Last month’s column was dedicated to the incredible and highly influential playing of Mountain’s Leslie West, whose beautifully melodic phrasing, signature slow, wide vibrato, and rich guitar tone set the standard for blues-rock–style guitar of the highest order in the late Sixties and early Seventies.
Blues guitarist and noted instructor Andy Aledort pays tribute to the late, great B.B. King in the all-new August 2015 issue of Guitar World. Below, he breaks down the legendary guitarist's 10 greatest guitar moments. Be sure to share your thoughts and opinions in the comments below or on Facebook!
Though rarely mentioned in the pantheon of great rock guitarists, Mountain’s Leslie West is unquestionably one of the most influential and original players to emerge from the burgeoning late-Sixties rock scene.
Designed by John Page, co-founder of the Fender Custom Shop, the Ashburn is a production guitar ($1,499 MSRP) with all the features in the high-end custom guitars Page builds himself. It’s produced to spec in a state-of-the-art workshop in Japan, then set up in the U.S. by authorized John Page Classic techs.
He has the innate ability to move smoothly from one great, imminently melodic phrase into the next while also both riding the groove and pushing it along. When improvising, Clapton will subtly mix up the rhythms of his lines to create clearly defined syncopations that serve to strengthen the melodic quality of his solos.
These videos and audio files are bonus content related to the May 2015 issue of Guitar World. For the full range of interviews, features, tabs and more, pick up the new issue on newsstands now or at the Guitar World Online Store.
Part of my role as a member of former Allman Brothers Band guitarist Dickey Betts’ band, Great Southern (along with his son, guitarist Duane Betts), is to provide improvised rhythm guitar parts to songs that oftentimes develop into long jams with many instrumental solos.
Many of these songs—like “Blue Sky,” “In Memory of Elizabeth Reed” and “No One Left to Run With”—feature soloing sections built upon repeating chord vamps.
In this endeavor, I have developed a rhythm guitar approach that I can use in any of these jamming-type situations, which is to explore small chord voicings that connect to one another via voice leading techniques, such as close voicing.