It’s definitely true that Stevie Ray Vaughan is one of my all-time favorite guitarists. Ironically, I was never really into Stevie while he was alive. Then, shortly after he died, I got hold of a video of him playing a live show and was just totally blown away by his timing, his tone, his feel, his vibrato, his phrasing — everything. Some people are just born to play guitar, and Stevie was definitely one of them.
Last night’s final Fare Thee Well show; the final joint appearance, ever, by the Grateful Dead’s "core four" of Bob Weir, Phil Lesh, Mickey Hart and Bill Kreutzmann—if you take them at their word—began and ended the same way: with a group bow and a huge roar from a giant crowd.
I am often asked how I incorporate chromatic notes into my solos and how I approach playing “outside” the given key center of a song. If you have ever used the blues scale, then you have already employed chromatic notes in some of the most musical ways possible.
I’ve noticed something about my soloing in the last couple of weeks. First, I’m not what you would consider a “lead guitarist.” I can hang, sure. But it’s not my area and I’ve never really been comfortable playing at higher speeds. That’s alright, because I make my musical living on the rhythm and layering side of the business. But I also noticed that I had some consistent problem areas as I moved across the fretboard.
Jerry Garcia is best known as the lead guitar player and primary singer/songwriter of the Grateful Dead. Though they are regarded as pioneers of the “jam band” genre that rose to prominence in the late Sixties, the Grateful Dead, unlike many of their counterculture contemporaries, never faltered with the changing times.