Modern Blues Licks: #6 Warren Haynes

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Modern Blues Licks is a preview video lesson series for Corey Congilio‘s upcoming course, 50 Modern Blues Licks You MUST Know. Check in every week for a new modern blues lick video lesson, and be on the lookout for the full course with tab, jam tracks and more in the near future. Also check out Corey’s latest course, 50 Texas Blues Licks You MUST Know — it’s killer! Subscribe for updates!

warren-haynesI first heard Warren Haynes when he joined the Allman Brothers Band and debuted on the album Seven Turns. In my opinion there was no better choice to share the stage with Dickey Betts. Warren does many things well. He writes captivating riffs, plays a mean slide guitar and can play some tasty stuff over just about any kind of groove.

I got the lick from the song Man In Motion. The lick is in E minor pentatonic but, the trick is the rhythm he’s playing. The fingering is tricky so, take this one slowly. This could be a good warmup too. Good stuff here!

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Modern Blues Licks is a preview video lesson series for Corey Congilio‘s upcoming course, 50 Modern Blues Licks You MUST Know. Check in every week for a new modern blues lick video lesson, and be on the lookout for the full course with tab, jam tracks and more in the near future. Also check out Corey’s latest course, 50 Texas Blues Licks You MUST Know — it’s killer! Subscribe for updates!

Robert Johnson On Speed?

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By Steve “Red” Lasner

robert johnson bluesMuch controversy has arisen about whether or not the recordings of Robert Johnson we have been listening to for years were speed altered. Some musicologists are convinced Johnson’s released recordings are 20% faster than those he performed in two solo sessions in 1936 and 1937, and they wonder how this happened, when it happened, and why it happened.

Many blame advances in technology, some claim it to be a conscious decision made during the mastering process, and others claim that there actually is no speed alteration. If the recordings indeed were sped up by 20%, slowing them down would result in a significant change in pitch and tempo that would have a serious impact on the history of the blues and all of the music and musicians influenced by Johnson. Is it possible that we have never heard what this very influential singer-guitarist truly sounded like?

You be the judge:

“Crossroad Blues” – Fast (original):

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“Crossroad Blues” – Slow (revised):

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Steve “Red” Lasner has rubbed elbows and performed with many great and famous musicians including Buddy Miles, John Sebastian, Derek Trucks, Robben Ford and many more. In 2009 TrueFire released Red’s first instructional guitar course Blues Expose. Red continues to perform locally, nationally and internationally and continues to produce instructional material.

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50 Low-Down Rhythm Licks: #3 Soul Man

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by Adam Levy

This guitar lesson is a preview of what’s to come in Adam Levy‘s 50 Low-Down Rhythm Licks. Stay tuned for more to come and an announcement of the full course soon. Be sure to subscribe to stay tuned!

Soul Man - Steve CropperRolling Stone magazine rated Steve Cropper as #36 on their list of 100 Greatest Guitarists. For my own personal list of all-time guitar greats, I’d rate Cropper as #2 or #3. The first time I heard him was probably on Otis Redding’s “Dock of the Bay” or Sam & Dave’s “Soul Man” (later covered by the Blues Brothers, with Cropper reprising his role). His Telecaster tones on these classic 1960s soul records were always a little gritty and very much to the point—with no effects other than the occasional thrum of amp tremolo. Everything Cropper plays grooves from the first note to the last, and he never ever gets in the way of the singer.

The rhythm lick in this lesson comes from the verse sections of Sam & Dave’s 1967 hit, “Soul Man.” It’s essentially a one-chord vamp on G major. Instead of playing a full six-note barre chord, Cropper played a stream-lined four-note version, ducking the guitar out of the way of the song’s busy bass line. He answers each short vocal line with a higher G shape (comprising only three notes this time), then uses an A minor triad as a quick passing chord on his way back to the original G shape. Ingenious, and hooky as heck.

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Adam LevyA longtime friend of the ‘Fire, Adam Levy has been unlocking the guitar for students of all levels and varied interests for decades. His teaching experience comprises several years with the National Guitar Workshop, the Blue Bear School in San Francisco, and private lessons for New School in New York City. He is also a talented artist and songwriter, having worked with Norah Jones, Amos Lee, and Tracy Chapman. Be sure to check out Adam’s official website, his insightful blog, and his latest album, The Heart Collector.

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‘What’s Your Blues Name?’ Chart Gives You The Nickname You Need

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Every great blues guitar player needs a great nickname. Whether you like it or not, one’s handle can have a significant impact on your musical career and legend. But what if you weren’t born with a name that fits the blues?

Well, luckily, a handy chart has been created to give everyone a blues name. Check it out below and be sure to share your new moniker in the comments!

What's Your Blues Name Chart

So, what’s your blues name?

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50 Jazz Blues Licks: #28 Jimmy Forrest

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50 Jazz Blues Licks is an exclusive series of video guitar lessons by David Hamburger covering the jazz blues styles of historically great guitarists like George Benson, Kenny Burrell, Joe Pass, and many others. A new lick will be released each week, so be sure to subscribe and check back often!

Jimmy ForrestWhen I lived in New York I spent most of my radio time with WBGO, the Newark-based 24-hour jazz station where, among other things, Bob Porter hosted the show “Portraits in Blue.” No matter who Porter profiled on any given week, I was always transfixed by the opening theme, which I eventually discovered was a track by saxophonist Jimmy Forrest called “The Bolo Blues,” which appeared on a1961 Prestige album called Out of the Forrest. Speaking anachronistically, it’s the 1950s version of a slow jam – when the lights dim and the downtempo, gutbucket sax licks start wafting through the window, you know the star of the film is about to get lucky, or get shot trying. Forrest was best known for another blues, “Night Train,” which was adapted from an earlier Duke Ellington tune and has an equally classy cultural role as the embodiment of the mid-century stripper groove. All that steaminess aside, however, Forrest was also a badass uptempo purveyor of bebop, as evidenced by his playing on organist Jack McDuff’s 1961 record The Honeydripper – check out the solo he tears off on the opening blues and you’ll see what I mean. Grant Green and McDuff are no slouches on this album either, but Forrest’s playing on tracks like this and on “Sunkenfoal” from 1959’s All The Gin Is Gone is at once gritty and dazzling, no mean feat.

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If you like these guitar lessons, be sure to also check out Frank Vignola’s Jazz Up Your Blues, which showcases essential jazz blues vocabulary and techniques, Mark Stefani’s Jazzed Blues Assembly Lines, which takes you on a sonic learning tour through the funky rhythm and blues stylings and fretboard concepts of top jazz blues players, and of course all of David Hamburger’s courses.

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