and reggae, with subtle Latin accents. It celebrates the power of music and summer sunshine to warm the soul and make the heart sing. “I Will Remember” is a smooth, soulful R&B ballad, while “Ignite My Flame” is a mellow, jazzy plea for peace, love and affection that shows off Christina’s inviting mid range.

The songs on Take a Chance resonate with the peace, love, heartache, faith, confusion, sadness and uncontained happiness that fill Christina’s soul and makes Peace Love and C. Holmes a joy to listen to. “Sometimes negative things happen in life,” she says, “but I’ve learned that the most negative situations can have some of the most positive outcomes. That’s what I want to share with my music. I was born to spread a message of peace and love to help make this world a better place.”

Christina is in the process of putting together a three-piece touring band to support Take a Chance. Meanwhile, she’ll be on the road with her guitar, doing what she does best. “I bought a 1979 VW Bus and I’ll be touring as much as possible. I’m hoping to film something at every stop and get other artists to join in and jam out on the bus!”

Find out more at http://www.christinaholmesmusic.com/

It’s summer! Yahoo!!!

Time for sitting on the porch and strumming a tune or two, or three, or ten!

This is not a “best of” list, just a collection of great, easy to play songs that’ll put a smile on your face…and everyone’s around you, too!

So grab an iced tea, sit back and get your strum on!

“Three Little Birds” – Bob Marley and The Wailers

I love this song, for its simplicity and its message of optimism.

You know that every little thing is gonna be all right!

Long before Bobby McFerrin told us to, “Don’t Worry, Be Happy,” Bob Marley had it down.

The song appears on their 1977 album Exodus, and was released as a single in 1980.

“Three Little Birds” has been covered loads of times, including by artists like Billy Ocean, Connie Talbot, Jason Mraz and even Alvin and the Chipmunks.

Now it’s your turn! Check it out!

[Chorus]

A
Don't worry, about a thing

............D.......................................A
Cause' every little thing, gonna be alright

..............(A)
Singin' don't worry, about a thing

..............D........................................A
Cause' every little thing, gonna be alright

[Verse]

A
Rise up this mornin'

.........................E
Smile with the rising sun

.....................D........................A
Three little birds perch by my doorstep

...........(A)
Singin' sweet songs

......................E
Of melodies pure and true

............D..........................A
Sayin', this my message to you-oo-oo

“Hey There Delilah” – Plain White T’s

I know, this song has been played A LOT.

But it’s just the quintessential summer love song. Oh, it’s what you do to me. I mean, yeah!

The Plain White T’s released it in May 2006 as the third single from their third studio album All That We Needed.” It reached number 1 on the Billboard Hot 100 in July 2007.

Its message is timeless. Love can conquer all obstacles.

Here you go…in the key of D.

[Verse]
D ...................................... F#m
Hey there Delilah, What’s it like in New York City?
..........D.............................................. F#m
I’m a thousand miles away, But girl tonight you look so pretty,
........Bm.......G..........................A..........................Bm
Yes you do, Time Square can’t shine as bright as you,
....................A
I swear it’s true.

[Chorus]
D..................................Bm.....D.............................Bm
Oh it’s what you do to me, Oh it’s what you do to me,
D................................. Bm....D..............................Bm
Oh it’s what you do to me, Oh it’s what you do to me,
.........................D
What you do to me.

“59th Street Bridge Song – Feelin’ Groovy” - Simon and Garfunkel

I personally remember singing this as a teenager in the summer, so it’s tried and tested!

This song appeared on this iconic duo’s 1966 album Parsley, Sage, Rosemary and Thyme. A truly amazing album in its entirety. If you’re too young to have listened to it, check it out.

"59th Street Bridge" is the colloquial name of the Queensboro Bridge in New York City. The song's message is immediately delivered in its opening verse: "Slow down, you move too fast." Perfect for summer I would say!!

D.........A ...............Asus2......A....D..............A ............Asus2........A
Slow down, you move too fast. You got to make the morning last. Just
D..........A .............Asus2......A....D..............A ............Asus2........A
kickin' down the cobble stones, lookin' for fun and Feelin' Groovy.
D...A..Bm7..A

”Rude” – Magic!

This must be the summer song of this summer, 2014!

Yes, I’ve heard it about a billion times on the radio, but the fun reggae groove and heartfelt message have me singing along every time.

And why DOES he have to be SO RUDE?!

Apparently it is based on a real life situation, modified somewhat to fit a band vibe.

"Rude" is the debut single by Canadian band, Magic! "Rude" was written by Nasri Atweh, Adam Messinger, Mark Pellizzer, Ben Spivak and Alex Tanas, and produced by Adam Messinger.

It’s burning up the charts. I hear it several times a day. Oh, the injustice of it all!

Capo 6 and play as written

[Verse]
C..............D................................Em.............Em
Saturday morning jumped out of bed and put on my best suit
C..............D............................Em.....Em
Got in my car and raced like a jet, all the way to you
C.........................D...............................G.............. Em
Knocked on your door with heart in my hand to ask you a question
C..........................D .................................G ................Em
Cause I know that you're an old fashioned man yeah yeah

[Pre Chorus]

C................................................D
Can I have your daughter for the rest of my life?
..........G/B..........................Em
Say yes, say yes, ‘cause I need to know
....................C..........................................D
You say I'll never get your blessings till the day I die
.............G................................. Em
Tough luck my friend but the answer is no!

[Chorus]

C..................... D.............. G........................... Em
Why you gotta be so rude? Don't you know I'm human too
C..................... D.............. G................Em
Why you gotta be so rude? I'm gonna marry her anyway
C....................D
Marry that girl (marry her anyway)
G .......................... Em
Marry that girl (yeah no matter what you say)
C..........................D
Marry that girl (and we'll be a family)
G......................Em..........C.....D .....G....Em
Why you gotta be so rude?

“Ventura Highway” – America

I used to be so in love with the songs from the band America, and “Ventura Highway” was no exception.

Those lilting, longing lyrics, the driving acoustic strum. “You wanna go, I kno-oo-o-oo-o-oo-ow.”

This song appeared on the band’s 1972 Homecoming album.

The song’s vocalist and writer Dewey Bunnell had this to say about the song’s inspiration in the booklet for the band’s boxed set. The song “reminds me of the time I lived in Omaha as a kid and how we'd walk through cornfields and chew on pieces of grass. There were cold winters, and I had images of going to California. So I think in the song I'm talking to myself, frankly: 'How long you gonna stay here, Joe?' I really believe that 'Ventura Highway' has the most lasting power of all my songs. It's not just the words — the song and the track have a certain fresh, vibrant, optimistic quality that I can still respond to."

The song went to #8 on the Billboard Top 40 Pop Charts for America, spending nine weeks on the charts after debuting on November 4, 1972.

For this one, capo 2 and play as written. Easy.

Capo 2

[Verse]
Fmaj7 ............................................................Cmaj7
Chewin' on a piece of grass walkin' down the road
Fmaj7 ...................................................Cmaj7
Tell me, how long you gonna stay here Joe?
Fmaj7..................................................Cmaj7
Some people say this town don't look good in snow
Fmaj7 ....................Cmaj7
You don't care, I know.

[Chorus]
Fmaj7...............................Cmaj7
Ventura Highway, in the sunshine
...................Fmaj7............................................................Cmaj7
Where the days are longer The nights are stronger than moonshine
Fmaj7 .................... Cmaj7
You're gonna go I know ooo-oh ooo-o-ooo-oh ooo-oh ooo-o-ooo-oh
.................Dm7...................... Em
Cause the free wind is blowin' through your hair
............. Dm7 ......................Em
And the day surrounds your daylight there
Dm7 ...................Em
Season's crying, no despair
....... Dm7............ Em .....................Fmaj7
Alligator, lizards in the air, in the air

“The Boys of Summer” – Don Henley

For some reason I have America and the Eagles in my head when I think of summer.

And that lead’s me to Don Henley’s “The Boys of Summer,” which was released in 1984.

The lyrics were written by Henley and music was composed by Henley and Mike Campbell.

It is the lead track and first single from Henley's album Building the Perfect Beast and reached the top five in the United States as well as the top position on the Top Rock Tracks chart and number 12 in the UK Singles Chart.

In a 1987 interview with Rolling Stone, Henley explained that the song is more about aging and questioning the past—a recurring theme in Henley's lyrics.

In 1986, Henley won the Grammy Award for Best Male Rock Vocal Performance for the song.

I remember hearing this song for the first time way back when. The distinct riff and the interaction of the melody and lyric caught me right away.
It’s super easy. Check it out.

[Verse]
Em
Nobody on the road, nobody on the beach.
C
I feel it in the air, the summer's out of reach.
D
Empty lake, empty streets, the sun goes down alone.
C
I'm driving by your house, though I know your not home.

[Chorus]
G..............................D
But I can see you, your brown skin shining in the sun.
........................C
You got your hair combed back and your sunglasses on, baby.
G ............................D
I can tell you my love for you will still be strong
................. C
After the boys of summer have gone.

“Upside Down” – Jack Johnson

Maybe just being laid back is what summer means to me.

And this song has an endearing patter to it that just feels good.

It was written, co-produced, and performed by Jack Johnson for the film Curious George, so perhaps that’s why it feels so sweet. It is the first track and only single on the album Sing-A-Longs and Lullabies for the Film Curious George, which was released in February 2006.

It peaked at #38 on the Billboard Hot 100 and was Johnson's sole US Top 40 hit until "You and Your Heart" in 2010. It has been certified Platinum by the RIAA for sales of over 1,000,000 in the US alone.

[Intro]
E..E..F#m..F#m

[Verse]
E
Who's to say
E
What's impossible
F#m
Well they forgot
F#m
This world keeps spinning
.................E
And with each new day
E .....................F#m..............F#m
I can feel a change in everything
......................E ........................E
And as the surface breaks reflections fade
..................F#m ..........................F#m
But in some ways they remain the same
.................. E..........................E
And as my mind begins to spread its wings
.....................F#m
There's no stopping curiosity

[Chorus]

F#M .............................. ........E.............F#m
I want to turn the whole thing upside down
A........B.................................E........... F#m
All finer things they say just can't be found
A.........B.............................E.......... F#m
I'll share this love I find with everyone
A .............B ...............................E...............F#m
We'll sing and dance to Mother Nature's songs
A.....................B ........................ E
I don't want this feeling to go away

“Baker Street” – Gerry Rafferty

OK, this isn’t a happy, sunshiny song.

But it’s the groove that puts it on here.

Pair that with an undeniable sense of longing and an unforgettable saxophone riff and you’ve got it going on.

"Baker Street" was written and first recorded by Scottish singer-songwriter Gerry Rafferty. Released as a single in 1978, it reached #1 in Cash Box and #2 in Billboard - where it held for six weeks.

In October 2010 the song was recognized by BMI for surpassing 5 million performances worldwide.

[Verse]
A
Winding your way down on Baker Street

Light in your head, and dead on your feet
.............Em.............................G
Well another crazy day, you drink the night away
...............D
And forget about everything

A
This city desert makes you feel so cold, it’s got

So many people but its got no soul
................Em.........................G
And its taken you so long to find out you were wrong
..................D
When you thought it held everything.

[Chorus]
Dm7 .......................................Am7
You used to think that it was so easy
Dm7.....................................Am7
You used to say that it was so easy
.............C .............G ..............D
But you're tryin, you're tryin now
Dm7.....................................Am7
Another year and then you'd be happy
Dm7...............................................Am7
Just one more year and then you'd be happy
..........C.................G.................A
But you're cryin', you're cryin now

“Blister in the Sun” – Violent Femmes

If you want to get your punk on for some summer fun, you’ve picked the right song.

Released by the Violent Femmes it appeared on their 1983 self-titled debut album.

The song has appeared in several commercials for brands like Wendy’s and Foster’s Lager, and in the film Grosse Pointe Blank, but we still like it anyway.

Can you play G, C and Em? You’ve got it made.

[Verse]
G...............C ..........G ............C.........G............C ..........G
When I'm a walkin' I strut my stuff, then I'm so strung out.
.........G..........C .....G ......C.........G..........C ..........G
I'm high as a kite, I just might stop to check you out.

[Chorus]
.................Em..............C
Let me go on, like a blister in the sun.
................Em............C..............................D
Let me go on, big hands I know your the one.

“Hey Soul Sister” – Train

Love this song. It’s neat ukulele feel. It’s fun lyric. It’s bouncy groove.

"Hey, Soul Sister" was released as the lead single from the band's fifth studio album, Save Me, San Francisco.
The song reached number three on the Billboard Hot 100 chart and is their highest charting song to date and has sold over 6 million digital copies in the US.

The live iTunes version of "Hey, Soul Sister" garnered a Grammy Award for Train at the 53rd Annual Grammy Awards.

For this version, capo 4 and play as written.

[Verse]
C..........G ........................Am........................F
Hey-ay, Hey-ay-AY-ay-ay, Hey-ay-AY-ay-ay
..........C ..............................G ......................Am ..........F
Your lipstick stains on the front lobe of my left side brains
................................C.................. G....................Am.....................F........G
I knew I wouldn't forget you and so I went and let you blow my mind
.............C...............G ........................ Am................. F
Your sweet moonbeam the smell of you in every single dream I dream
...............................C............................................G....................Am.......F.......G
I knew when we collided you're the one I have decided who's one of my kind

F................G .......C......................G....................F
Hey soul sister ain't that mister mister on the radio stereo
...........G.........................C...........G
The way you move aint fair you know
F................G........C..................G.....................F..............G
Hey soul sister I don't want to miss a single thing you do
..........C ..........G....................Am .........................F
Tonight Hey-ay, Hey-ay-AY-ay-ay, Hey-ay-AY-ay-ay

We're so excited to give you an opportunity to enter to win this beautiful guitar from Bedell.

The Bedell Earthsong Orchestra proves it is possible to create a guitar with incredible tone while honoring a complete commitment to forest stewardship.

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The Bedell Earthsong Orchestra isn’t just sustainable, it is also built using only American harvested woods: a salvaged Sitka spruce soundboard, Western bigleaf maple back and sides, an Eastern hard rock maple neck, and a walnut fretboard, bridge and peghead overlay. Bedell craftsmen have achieved unparalleled tone and projection from these plentiful American woods for a truly planet-friendly guitar made from ethically harvested trees.

The Bedell Earthsong features a nitrocellulose finish with a root-beer burst and includes a workshop-installed K&K DuoTone pickup. All Bedell Guitars come with a hardshell case.

Find out more about this guitar at http://bedellguitars.com/guitars/earthsong-orchestra

Enter now between July 1 and July 31, 2015. Offer good in the U.S. only.

When I think of Warren Haynes, singer/songwriter is not what comes to mind.

Until now that is. Because surprisingly, Haynes is not just a killer guitarist, he can write and deliver a mean story-telling song as well. Known for his wicked guitar prowess in bands like the Allman Brothers and Gov’t Mule, Haynes takes a new turn this time.

That’s all evidenced in his new album, Ashes and Dust, set for release July 24, 2015 on Concord Records.

In this collection of superbly written and recorded songs, Haynes taps Railroad Earth as his performance partners and brings in a few special guests like Grace Potter, Shawn Colvin, Marc Quinones and more.

Haynes’ gravelly voice seems appropriate for the serious nature of the subject matter, with a variety of stringed instruments, and, of course, guitar punctuating throughout. The result is simply wonderful.

Gorgeously layered and skillfully delivered, this project is so superbly written and crafted, I have no hesitation in labeling it my favorite album to date of 2015.

I was delighted to speak to Haynes about the Ashes and Dust…

Can you share some insight on how this new direction for you came together?

I’ve been writing songs like this my entire life, and accumulating them through the years. Some of these songs I’ve wanted to record for a long time, but I just didn’t have a reason. I feel like some of these songs just didn’t have a home. You know, they didn’t necessarily fit into the Allman Brothers or into Gov’t Mule. So somewhere around seven years ago I started thinking about making this kind of record.

You know, a lot of the songs are new, but some of them go back 10 or even 20 years. One’s even older than that! The song, “Is It Me Or You” is the oldest song. And then there are songs like “Blue Maiden’s Tale” and “Word On The Wind” that are brand new, and several in between.

So you’ve been thinking about it for a long time, then! Why is this the right time now?

You know it was probably the right time then. I was going to make a record about seven years ago with Levon Helm and Leon Russell and a bass player named T-Bone Wolk. And then T-Bone passed away and then Levon passed away and I thought, well, this record is disintegrating.

So I turned around and made Man in Motion, my soul meets blues solo record, because I already had a lot of songs in that direction as well. So I put this on the back burner and continued to write more songs. Probably a lot of these songs would have been on that record.

But I also recorded almost 30 songs during these sessions, so there’s enough material for at least one and maybe two more albums. And I’m gonna continue that process. I have another five or so songs that I want to add.

I feel like the album is nicely balanced as far as instrumentation. You do inject some wonderful guitar and string parts, but it’s not overbearing. Did you have to hold yourself back?

I wanted it to be a singer/songwriter record first and foremost, and then I wanted to play as much guitar as possible when it seemed appropriate. I’m just playing what the song needs, and I think that’s enough. And I do think there’s a nice balance between songs that have some nice improvisation and some that are just telling the story.

I was intentionally catering my sound to Railroad Earth’s sound. I tried to pick guitar tones that I felt would work with the fiddle and the banjo, the mandolin, the upright bass and stuff, so I wasn’t relying on any of my go-to sounds. It kind of forced me to play differently.

Listen now to “Spots of Time”

Can you share some of the guitars you used on the album?

I think probably the guitar I used the most is my D’Angelico New Yorker. It’s a hollowbody jazz guitar that has a cleaner sound that seems to work with the more Celtic instrumentation, but also with the more classical side of what the band does. It just seems to fit in. A song like “Stranded In Self Pity” is a good example. That song has a Stephane Grappelli, Django Rheinhardt sound going on.

But then there are a lot of times I’m just playing that guitar as a rhythm guitar, because it’s not quite electric and it’s not quite acoustic.

And then I ended up playing a lot of slide guitar, which is mostly on my Les Paul, but with small amps. Little combos. And that seems to fit the storytelling aspects of the songs well, and the slide playing is coming from more of a lap steel/pedal steel sort of direction, more so than blues.

And then I played my ’61 335 on some of the stuff. And there are a few songs that I’m just playing just acoustic guitar. Either a Rockbridge guitar or my Washburn signature model. Or the Epiphone archtop that I borrowed from Derek, my tech. And also I have an early ‘70s Guild that I played the acoustic slide on.

When you write do you start with a guitar riff or progression?

Actually, normally I wait until I’m lyrically inspired to write. And these songs are definitely indicative of that. You know, with Mule or the Allman Brothers, some of the songs would start with a riff and see where it went. But for all of these kinds of songs, they were written with acoustic guitar. Usually I’ll get some kind of lyrical idea, and as I’m writing it down, I’ll get some kind of a cadence and a melody. I just find it easier to look at a lyric and capture that kind of mood in music than vice versa.

I love the storytelling aspect of the album. I feel it’s very serious…not too light-hearted.

I guess so, but that’s okay. It’s an extension of folk music and that’s what I love about folk music. It’s meant to be reckoned with.

Find out more and preorder Ashes and Dust at warrenhaynes.net

Below, check out a cover of Tool's "Sober" by a group of kids—ages 2 to 16—involved with the O'Keefe Music Foundation.

To be more specific, the kids include:

Lead guitar, Ben Swift, 14 | drums, Madison Hoffbauer, 12 | bass, John, 16 | vocals and rhythm guitar, Kala Rose, 14 | pump organ, Addie Miracle, 7 | chimes, Brady Miracle, 2 | pump organ, Willa, 5.

The clip was filmed at Memorial Hall in Cincinnati, Ohio, and was produced and arranged by Aaron O'Keefe.

"Sober" appeared on Tool's 1993 album, Undertow.

For more information, visit the O'Keefe Music Foundation.

To describe Charlie Hunter as a virtuoso guitarist is to ignore what makes him such an inspiring musician.

Sure, he showcases an awesome technical facility on his seven-string guitar/bass hybrid—simultaneously performing walking lines on the instrument’s bass strings while picking out chords and melody lines on its upper treble notes—but what makes Hunter’s playing truly distinctive are the deep, contrapuntal grooves he coaxes out of his unorthodox instrument.

If you’ve never actually heard Hunter play, your first reaction might be to assume it's a novelty or gimmick—his playing barely distinguishable from the endless stream of uber-impressive shredders, slappers and tappers scattered across YouTube. But in fact, there’s a reason Hunter has sustained a decades long career in music while 99 percent of these sort of guitarists never rise past online fame.

“I think you should know a lot about guitar and how to physically play the instrument,” Hunter says. “But if you don’t have the deeper musical message, it’s going to ultimately be pretty meaningless.“

That “deeper musical message” might be hard to quantity, but it speaks to an ability to connect with people on a visceral human level. Instead of utilizing the guitar as a mainly a melodic instrument to engage an audience, Hunter takes a different approach.

“The magic in my instrument is not going to happen with any linear concept," he says. "Whatever magic there is to be achieved will be found in the rhythmic counterpoint between the bass side and the treble side of the instrument.”

Hunter brings a drummer’s mentality to his playing, concerning himself with rhythm first and employing melody and harmony more as accompaniment.

“It’s important for me to play enough drums to really understand how this stuff is really supposed to feel when I’m doing it. For me, the past 10 or 15 years have really just been about how well I can execute the rhythmic feel. That’s what I really love doing and what I think is the most fun. Unfortunately, it’s not very flashy!”

He’s quick to concede, however, that as a kid cutting his teeth in Berkeley, California’s burgeoning jazz/funk scene, his playing wasn’t always so centered on finding the pocket.

“When I first started out, at the point in the Nineties people liked to hear all more flashy, jazzier kind of stuff. So I had to learn that stuff, but of course I was at the age when I really wanted to. And as I got older I asked, ‘Where’s the instrument really coming from?’ And it’s really coming from more of a folk thing, like country blues and the American guitar vernacular.”

Growing up, some of the first music Hunter heard was the finger-style country blues of guitarists like Mississippi John Hurt and Blind Blake. Hunter’s mom—a guitarist and luthier—was a part of the Greenwich Village folk scene and actually knew some of these Piedmont bluesmen, including Reverend Gary Davis.

“That was the music that was on around my house, and I was just like, ‘Oh, I’m so embarrassed. Why even listen to that music?’ But as I got older, I realized, ‘Wow, this is the real stuff here!’”

On his new album, Let the Bells Ring On, released in June, Hunter tapped trombonist Curtis Fowlkes and drummer Bobby Previte—two acclaimed jazz musicians who are forward-looking yet deeply tied to the tradition his mom first exposed him to.

In describing what he was looking for in musicians to collaborate with on the project, Hunter praises Fowlkes and Previte, saying, “The kind of music I like is the music those guys grew up hearing. If you want to play that music the way it’s supposed to feel, you should hire guys who grew up with it.”

And while the songs on this new record feature plenty of sophisticated improvisation, the music has an understated quality, leaving plenty of room for each instrumentalist to inhabit the sonic space created within the groove.

Hunter sums up the approach well: “To be totally honest, it’s all the blues to me. It’s all the blues and a nice beat. I think maybe I’d be considered a jazz musician 40 years ago, but definitely not today. What can I say, I just really like Horace Silver. I don’t need much more than that.“

Ethan Varian is a freelance writer and guitarist based in San Francisco. He has performed with a number of rock, blues, jazz and bluegrass groups in the Bay Area and in Colorado. Follow him on Twitter.