Walker’s distinctive style mixed elements of Jazz with Blues, and his tunes often featured interesting chords and embellishments that are great material for intermediate and advanced players looking to spice up their standard Blues fare. To get the sound, plug an electric guitar into a fairly clean tube amp. Use the middle or bridge pickup to get a brighter tone. Play with a pick, and aim to play partial chords (as opposed to open or full barre chords) when comping. You’ll also find that T-Bone uses a lot of chromatic (passing) chords to jazz up the proceedings. For leads, try using the third as your target note as often as you do the root note.

Here’s a great clip of Walker doing his classic “Stormy Monday.” Check out the unorthodox method he uses during the solo, holding his guitar so that the strings are practically parallel with the floor!

Popular T-Bone Walker numbers include:

• Papa Ain’t Salty
• Stormy Monday
• T-Bone Shuffle
• Why Not?

You can learn more about T-Bone Walker’s life and influence over at Wikipedia.

If you’re looking to emulate the “Jimmy Reed sound,” use the neck pickup on your guitar, and put your amp on a clean setting with a little bit of reverb (or play an acoustic guitar). Make sure you play “behind the beat:” In other words, keep your rhythm playing on the lazy side. You can practice this by playing with a metronome set to around 96bpm (clicks on 1-2-3-4) and letting the beat “pull you along,” as my mentor Will Brady used to say.

Popular Jimmy Reed songs include:

• Ain’t That Lovin’ You
• Baby What You Want Me To Do?
• Big Boss Man
• Bright Lights, Big City
• Shame, Shame, Shame

You can learn more about Jimmy Reed’s life and influence at The BluesHarp Page, and over at Wikipedia.

The thing that makes movable chord shapes your über secret weapon is that, once you learn one finger pattern, you can use it up and down the neck of the guitar and play that chord variation in any key you want. Learn this one fingering and the note names on the sixth string of the guitar, and suddenly you know all of the major triad chords. Somebody say woot?

While this isn’t necessarily the most desirable or convenient way to play songs on the guitar, you can see how — when in a bind — knowing these shapes can at least get you something to work with. This particular shape will also serve as the starting-point for many of the other grips we’ll discuss in the future. Learn it well…

Isn’t this just a plain old bar chord?

When I was first learning guitar, we called this grip a “bar chord.” After all, you make a “bar” with your finger, right?

Well, as you’ll see over the coming weeks, their are several varieties of barre chords. A barre chord is any combination of three or more notes where you are using one or more of your fingers to fret multiple notes at once; this one just happens to be one of the most commonly used in popular music. It’s a major triad (it has only three different notes in it) that uses the same fingering pattern (shape) as a E major chord.

“Wait a second,” you might be wondering, “I see six notes in this chord, not three.”

Excellent observation. You would be correct! However, in this grip, some of the notes repeat at a higher pitch.

Alright… Here’s the theory stuff

This shape contains the first, third, and fifth (I, III, V) notes of the corresponding major scale: Three I’s, one III, and two V’s, to be exact. Hence the technically correct term “triad,” meaning “three notes.” Check the diagram to see what I mean.

If you were playing this chord in the open position, you’d be playing an E major triad (The lowest note in the chord — the root note — tells you what chord you’re playing, and what scale to use, for this grip. The root notes in our diagrams are colored blue). The notes of the E major scale are:

I. E — II. F# — III. G# — IV. A — V. B — VI. C# — VII. D#

So, the notes in this chord are E, G#, and B (I, III, and V). Move it up one fret to F and (in addition to having to use a barre), you’d be playing the I, III, and V from the F major scale:

I. F — II. G — III. A — IV. Bb — V. C — VI. D — VII. E

In other words, the notes F, A, and C.

Keep going up the neck, and — to paraphrase old Jon Bon Jovi — the rule stays the same, only the note names change.

To be honest, from a practical perspective, the only note name that you really need to keep track of is the root. When playing or jamming with other musicians, you’ll more often refer to the scale number (more correctly called the “scale degree”). Since the degrees are universal and completely movable from one chord (or key) to another, it makes a handy way to communicate. Ultimately, you should learn all of your note names, in addition to your scale degrees, but if you’re just starting out, focus on the numbers. It’s easier.

Because this shape comprises one of the ever-important “CAGED” chords, I’ve actually included two grips in this installment: the chord in the open position, and the movable barre chord. We’ll cover all five of the CAGED chords in the coming weeks.

Practice, practice, practice

If this shape is new to you, be sure to practice it and learn it in all positions on the guitar neck. This is a simple task of moving the shape up one fret at a time, but while doing so, make sure that you name the chord you’re playing (E, F, F#, G, etc.). Then try grabbing this grip at a random position and saying the name of the chord out loud (fifth fret is A, ninth fret is C#, etc.). This will help you learn the notes on the sixth string of the guitar. Your goal should be to get your fingers familiar enough with this chord shape that you can grab it cold, without even thinking about it.

Remember: When grabbing any movable (barre) chord, make sure that the thumb of your fretting hand is on the back of the neck, right in the middle. Since you’re making a “barre” of your first finger, make sure that all six notes sound cleanly. This can take some getting used to, especially if your thumb and first finger aren’t used to the workout. If you feel the palm part of your thumb start to cramp up, take a break, shake it out, and let your hand relax. You don’t want to overdo it right away.

Combine this with next week’s grip (the movable major A shape) and you’ll be well on your way to playing almost any Blues song that shuffles your way.

Stay tuned…

With more than fifty albums to his name, Mayall’s latest release, In the Palace of the King, pays homage to the famous blues guitarist who was so influential to him and his protégés. But, before you get all excited about the prospects of hearing Mayall’s rendition of B.B. King’s “The Thrill Is Gone,” or Albert King’s “Born Under a Bad Sign,” a quick introduction might be in order: While the aforementioned icons are unquestionably the “Kings of the Blues,” singer and guitarist Freddie King was another member of the music royalty who, while never quite getting the accolades of his namesakes stateside, was just as electrifying a performer, with an authoritative voice and a big, biting guitar attack. While the Kings Albert and B.B. may have ruled the American blues scene, there is no questioning the influence and popularity that Freddie had overseas. In one of the numerous tragedies that color the blues portrait, King died in 1976. The 42 year-old giant succumbed to heart failure while touring. Mayall summarizes his views in “King of Kings,” the second to last of fourteen tracks on this release:

He was a big man from Texas
And he played an even bigger guitar
He was the king of the kings
Born to be a superstar
When the British blues exploded
That man was hero of the day
He got us on our toes
When he came out with his Hideaway
Clapton, Green and Taylor
He showed ‘em all the licks to play

While the record is dedicated to King, it is perhaps more accurate to say that the tunes are inspired by the big man from Texas. Some of the songs (most notably, “Going Down”) are Freddie King staples, while others are written by Mayall and – in three cases – Leon Russell, whose Shelter Records label King recorded for in the seventies. The tracks comprise a quirky collection performed in a variety of blues styles. The jump blues opener, “You Know That You Love Me;” the muscular “Going Down;” the slow, maternal ballad “Time To Go;” the R&B infused “I’d Rather Be Blind;” and the Chicago-styled “Big Legged Woman” show the versatility of the band more than they recreate the sounds of their benefactor. Notably absent are renditions of the R&B hits (“Hideaway,” “The Stumble,” “San Ho-Zay,” “Lonesome Whistle Blues,” and “I’m Tore Down”) that King charted in the States, suggesting that the motivations for this tribute are more personal than commercial.

Other quirks include a title track that evokes a completely different king than the one who played the big Gibson guitar: The Mayall penned “In the Palace of the King,” sounds more like “Viva Las Vegas” than “Hideaway.” And, ironically, in “King of Kings,” the piano is the ruling monarch; a song hailing guitar royalty contains only a subdued twelve bars of guitar soloing, while Mayall tickles the ivories and trades several choruses with tenor saxophonist Red Holloway. These idiosyncrasies do nothing to detract from the enjoyment of the musicianship, but they are, nonetheless, interesting to ponder. It just goes to show that Mayall is comfortable paying homage and carving his own path at the same time.

Encased in stately packaging, the CD cover has Mayall looking quite like royalty himself, sitting in an amber-hued Victorian parlor picking a vintage Fender while Freddie King peers over his should from an old photo. Fellow pickers will appreciate that the track listing includes – along with the typical title, track length, lineup, and writing credit – a note indicating the key of the song; a handy bit of info for those who might want to play along.

Good luck, however, keeping up with guitarist Buddy Whittington. True to form, Mayall has surrounded himself on these tracks with impeccable musicians and Whittington plays up to the fabled reputation of past Bluesbreakers on every track, save one: “Cannonball Shuffle” is masterfully handled by the inimitable Robben Ford, who drops in to pay his respects on this track, which he also wrote.

In addition to Whittington, the group includes Joe Yuele on drums, Hank Van Sickle on bass, Tom Canning on organ, Lon Price on Saxophone, and Lee Thornburg handling the brass work. And, while Mayall’s vocals have never been his strong suit (think “acquired taste,” like okra or chit’lins), his harmonica playing adds authenticity to these songs and his musical sensibilities make the entire collection listenable at worst and downright electrifying during its best moments.

With In the Palace of the King, John Mayall manages to accomplish the noteworthy tasks of honoring one of his heroes while reaffirming the considerable reputation of his own band. That he manages to piece together a unique and ultimately enjoyable collection of recordings in the process is admirable and provides a fine – if somewhat less influential than his legendary recordings from three decades ago – example for another generation to learn from. The father figure continues to light the path of the blues.

Originally posted on VintageRock.com

On the positive side, viewers are given the chance to see a truly unique musician and get a closeup encounter with his homespun technique. Unlike most guitarists, Collins tuned his instrument to the key of F minor and choked up on the neck with a capo — something more akin to Joni Mitchell than your run of the mill blues guitarist. The sounds he produces, however, are unmistakably tough and stinging, as he plays with his thumb and forefinger; another trademark of his style. Furthermore, Collins is backed by a solid band. Abb Locke plays a satisfactorily greasy saxophone and backup guitarist Rob Noll plays well enough in his own right. The rhythm section of Johnny B. Gayden on bass and Casey Jones on drums are rock solid. The Icebreakers lay a foundation somewhere between roadhouse blues and R&B funk and compliment Albert’s frosty tones like grits with gravy.

Special guest Southside Johnny makes a lackluster appearance on “Brick,” blowing an uninspired harp that lets the air out of an otherwise excellent tune. And to further lament, the set was fairly lean on the humor that Collins applied liberally to his songwriting. Songs like “Too Many Dirty Dishes,” “I Ain’t Drunk (I’m just Drinkin’)”, and “Don’t Go Reachin’ Across My Plate” — tunes that showcase his wit as well as the wicked guitar playing — are staples of the Collins catalog. It’s too bad that this eight-song performance left these selections out. The DVD package itself also leaves much to be desired. Complete with typos in the captions and looking as though it was videotaped in a high school gymnasium (loved the dry ice effect), the DVD doesn’t offer much for fans other than a solid performance by Collins and the Icebreakers. The “extras” on this DVD include a written Albert Collins biography and an interview with the producer. Pretty tepid stuff. In the end, though, it’s the performance that makes the DVD worth viewing and — for blues fans — owning. Watching the infectious Collins perform is its own reward, and sadly, makes us miss him even more so many years after his death.

Originally posted on VintageRock.com.

Robert Johnson — The Complete Recordings

Johnson’s style defined the Mississippi Delta blues of the first half of the 20th century. With the possible exception of Willie Dixon, no artist has had a bigger impact on modern blues and rock than Robert Johnson. This two-CD boxed set is required listening for any music fan.

Willie Dixon / Various Artists — The Willie Dixon Chess Box

Pair this collection with the Robert Johnson boxed set and you have original versions of every blues tune Led Zeppelin ever “wrote.” This two-disc set shows why Willie Dixon may be the most important man in the history of the genre. Dixon penned the hits that legends like Muddy Waters, Howlin’ Wolf, and Little Walter built their careers around, and they can all be found on this seminal collection. Be it as a writer, singer, bass-player, teacher, or father-figure, Willie Dixon was Chicago blues.

Muddy Waters — Folk Singer

Muddy Waters was the first genuine blues star, and for good reason: His presence, command, and charisma were unmatched during his 30-plus year career. While this landmark record suggests a selection of folk tunes (and was designed to catch the interest of the growing — primarily white — folk audience of the mid-1960’s) it is, in fact, Muddy going back to his blues roots; mixing his electric delivery with a sparse, acoustic band that included Willie Dixon and a very young Buddy Guy. With Folk Singer, the original crossover album, Waters did more to push the genre to the forefront of a new generation’s conciousness than any record before it. It still stands up as one of the great blues records ever recorded.

B.B. King — Live at the Regal

Put to vinyl in 1965, this is B.B. at his best. A recording that influenced the likes of Eric Clapton and Joe Walsh, “Live at the Regal” showcases King’s remarkable vocal talents and his signature guitar tone better than any live record I’ve ever heard. Listen to the girls go wild (free of charge, no less)! Frank Sinatra had nothing on the “King of the Blues.”

Albert King — King of the Blues Guitar

Albert King was actually one of three “Kings of the Blues,” the other two being B.B. King and guitarist Freddie King. All three musicians were great in their own right, but Albert’s raw, cutting tone and funky leads made him a perfect match for the blues-infused rock and roll that was forming in Britain in the mid-1960’s. Albert was a big man with a big sound, and his influence on the up-and-coming kids from England (including Eric Clapton, Jeff Beck, Jimmy Page, and Pete Townshend) during the decade is undeniable. Later on, players like Stevie Ray Vaughan would incorporate Albert’s signature licks into their own styles.

Bessie Smith — The Bessie Smith Collection

Bessie Smith is to blues what Billie Holliday is to jazz. She sang with grace, authority, and a sensibility that few vocalists of any style could match. To listen to Bessie Smith in the 1920’s is to hear a popular music that mainstream America wouldn’t know until some three decades later. Unlike many of her contemporaries, her music is still as vital today as it was nearly a century ago.

T-Bone Walker — T-Bone Blues

Bridging the gap between jazz and blues, Aaron Thibadeau “T-Bone” Walker played a sophisticated style that mixed complex melodies with the raw sound of the Texas blues. He was the first great electric blues guitarist, who’s style profoundly affected the playing of a young B.B. King. This collection features his best (and best-known) recordings.

Little Walter — His Best (Chess 50th Anniversary Collection)

“Little” Walter Jacobs is widely held as the greatest of all the great blues harmonica players. In addition to penning hits such as “Juke,” his style and authority while cutting sides and sitting in on countless Chess sessions makes him an important piece of the Blues puzzle. Paul Butterfield idolized Little Walter, and many guitar players have acknowledged that his tone and phrasing influenced their own playing.

Elmore James — The Sky Is Crying: The History of Elmore James

Elmore James may not be as well known as, say, Muddy Waters or B.B. King, but his influence on blues and rock music is just as significant. Jimi Hendrix, Eric Clapton, Billy Gibbons, and many other guitarists owe a debt of gratitude to “Elmo’” and his abrasive, raucous slide guitar and frenzied voice.

Various Artists — Alligator Records 20th Anniversary Collection

No record company has done more in the last three decades to promote and preserve the blues tradition than Alligator Records. Released in 1991, this two-CD set contains 35 tracks from the best and the brightest modern blues acts and classic “originators.” If a blues neophyte could only afford to buy one record to start their collection, they’d be hard pressed to find a better selection than this.

Possessing a style that is equal parts Muddy Waters, Guitar Slim, and Jimi Hendrix, he has profoundly influenced the sounds of players ranging from Eric Clapton, to Stevie Ray Vaughan, to John Mayer, and serves as a de facto ambassador for a genre that is, sadly, but inevitably, losing many of its founding fathers.

He has shared the stage and studio with just about everybody: The aforementioned Clapton, Carlos Santana, David Bowie, and Keith Richards, to name a few. And then there are the Blues legends: Sonny Boy Williamson, Otis Rush, Willie Dixon, Albert Collins, B.B. King, and, of course, Junior Wells, with whom Guy partnered during the 60’s to record Hoodoo Man Blues, a landmark recording and one of the best Blues records of the era.

And so it is that, five decades into a stellar career and no less than 15 years since the inception of the retrospective “boxed set” phenomenon, someone — namely, Silvertone records — finally got around to compiling Guy’s body of work into a concise, bookshelf-worthy collection. Fortunately for music fans, they did it right.

Described as “Buddy Guy’s 70th birthday gift” (Guy turned 70 on July 30th of this year), the handsomely packaged Can’t Quit the Blues offers the hard-core and casual fan alike with an impressive and comprehensive collection of Guy’s work.

Comprised of three CDs and a DVD, the collection starts with his first recording, “The Way You Been Treating Me”, captured in Baton Rouge Louisiana in May, 1957; not far from his home town of Lettsworth, where he was born 21 years earlier. From there it takes us to Chicago, and the legendary Chess Records, where Guy worked as a sideman for the architects of the Chicago Blues, including Muddy Waters and Willie Dixon. While Chess executives didn’t approve of Guy’s wild approach to playing and singing — a style inspired by his hero, Guitar Slim, and foreshadowing the music of the 60’s — they did grant him a handful of sides, which are presented here, and show him paying homage to the men that he idolized.

By the mid-1960’s, Guy was growing restless and, seeking the opportunity to express his own unique voice, jumped to Vanguard records and began recording his own material, in addition to performing on Wells’ milestone Hoodooman Blues. This collection includes two tracks from that recording, the title track and In the Wee Hours, in addition to seven other gems from the late 60’s through the 80’s — a period during which Guy toured extensively (both solo and with the Junior Wells band), but produced comparatively few studio releases.

By the 1990’s, the Blues genre was experiencing a full-blown revival, thanks in large part a renewed interest in the recordings of Robert Johnson and the commercial success of Texas bluesman Stevie Ray Vaughan. Vaughan made it no secret that he owed a great deal of his success to the influences of players like Buddy Guy, and Guy showed the world why with his 1991 album Damn Right I Got the Blues. The record featured Guy’s playing at its best and featured some high-profile guest artists, including Jeff Beck, Eric Clapton, and Mark Knopfler. The record pushed Guy out of the shadows and into the spotlight, finally giving him the recognition that he had long deserved as one of the premier purveyors of the Blues. The record sold more than 500,000 copies and won Guy his first Grammy for Best Contemporary Blues Album.

Discs two and three of the set features three tracks from Damn Right I Got the Blues, including the Mack Rice staple, “Mustang Sally,” with Beck sharing guitar duties. In addition to these tracks, the disc contains tracks from his followup Grammy-winning recording Feels Like Rain (including the title track, which features Bonnie Raitt), and a mix of excellent material from his other offerings from the decade, including tracks from Buddy’s underrated 2001 release, Sweet Tea.

Mixed in with all of these are a handful of previously unreleased tracks, including the Mose Allison tune “Your Mind Is On Vacation,” and an excellent rendition of Muddy Waters’ “Honey Bee.”

The companion DVD provides an excellent documentary, in which Guy tells the story of Chicago Blues, through his own history, humorous anecdotes, and insights. You can’t help but love the man after watching it, as he is warm, intelligent, and possessed of a undeniable charisma.

That charisma is most evident, however, in his performances, where his magnetism and showmanship are evident, even in early recordings as a sideman with Junior Wells. His playing during the 80’s and 90’s performances is electrifying, and his fearlessness on stage (and off, as he is often seen strolling through crowd, playing blistering leads while audience members look on in wonderment) are hard evidence of the impact that Buddy Guy has had on popular music over the past 50 years. Luckily, Silvertone Records finally came to that realization itself and, though we had to wait a long time, gave us a collection that is, ultimately, worth the wait.

Originally posted on VintageRock.com.