THE FINEST GUITAR LESSONS ON THE PLANET! 256 may 2016
Play your best...
ACOUSTIC BLUES Classic and modern Every ability level Tons of new ideas
Shaun Baxter mixes Blues scale and Mixolydian to create great new solo ideas
Gustav holst Play his stirring anthem I Vow To Thee, My Country ROCK chops
sort out your
Cop the licks of Richie Kotzen’s US supergroup
vibrato! Learn great vibrato using all four fingers
MÖtley crÜe Glam metal superstars
roy buchanAN Telemaster extraordinaire
BB KING CLAPTON
Three O’Clock Blues One of BB’s best tracks - with a little help from his good friend Eric!
jeff buckley Learn his acoustic style
emily remler First lady of jazz guitar
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ISSUE 256 } may 2016 Just some of your regular GT technique experts... richard barrett One of the best players around, Richard is adept at most styles but truly excels in the bluesier side of rock. He currently plays with Spandau’s Tony Hadley.
Shaun Baxter One of the UK’s most respected music educators, Shaun has taught many who are now top tutors themselves. His Jazz Metal album is considered a milestone.
jon bishop Jon is one of those great all-rounders who can turn his hand to almost any style. No ‘Jack of all trades and master of none’, he nails every one with ease!
les davidson Les has worked with Mick Taylor, Rumer, Jon Anderson, Pete Townshend, Tina Turner & more. He also runs a recording studio and teaches at BIMM London.
charlie griffiths Guitar Institute tutor Charlie first came to fame in Total Guitar’s Challenge Charlie series. He’s also one of the UK’s top rock, metal and fusion guitarists.
phil hilborne The UK’s original magazine guitar tutor, Phil’s something of a legend. A great player, he’s currently touring Europe with the Champions Of Rock show.
pat heath BIMM Brighton lecturer, ESP product demonstrator and all-round busy musician, Pat brings you six cool licks each month in 30-Minute Lickbag.
bridget mermikides Guildhall and Royal Academy trained, Bridget is a Royal College of Music, examiner, a respected classical player and award-winning blues guitarist.
Welcome I love acoustic guitars and guitarists just as much as I do electrics and their players. And, just as many of us ‘need’ both humbucking and single-coil tones (in my case P-90 too) the same sonic case can be made for acoustics. I have two steel-stringers – a Martin D-28 and a Gibson J-185. The Martin, my all-rounder, stays home but might do the occasional pub gig with mates – it’s second-hand and I traded it with another Martin. It has a good pickup fitted so is ready should I get the call. The Gibson is my stage acoustic: it looks fabulous, like a slightly scaled down and less overtly ornate J-200 and I only ever use it for strumming. I got into acoustic via James Taylor, Joni Mitchell and the 70s singer-songwriters. It was a great foil for the heavier and often less musical (to my ear) stuff that was appearing at the time. I spent months hamfistedly working out JT songs, and struggling to learn Little Green by Joni,
only to be informed by a folkie friend that it was in open G tuning. Doh! Strangely, I never became much of an acoustic blues player, even though blues is a form I really love. But perhaps it’s not too late, and I can have a crack at Jon Bishop’s most excellent article this month, where he brings us four full pieces at a range of ability levels. Each is written for solo acoustic guitar: they go from old-style Mississippi to a fantastic slide fest, ending with a couple of rather more challenging arrangements. The rest of the issue has lessons in almost every style. If Creative Rock is usually not for you, do try it this month as Shaun has some lovely melodic blues-rock ideas (check out his audio!). And if a good workout is what you need, Charlie’s vibrato lesson will have all four fretting fingers flying. See you soon...
Neville Marten, Editor email@example.com
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milton mermikides One of the country’s most respected music professors Milton’s list of credits is embarrassingly long. Go to www. miltononline to learn all about him.
Stuart Ryan Head of Guitar at BIMM Bristol, Stu is an acoustic guitar virtuoso who performs throughout the UK. His latest book/CD The Tradition is available now.
iain scott For over 25 years Iain has taught in the UK’s top schools and academies, as well as a stint at GIT in LA. He can also boast playing with the legend Brian Wilson!
john wheatcroft A phenomenal guitarist, John is a master at all styles but a legend in Gypsy Jazz. His new album Ensemble Futur is out now on iTunes and Amazon.
chris woods You can hear Chris’s brand of modern, jazzy, percussive acoustic guitar on his latest CD , Stories For Solo Guitar. Check him out at chriswoodsgroove.co.uk.
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• C ON T E N T S • M AY 2 016 •
Play your best acoustic blues ever: four great pieces to try
Jason Sidwell discusses the pros and cons of YouTube: is it learning’s friend or foe? BIMM’s Pat Heath has six more great licks at easy, intermediate and advanced levels.
IN THE WOODSHED
Les Davidson explores the incredible style of the legendary guitarist Roy Buchanan.
When Richie Kotzen and Billy Sheehan join forces, Martin Cooper reckons the results are incendiary. He checks out The Winery Dogs.
Shaun Baxter offers some great licks as he mixes Mixolydian mode and minor Blues scale.
Iain Scott with more about what makes chords tick. This month: open and closed voicings. Charlie Griffiths gets glammed with make-up, Spandex and hairspray as he introduces the playing of Mick Mars and Mötley Crüe.
John Wheatcroft waxes lyrical about the sadly troubled but brilliant jazzer, Emily Remler.
Stuart Ryan looks at the playing of another lost genius, the tragically missed Jeff Buckley. Charlie Griffiths aims to perfect your practise! This month, vibrato with all four fingers.
COVER FEATURE ACOUSTIC BLUES For solo guitar
Nev admits he can’t really play acoustic blues
Jon Bishop has contrived four fantastic acoustic blues pieces for you to learn. From simple to challenging, there’s something for everyone – so grab that old flat-top and get picking!
King’s first hit was superbly re-imagined by BB and his friend Eric on their 2000 album, Riding With The King. Transcribed by Richard Barrett.
GUSTAV HOLST I Vow To Thee, My Country
allen hinds Video Masterclass
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60 Seconds, Session Shenanigans, One-Minute Lick, That Was The Year, Jam Tracks and more.
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Virtuoso Chris Woods brings out the partial capo to extend and expand your acoustic guitar playing horizons. Chris Woods with three, four and fivestring capos!
Roger Newell reviews this month’s best releases: from Ben Poole to Wes Montgomery.
Allen completes his run of modern soloing lessons with another superb but wholly improvised solo over a cool backing track.
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transcriptIon #1 BB KING & ERIC CLAPTON Three O’Clock Blues
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A Proms favourite, this stirring tune will lift the spirits but not overly tax the fingers. Arranged and tabbed by Bridget Mermikides.
Learn all about slash chords; Steely Dan’s Don’t Take Me Alive tabbed; Fernando Sor classical etude; Tim Lerch video and more!
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JUST LIKE EDDIE I was ecstatic to come across your February 2016 issue with the Jazz lesson devoted to Eddie Lang. The examples were authentic and covered the many facets of Eddie’s playing very well. It was also quite helpful to see how modes applied to his playing, whether he consciously thought of them in that way or not. And now I even know what brand of strings he used! One small error concerns Example 5 in the lesson. That particular solo break in Blue Room was played by Lonnie Johnson, not Eddie. Eddie took the first solo and Lonnie took the lead for the remainder of the song. By that time in his career Lang’s feel for the blues was as authentic as Johnson’s and it shows in the similar solos. Thank you for this great examination of one of the most tasteful and inspiring guitarists. Keep up the good work! Nick Alexander, Los Angeles, CA
PS. What guitar was played in the examples? It sounds like a gypsy jazz guitar. It has a really wonderful tone for this style of playing. John Wheatcroft replies: Thanks for the kind feedback, along with the polite correction. Eddie and Lonnie are both absolutely tremendous players and there is a huge amount to be learnt from them both. There’s an obvious musical appreciation between the pair and their styles gel beautifully. You’re right again with regards to my guitar. On this recording I used my #1 06
Selmer-style oval hole guitar built for me by British luthier, Rob Aylward. I initially recorded the lines with my Benedetto archtop, although with its comparatively light flatwound strings, the recording lacked a little of Lang’s acoustic sparkle. Any excuse to use my ‘Django’ guitar! Glad you enjoyed the lesson and full marks for listening skills.
THE EAGLES HAVE LANDED I was saddened to learn about the recent death of Glenn Frey. The Eagles is one of my favourite bands to listen to and it’s also very enjoyable to play their songs. It will not be the same without him. I was wondering if you would be dedicating a special feature article in the near future about The Eagles as a tribute to the recent passing of Frey? I love The Eagles and it’d be great to see how the
THE ERIC FACTOR Don’t get me wrong, because I love Clapton as much as the next person, but hasn’t there been a bit of EC saturation over recent months? Again, I’m not criticising because all the articles have been very informative and enjoyable. But surely there are other blues guitarists out there deserving of some coverage? How about Hubert Sumlin, Otis Rush – and even Buddy Guy who seems to get left behind somewhat – and Buddy is now probably the last of the original great electric bluesmen? Peter Godwin
Stephen Dignum, Colchester
It’s funny, Peter, we were having that same conversation ourselves only yesterday. What has happened is that
to make GT even better, how about a bit more post-punk, new wave and alt-rock? likes of Joe Walsh, Don Felder, Bernie Leadon and Glenn Frey played guitar and to learn how they made their incredible music. Michael Dymond
Yes, Michael. 2016 seems to be the year when various ‘greats’ in all the artistic spheres are falling by the wayside. What with Bowie, Lemmy (within a couple of days of the new year), Alan Rickman, UK magician Paul Daniels, Frank Sinatra Jr, Sylvia Anderson (of Thunderbirds fame), Keith Emerson, Sir George Martin, BBC Radio 2 presenter Sir Terry Wogan and others, it’s becoming something of an expanding and rather sorry list. And, of course, Glenn Frey of The Eagles, too. Thanks for your prompt – and indeed to take the opportunity to remind ourselves of the other great Eagles guitarists. But we were already on the case! I trust you enjoyed the feature in the spring issue of GT, despite the sad event that led to its creation.
pushing the envelope and looking at various guitarists from PiL, Magazine and Siouxsie And The Banshees. John McGeoch played for all three! Siouxsie also had a roll call of great guitarists, as did PiL. Keith Levene and Lu Edmonds must be worth a style file each. Moving onto alt-rock, Bob Mould’s open voicings and drones-lite style has influenced many a modern player. So there’s a few lessons to be had there. Keep up the great work but let’s expand those horizons. Well done with the Nile Rodgers article by the way – great stuff.
some of the songs we applied for months and months ago, have all been granted a licence at the same time – hence Three O’Clock Blues and a Derek And The Dominoes track Key To The Highway (GT258) all coming along together. Add to that the Genius Of Clapton feature last month – that was already slated for that issue, plus been done and paid for, as well as other bits and pieces – and it’s been something of an unintended Clapton fest. Rest assured, though, that we’ll give poor Eric (and those readers that aren’t so enamoured) a rest for a while.
You’re right, Stephen. There’s Elvis Costello, Echo And The Bunnymen, The Fall, The Cure, Orange Juice, and others too. And all those American alt-rockpost-punk bands like Patti Smith, Talking Heads, Television, The Tubes and so on. Very often, as one of the shorter series comes to a close in GT we look at beginning another, so the idea of highlighting these slightly more niche players should certainly please lovers of those bands, as well as perhaps educating those who are not so familiar with their work. I’ll talk to Jason and see which of our illustrious player-writers might be up for it. I suspect a certain Mr Bishop might jump at the chance!
HOW ABOUT SOME more NEW WAVE? I’ve subscribed to your magazine for a few years now and I get an enormous amount from the various articles. To make it even better, it would be great to see some coverage of post-punk, new wave, and alt-rock styles, which we normally only see in very small snippets and have to hunt for. We’ve seen Andy Summers occasionally but how about
John McGeoch: top new wave guitar player
RAY STEVENSON / REX FEATURES
Eddie Lang: original jazz guitar giant
Intro INSTRUMENTAL INQUISITION! Instrumentals have supplied some of music’s most evocative and exciting moments. We asked some top guitarists for their take on this iconic movement. This month: electric guitar virtuoso, Marty Friedman
GT: What is it about guitar instrumentals that appeals to you? MF: To be completely frank, for the most part, they don’t appeal to me much. I approach mine to try to appeal to people like myself who don’t particularly care for guitar music or instrumental music. It sounds like a hypocritical thing to say, but that is my challenge. Appealing to normal people is way more interesting to me than being appreciated only by musos for ‘following a flat 9 chord exquisitely’ or ‘mastering the Phrygian mode’, whatever that means. I definitely still admire the achievements of the super-instrumental guitarists out there. They just don’t get as many spins as music with vocals do at my house. One exception, the music of violinist Stéphane Grappelli gets played a lot over here, if only because I would love to absorb some of his spectacular and graceful phrasing and have it find its way into my playing somewhere. GT: What can an instrumental provide that a vocal song can’t? MF: In the case of metal, a break from what can often be a vocal style that sometimes gets in the way of the enjoyable experience of huge distorted walls of guitars. GT: Are there any tendencies that you aim to embrace or avoid? MF: Always try to make the listener not miss a vocalist. GT: Do you usually keep the typical song structure? MF: There should be no rules with regards to that – ever. GT: How useful is studying a singer’s approach for guitar melodies? MF: Fantastic! Playing a vocal melody ‘like a guitar’ sounds so lame to me. Trying as hard as you can to emulate an actual human voice with your guitar is not only a fantastic study, but will help you emote your feelings more than any other thing. GT: How do you start writing one; is there a typical approach? MF: Usually a melody pops into my 8
Marty Friedman: strong views on instrumentals head at some inopportune time, like in the shower or in an airplane; I then build a suitable structure around that melody. GT: What do you aim for when your performance is centre stage? MF: A great performance should be a given. The content and excitement of the piece of music should be centre stage at all times. No one wants to hear an audition, and I don’t consider ‘showing off’ to be music at all. GT: Many vocal songs feature a solo that starts low and slow, and ends high and fast. Is this structure useful for instrumental writing developing pace and dynamics? MF: I’d say if it’s such a cliché concept that you are mentioning it in a question, it should probably be avoided unless it just feels right in a certain case.
GT: What type of guitar tone do you prefer for instrumentals? MF: Just go for a great-sounding tone. As with anything. GT: Do you have favourite keys or tempos? MF: I can’t imagine having a favourite of either. GT: Do you find minor or major keys easier to write in? MF: If one is easier than the other for you, you are probably not ready to write music for a living. GT: Do you have favourite modes? MF: No because I don’t play modally. In my mind, it enforces the idea that, ‘this set of notes is safe for this or that chord’. The problem with this is that with everyone learning the same exact modes, is it any wonder that so many players find it hard to sound unique?
if major or minor is easier for you, you are not ready to write music for a living
GT: What about modulations into new keys? MF: I play a lot of simple melodies, so a good key mod can be extremely effective in getting the goosebump factor. Almost all of my songs have key mods in them. GT: Do you view the backing band in a different way than you would on a vocal song? MF: Not much. If anything, they have to play ultra tight as there are no lyrics to direct the listener away from any sloppiness. GT: What are your views on harmonising melodies? MF: Some call for it, some don’t. A good tip is to not harmonise too much as it tends to cover up some, if not all of your identity. GT: What three guitar instrumentals would you consider iconic and/or have inspired you? MF: Couldn’t name one. I guess Sleepwalk is pretty good. For more info on Marty, visit www.martyfriedman.com
t’s often said that in any walk of life you gotta keep it together, man, as anyone with a single 69 vintage red blood cell in his ageing hippy veins might opine. However, I would suggest that in FretWorld 2016 this is a challenge in itself. We seem to have travelled far more than half a century from the era of 50s Soho, when hundreds of musicians could be found milling around Archer Street looking for work. It was the musical equivalent of standing around the gates of the shipyard, minus the canteen food and the respect of your fellow man. Telephone ownership was a rarity and even access to a shared call box in a communal hallway set one on a social footing not dissimilar to that now enjoyed by friends of mine who have 10-grand home offices at the bottom of their gardens. There was little alternative to getting on your bike and toddling ‘up West’ of a Monday morning in search of a ‘casual engagement’ (and not the fun kind). In contrast, today’s offers of employment are communicated via more channels than a Sky set-top box and are twice as tricky to programme. Group texts reading: ‘RU free 4 Iams commercial – ukulele and/or cowbell?” However, under more conventional circumstances you could be asked for an hour of your time or, equally, 30 years (see Phantom Of The Opera – I’m told it’s very good). You might be ‘held’ awaiting confirmation and find the time and date altered. The studio might move, the instruments you’re asked to play might change, and so it goes. Since the mini-breakdown of summer 1981 (precipitated by my leaving my Filofax on the train to Shepton Mallet) I have employed a diary service. This is vital when wrestling the constantly shifting miasma of dates and places into the vague outline of a career. But then again, I’ve always been one to throw money at any problem as a first resort. That’s what the other key event of 1981 (divorce) taught me. Now all that remains is to ensure that the diary service knows about work that comes to me directly, in order to avoid comedic slip-ups. This requires attention and a degree of self-discipline. Which leads us neatly to: How I Recently Came To Be At The Wrong Theatre.
The studio guitarist’s guide to happiness and personal fulfilment. O is for... Oh dear or (dis)Organised. After five weeks of touring the UK I found myself in possession of more than just 58 tiny bottles of conditioner and a strange urge to have all the windows in my house sealed shut. I also had a bonfire’s worth of Post-It notes containing the deranged scribbling of a peripatetic guitarist who had eaten one too many midnight club sandwiches. Even the Egyptology
and burdened only by a dinner suit and a banjo (well, nothing’s perfect). Even the job in hand: that of impersonating a bluegrass picker playing the fearsome Duellin’ Banjos on Friday Night Is Music Night had not dented my cheery disposition. But arriving at an empty theatre most assuredly did. Insert expletives here. And here. A terrified call to the nice ladies at
today’s offers of employment are communicated via more channels than a set-top box department at the British Museum were defeated by my hieroglyphics. A multitude of bookings, yes, but all had been frantically recorded with little attention to chronology. It will be no surprise that my comeuppance was about to up and come. A few days ago, I fought my way through the Post-It mountain and boarded a train to Blackfriars station, smugly bound for the Mermaid Theatre. Unseasonably warm, I mused, and even Thameslink was behaving itself. I was light of heart, two hours early
The Musicians’ Answering Service ensued, and quickly thereafter the realisation that I should have been at Watford Coliseum (conveniently situated a 10-minute drive from my home. I retraced my steps, stopping only momentarily to sob into my hedge. I drove like Senna on steroids to Watford, snuck in like a thief in the night, teeth on edge and heart in my mouth. And, of course, you’ve guessed. No one noticed. Having most definitely learned my lesson I slunk home and spent a (hopefully) profitable few hours
collating and offering silent prayers of thanks. But at trying times like these it’s of some consolation to know that one is not entirely alone in this wicked world. The very next day, I was on my way to Angel Studios in Islington when the phone rang: “Mitch. Just to let you know that we’ve got to start this morning’s session half an hour later. Yeah. Technical problem. Is that okay?” Lightly chagrined guitarist: “What’s up? Powercut? Computer crash?” A long pause followed. “Well. It’s the cellist, actually.” “What happened?” The sound of someone realising truth is indeed stranger than fiction. “Well, yeah. She’s forgotten her... you know... cello.” There may be some hope for me, after all. (NB: Memo to self. Organise the backside off the rest of this year. And don’t talk to strange cellists.) Mitch Dalton is one of London’s most sought-after musicians. His latest album, Mitch Dalton & The Studio Kings is out now. For more info go to: www.mitchdalton.co.uk May 2016
Intro Get lessons from GT tutors at IGF IGF Residential Summer School and Festival offers a unique contemporary guitar summer school experience with five courses that run side-by-side across the week for all abilities and many tastes including, jazz, blues, rock, acoustic and a brand new course for 2016, The Top 40 Guitarist – perfect for those who can’t choose between your favourite genres. In the evenings you can join the IGF House Band for jam sessions until late as you hone your performing skills for the end-of-
course final student concert. As well as jamming and lessons there will be a number of gigs and concerts throughout the week for you to enjoy. The IGF Summer School is fully residential and all in one place: the picturesque grounds of Shrewsbury School. Five different courses run side-by-side during the week. All tutors have written or still write for GT. The courses are: Jazz & Beyond (Dario Cortese), Blues (Gianluca Corona), Creative Acoustic (Chris Woods), The Top 40 Guitarist (Jason Sidwell – new for 2016!), and Rock (Tolis Zavaliaris). For more info and to book your place go to www.IGF.org.uk
Country rock ending lick
PHIL HILBORNE’S ONE-MINUTE LICK
Based upon a simple E7-D7-A7 (V-IV-I) progression, this month’s lick is a constant 16th-note phrase that uses notes from the underlying chords with the added open first string played as a pedal tone throughout. Nearly all the fretted notes on this string fall on downbeats, while the open-string notes fall on up beats. The second-string notes then fill up the gaps and are played on the remaining second and fourth 16th notes. You can play this using just the pick, with pick and fingers or, as I personally prefer, with fingers only – thumb and first finger playing the second and first strings respectively. To me, it sounds a lot more ‘snappy’ GUITAR TECHNIQUES MAGAZINE 2 5 6 like this. On the recording I used a Telecaster with a clean-ish sound but it will also work and appropriate ONE MINUTE LICK - by Phil Hilborne using a dirtier tone. If you do this you may need to employ some additional palm muting to help with note COUNTRY ROCK ENDING LICK separation. Finally, watch your timing during this lick – it should be played as accurately as possible, which at the target tempo of 138 bpm, might be challenging! After working through it remember, as always, to compose similar ideas of your own – there are tons more possibilities to be found! Moderate ©»¡£• ### 4 ∑ & 4
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Intro 60 SECONDS with...
A minute’s all it takes to find out what makes a great guitarist tick. Before they jumped into their limo for the airport we grabbed a quick chat with UK blues guitarists Ben Poole and Steve Nimmo. GT: Do you have a type of pick that you can’t live without? BP: I play a lot with my fingers, but when I do switch to a pick I use Dunlop Jazz III XLs. SN: I played Dunlop Tortex standard .73 until recently, when Orange gave me a bunch, which were up a gauge and I enjoyed using them. They are the only pics that I can use without dropping them. GT: If you had to give up all your pedals but three...? BP: The Seymour Duncan Pickup Booster is a great boost that just thickens the tone slightly. Octavius by Big Knob Pedals in LA is a great octave and fuzz that has very little hum. Rotosound Fuzz – I was given one of these when I visited the factory a few years ago – a great sounding fuzz pedal. SN: I’ve never been that reliant on pedals. I could easily live with a TS9 Tube Screamer for a bit of drive, my Morley Steve Vai Bad Horsie wah-wah and a boss DD-2 delay to add a bit of texture to the solos. GT: What was the first guitar you really lusted after? BP: Gibson Les Paul! SN: Black Les Paul Custom. The guitarist in Texas had one and I watched him throw it to the ground at the end of a gig at Glasgow Barrowlands. I was raging. Here’s me with a shitty Hondo LP copy and he’s trashing the Holy Grail! GT: Is there anyone’s playing that you’re slightly jealous of? BP: Derek Trucks is out of this world with his feel and phrasing. He can conjure such emotion. SN: Derek Trucks. The way he plays looks so effortless and his fluidity and control is second to none. His solos simply give me goose bumps. GT: Your house is burning down: which guitar do you salvage? My first Telecaster. It’s just a USA Standard, but it’s travelled with me all over the world, has multiple battle scars and has been modded to the point where it’s almost unrecognisable. It also has the same DiMarzio pickups as the Richie Kotzen Tele, as I’m a big RK fan.
Ben Poole: his new album is Time Has Come SN: Evil question! It would be between my 1976 Les Paul Standard and my 1991 Les Paul Standard. The 76 because it’s probably now classed as vintage, and the 91 because I bought it new and it’s been bashed up, played in, had the neck snapped off, been stolen and found again! I’d say the 91 because of the history we have together! GT: Who was your first influence ? BP: My mum and dad suggested I have guitar lessons. My dad was a musician so there were lots of instruments lying around the house. I had a guitar teacher called Andy Larmouth when I was about 11. He introduced me to everything from Guns N’ Roses and Metallica, to Gary Moore and Hank Marvin. He got me into the guitar in a big way, especially when he played me Voodoo Chile by Jimi Hendrix. SN: Eric Clapton after seeing the Eric Clapton & Friends video with the red Strat and shiny shirts. He made a howler of a mistake and a
Steve Nimmo: Sky Won’t Fall is out now! little caption came up on screen saying ‘oops!’. He then just carried on playing the best solo ever! GT: The best gig you ever did? BP: Playing With Fire Festival in Omaha, Nebraska in 2013. My first ever show in the States playing to 10,000 people. SN: A festival in Holland called Breda Barst. It was the first time I’d played at a music festival; not just a blues festival, so there were all sorts of music fans there from teenage goths to stoners and they were all just digging the show. GT: Your worst playing nightmare? BP: At one of my first gigs when I was around 14, a drunk punter took a fire extinguisher off the wall and sprayed the band. Funny looking back on it, but not at the time! SN: My tuner switched itself to 431 hertz! So, I was in tune and so was my bass player but together we were completely out! It took a while to work out what was happening. Eventually I stopped the song,
clapton made a howler of a mistake and a caption came up on screen saying ‘oops!’
apologised to the crowd, worked it out and carried on where we left off. GT: If you could put together a fantasy band with you in it... BP: Paul Rodgers, Paul Kossoff, Andy Fraser, Simon Kirke – Free! SN: Derek Trucks, Eric Clapton, Paul Rodgers and Danny Bowes from Thunder on vocals. Steve Gadd on drums and Phil Lynott on bass with Tal Wilkenfeld joining in on a few numbers. And Dr John in on keys just for a bit of gumbo! GT: Who’s the greatest guitarist that’s ever lived? BP: Jimi Hendrix. For shaking up the way everyone looked at the guitar. He pushed the boundaries with everything from phrasing, tone, technique, etc, and was a creative genius in the studio. SN: For pure feel, it would have to be Peter Green. One note could make a grown man cry! GT: Is there a solo you really wish you had played? BP: Parisienne Walkways by Gary Moore. The Blues Alive version recorded in Paris in 1992. It’s one of the most emotional, beautiful, and well-constructed solos ever. SN: Snowy White’s Bird Of Paradise. Such intensity in one small burst. I used to listen to the solo over and over again. I met him once when I was about 19 years old. He let me play his old Goldtop. I’ll never forget that! GT: What’s the solo or song of your own that you’re most proud of? BP: Time Might Never Come from my latest album. It’s very Gary Moore influenced and inspired. SN: Walk The Thin Line from my new album. It’s not got a big solo so I had to grab and keep the listener’s attention by making sure the song and the melody were strong. Stevie and Ben co-headline a UK tour until May 22nd. Steve’s new album, Sky Won’t Fall, is out now on Manhaton Records. Ben’s album, Time Has Come, is released by Manhaton on April 1st (see pg 95). More info: www.stevienimmo. com and www.benpooleband.com May 2016
That Was The Year...
Jobs, inf lation and f lyers MORE AND MORE PLAYERS
are taking notice of luthier John Monteleone’s exquisite guitars. Particularly stunning are the Radio Flyer, a contemporary single-cut acoustic archtop and the Radio City that offers a more traditional flavour. The names acknowledge the importance of the radio for all forms of American music and both portray stunning attention to detail. The Flyer has ‘dolphin’ sound holes on the top and incorporates Monteleone’s side sound holes too.
SCOTLAND VOTES TO CREATE ITS OWN
parliament; Scottish scientists successfully clone an adult sheep and call her Dolly; the greenhouse effect is blamed for the increase in ground ice breaking off in Alaska; and El Nino forms in the oceans causing unstable weather conditions including increases in hurricanes and drought.
DIANA, PRINCESS OF WALES CALLS FOR
a ban on international land mines then later in the year sadly dies in a car crash in Paris. Extremists open fire on tourists in Egypt’s Valley of The Kings and kill 70; Hong Kong returns to Chinese rule; Mars Pathfinder lands on the surface of Mars; and repair work is successfully carried out on the Hubble Space Telescope.
GUILD OPENS A NEW CUSTOM SHOP
in Nashville, currently valued at $261 billion dollars; Microsoft is now the world’s most valuable company; Steve Jobs returns to Apple Computers as the man in charge; BBC News 24 and Channel 5 are launched; the first Harry Potter book by JK Rowling is published; the inflation rate stands at 3.1% and interest rates are at 7.25%.
WASHBURN INTRODUCES THE CARVED top
(P/Centurian) Series of guitars. The unattractively named CT2K is the entry-level model and features an offset single cutaway mahogany body, mahogany neck and 22-fret rosewood fretboard with pearl dot inlays. It’s loaded with a pair of exposed coil humbuckers and comes in Black, Tiffany Blue or Sapphire Blue finishes. Alternatively, the CT290K offers P-90 style pickups and a body finish of Translucent Red or Blue.
TAKING THEIR LAST BOW ARE
Michael Hutchence, Jimmy Witherspoon, Jeff Buckley, John Denver, Glen Buxton (Alice Cooper band), Tony Williams, Billy Mackenzie (Associates), Luther Allison and La Vern Baker.
JOE NAYLOR’S REVEREND GUITARS
are new on the streets and causing quite a stir in the USA with Fenderesque off-set body and six-in-a-line tuners but with a freshness about the overall presentation. The B-Cat has a humbucker and a single-coil pickup, the Avenger has three Strat styled single-coils and the Spy has three Lipstick case units. There’s a chromed forearm rest on the top of the body and the scratchplate features a stepped profile initially from jack socket section to bridge. All offer exceptional sound qualities.
Jam tracks tips
Use these tips to navigate our bonus backing tracks ➊ Funk jam (G) Let’s start with this old-school funk jam in G. At 71 bpm it’s quite slow and ideal for warming up as well as practising your 16th-note funk strumming patterns. There are two sections; one based on a G chord (G7, G9, G13, etc) and one based on a C chord (C7, C9, C13, etc). For single-notes lines and soloing, try G minor Pentatonic (G-Bb-C-D-F), G Mixolydian (G-A-B-C-D-E-F) and G Dorian (G-A-Bb-C-D-E-F).
➋ Slow blues shuffle (G) You can play along to this slow blues shuffle jam in G using easy open chords (G-C-D) or practise your soloing using the G minor Pentatonic scale (G-Bb-C-D-F). It’s also a great idea – and a classic blues trick – to mix in some G major Pentatonic (G-A-B-D-E) too. Here are the relevant I-IV-V (7th) arpeggios: G7 – G-B-D-F; C7 – C-E-G-Bb and D7 – D-F#-A-C.
➌ Swinging jazz-blues (Gm) For this G minor jazz-blues I’d recommend using G minor Pentatonic (G-Bb-C-D-F) and G minor scale (G-A-B b-C-D-E b-F) to start. For the turnaround (E b7-D7) I’d use Eb Lydian dominant (E b-F-G-A-B b-C-D b) and G Harmonic minor (G-A-Bb-C-DEb-F#). You can also get a little more fancy on the D7 and use D Altered scale (D-E b-F-G b-A b-B b-C), treating it as a D7#9 chord.
hot for teacher
➍ Smooth jazz-blues (Am) This one is ideal for jazz harmony beginners. For soloing, I suggest using A minor Pentatonic (A-C-D-E-G) and A Natural minor scale (A-B-C-D-E-F-G). With a similar turnaround to Track 3, I would use F Lydian dominant (F-G-A-B-C-D-E b) for the F7 chords in the turnaround and either A Harmonic minor (A-B-C-D-E-F-G#) or E Altered scale (E-F-G-A b-B b-C-D) for the E7 chord. The 7th arpeggios will help too: Am7 (A-C-E-G), Dm7 (D-F-A-C), F7 (F-A-C-E b), E7 (E-G#-B-D). Even though we list the scale options for these backing tracks, remember music is about melody and not just scale bashing! Jam tracks by Quist. For free scale maps and hundreds more tracks, visit www.quistorama.com. You can also subscribe to www.youtube.com/ QuistTV to get all the latest tracks and licks. Or find Quist and his jam tracks on Twitter, Instagram and Facebook.
WHO? Andrea Basiola TOWN: London, W3 STYLES TAUGHT: Rock, pop, blues, funk, acoustic, classical SPECIALITY: Classic rock, hard rock QUALIFICATION: Diploma in Guitar Performance LEVELS: Beginners to advanced RGT exams up to Grade 8 READING: Beginner to intermediate CHARGES: £30 per one-hour lesson SPECIAL: Fully-equipped music room/ studio; can record lessons. Skype lessons also available TEL: 07879 822235 EMAIL: email@example.com