Wolf Marshall was absorbing music earlier than he might stroll or discuss. Born to a mom who was a live performance pianist, he napped beneath the instrument as she practiced items by Bach, Chopin, Beethoven, and Debussy. These hours formed his thoughts – and life.

“I used to be listening to intricate music, and if she flubbed a be aware, she corrected on the fly,” he mentioned. “Once you hear that again and again, your mind makes conclusions: ‘That’s the best be aware, that’s the incorrect be aware.’ It’s hard-wiring.”

By age seven, he was studying violin, adopted by piano 5 years later, then cello. When he was 15, his mother and father rented a Les Paul Junior and a Deluxe Reverb that he took to wholeheartedly, copping licks from Dick Dale and Seaside Boys data.

A decade later, he grew to become a key piece within the evolution of guitar pedagogy, serving to produce tapes and movies as musical director for the nascent Star Licks. Creating applications with Steve Lukather, Larry Carlton, Ray Flacke, Brad Gillis, Jeff Watson, and others helped make him well-known to anybody who learn music magazines, participant or not. By way of the years, his attain expanded with almost 100 lesson books and movies.

For the previous 23 years, his month-to-month “Fretprints” column has been one of many most-popular components of Classic Guitar, detailing the biographical {and professional} histories of nice gamers together with a couple of signature licks.

This yr brings Wolf Marshall’s Jazz Guitar Course: Mastering the Jazz Language, which is closest to his coronary heart and stands out as the most important to his legacy. We spoke with him to look again on his life and focus on his imaginative and prescient for the brand new e book.

What do you most recall about taking violin classes as a boy?
How I favored the texture of the strings and the vibrations in my face. It was very quick.

Why did you progress away from it?
At 9 or 10, I wanted an even bigger violin, and my mother and father determined that slightly than purchase one, I’d take piano classes from Mother, which led to my having no self-discipline in anyway (laughs). They then put me in cello classes for a yr, and that didn’t take, both.

What was so unpleasant about it?
Sitting down! It simply felt so totally different. Trying again, I recognize that it was an try and recapture the enchantment I had for a stringed instrument together with Mother’s love of classical music. However by then I used to be inquisitive about R&B and rock and roll.

The guitar first caught you ear by way of surf music.
Completely – Dick Dale, the Surfaris, the Seaside Boys’ early albums, and most significantly, Hyperlink Wray’s “Rumble,” the primary guitar track I realized by ear. I joined a report membership at 12 and my first huge buy was Dick Dale King of the Surf Guitar, Surfin’ Safari, and a wierd album of surf music with studio musicians backing film star Aki Aleong.

You have been 14 while you acquired your first good guitar, a ’56 Les Paul Junior and a Silvertone amp.
Sure, I had a Kay guitar for one month, then my people acquired the Les Paul from Betnun’s Music, which was an instrument retailer in a close-by dwelling. I realized lots on that guitar.

There was a retailer in somebody’s home?
Yeah, it was an odd scenario, however my faculty pal, Mel, was the son of the proprietor and he wished to be a bass participant, so he’d invite me and my brother to their place, and we’d play. They’d used Jaguars, Jazzmasters, Precision Basses, and a ’63 or ’64 Strat that I used to play surf songs by way of a Twin Showman. I later purchased a ’64 Strat as a result of I cherished that guitar a lot.

Once you have been 16, you began listening to Yardbirds, Blues Breakers, and Cream.
Oh, yeah! I went by way of a Beatles section, after all, and a Byrds section; the Rolling Stones’ first three albums have been enormous for me. And that led to the Yardbirds, Cream, and Bluesbreakers. That’s the stuff I performed once I began gigging on the Sundown Strip.

From listening to these bands, you backtracked to the blues?
Yeah, after Clapton and Jeff Beck – the Yardbirds “Coronary heart Stuffed with Soul,” Over Below Sideways Down and notably “Jeff’s Boogie.” After that, my uncle took me to Southern California Music, the place the third story had combo devices – drum units, guitars, Hammonds – and I acquired a brand new ’65 Tele for my birthday.

How did rising up in L.A. form your musical life? On the time, hanging out at music shops and venues might result in assembly big-name gamers.
There was a sequence of occasions. Our band performed the Sundown Strip and interacted with a number of influential musicians, like the fellows from Buffalo Springfield. I as soon as sat in with a bunch opening for the Yardbirds with Beck, and that was a thrill; I noticed his Tele and I believed, “Wow, that’s the guitar.” His sound blew my thoughts.

I hung out with Moby Grape on their first journey to L.A.; Skip Spence helped me decide a ’57 Les Paul TV at Wallich’s Music Metropolis, on Hollywood and Vine. Most importantly, I acquired helpful recommendation from Mick Abrahams, guitarist on Jethro Tull’s first album. I’d cherished his taking part in since I used to be 17; to my ears it was like Cream-era Clapton meets progressive and modal jazz. We had a deep dialog when his then-new band, Blodwyn Pig, was performing on the Whiskey. I requested “What was the magic ticket?” and he mentioned, “Get your self a Kenny Burrell album.” The following morning, I purchased Blues: The Frequent Floor at Wallich’s. It set a course in my life.

What was your band scenario on the time?
I had joined The Palace Guard, home band at The Hullabaloo, a giant membership close to Sundown and Vine within the days when taking part in pop music whereas sporting uniforms was a factor for rock-and-roll bands. The vestiges of that band grew to become Candy Wine, which rotated between golf equipment – Gazzarri’s, the Galaxy, the Crimson Velvet, and the Hullabaloo. Jim Morrison typically got here to look at us at Gazzarri’s; he was a giant fan of blues and we have been the one band on the Sundown Strip taking part in Otis Rush or Freddie King songs. Everybody else was doing British Invasion stuff. We recorded six tracks for an album earlier than our deal fell by way of.

Did that have spark your appreciation for studio work?
Properly, I used to be excited. I used to look at periods at Gold Star, which was the primary studio in that a part of Hollywood. I feel Phil Spector did stuff there, as did Ike and Tina, and Brian Wilson with the Seaside Boys. I used to be invited by a producer, who wished us to be certainly one of his “child bands,” and I noticed members of the Wrecking Crew taking part in behind a singer – I feel it was Joanna Moore, doing a rustic pop album. However guitarist Mike Deasy made sturdy impression on me as a result of he commanded the session and performed a Strat on the date.

After Candy Wine broke up, I kicked round Hollywood for a couple of yr, then moved to Frankfurt, Germany. My father was there, working for the Military as an engineer, and I wished to turn out to be a more-educated musician. Each weekend, we’d go on journeys – France, Switzerland, wherever – and I skilled a number of cultures. He’d drop me off, say in downtown Dusseldorf, and say, “I’ll decide you up at 5,” and I’d stroll round, go to golf equipment. I met a number of musicians. It was very broadening.

Have been you targeted on taking part in jazz on the time?
It was aspirational. I used to be listening to Kenny Burrell, Les Paul, Howard Roberts, Wes Montgomery, Joe Move, Johnny Smith, Barney Kessel, and making an attempt to make sense of what I used to be listening to.

After a yr, you moved again to L.A.?
Yeah, I enrolled at L.A. Metropolis School, which had a powerful jazz program the place I realized to learn charts in a band setting. From taking part in piano and violin, I knew learn how to learn music, however didn’t know learn how to learn it on guitar.

Moreover going to high school, I attended a week-long seminar in Colorado taught by Johnny Smith. His course had simply dropped and Chet Atkins got here in as a visitor performer. It was thrilling – and eye-opening! In L.A., Howard Roberts steered I examine with George Van Eps, which I did for 2 years. I’d go to George’s home each two weeks; he at all times had new music for me to study – workouts and ideas he’d placed on paper. He’d reveal and we’d play them, backwards and forwards. And he specified, “That is what this implies, that is how I do it.” A number of that I wrote down, retained, and now have within the jazz course.

George was very systematic. With him, I realized to be very organized. I then studied with Joe Move, who was the alternative; you have been simply hanging, taking part in issues collectively. Typically he’d take a telephone name and go away me sitting for 20 minutes. However the upside was the lesson was hours lengthy.

How lengthy did you examine with every of them?
With George, it was on and off each couple of weeks for 2 years. With Joe, I had solely 4 or 5 classes however they have been monumental, lasting all day. He wasn’t huge on idea or technicalities; he introduced out the intuitive facet of guitar musicianship.

What was the next step?
I began going to jazz golf equipment extra. I met Pat Martino at The Lighthouse in ’76, when he was touring behind Starbright. That was fascinating. On the time, I used to be doing a number of transcribing; I taught myself by ear as a result of Joe by no means confirmed me music as written charts. Against this, George’s stuff was so structured that I didn’t know learn how to play it inside a chunk of music – a number of ideas that didn’t have context. Transcribing Pat’s solos and writing them in notation was like having a lesson with him and putting concepts in context. He additionally inspired me to transcribe and notate, as we shared a love of calligraphy.

Howard Roberts grew to become essential to your taking part in. The place did you meet him?
Sure, he was certainly one of my earliest jazz-guitar heroes and his methodology books have been the primary that made sense to me. I met him at Donte’s, in North Hollywood, when he was conducting a workshop that ultimately grew to become Guitar Institute of Expertise (GIT). These have been lessons for future professionals and different college students included Lee Ritenour, Mitch Holder, and Tim Might.

In December of 1991, Howard proposed an concept for a music faculty utilizing computer systems related from everywhere in the world, and requested me to assist create the curriculum. He was speaking in regards to the web earlier than it was a typical actuality. After he handed in June of ’92, I obtained his pre-war Gibson ES-150 – the well-known Black Guitar (VG, August 2000) – and he continues to encourage me by way of recordings and that distinctive instrument.

You spent two years at LACC then completed your diploma at UCLA. What was your plan from that time?
I wished to enter the studios and play jazz. I acquired a gig with an R&B group referred to as Sizzling, and we toured lots behind their #1 hit “Angel in Your Arms.” There have been jazz gamers within the touring band, and it led to some L.A. studio work at locations like Davlen, Cherokee, Sundown Sound, and different studios in Hollywood and the Valley, principally doing rock and pop periods.

Which guitars have been you utilizing on the time?
I had a ’65 ES-175, a ’78 335, ’77 L-5S, an Ibanez copy of a Howard Roberts, and a few acoustics.

What have been the rock periods like?
It was like what Larry Carlton was doing – pop songs with a rock solo by way of chord modifications. Throughout that point, I began writing charts for a music publishing firm, V&M Music. I’d rent a bass participant, keyboardist, and drummer, then conduct the session. I labored with them for a couple of yr, doing pop songs, movie scores, and theme songs. That led to my first Star Licks session imitating Eddie Van Halen; I answered their advert in The Music Connection for a studio guitarist who might copy well-known gamers.

How did Star Licks begin?
Properly, the fellows who began it, Mark Freed, Andrew Cross, and Robert Decker, noticed a marketplace for that sort of training, which had a rising viewers because of guitar magazines, which had began publishing tab and classes targeted on particular gamers’ strategies. They’d the thought of cassette tapes with licks within the model of Black Sabbath, George Benson, Eric Clapton, Eddie Van Halen, Carlos Santana, and so forth. I’d transcribe the licks, change ’em a bit for the sake of copyright, play them within the studio, do the notation, they usually’d print them in a booklet to go together with the tape.

What kind of modifications would you make?
Easy issues, actually. I’d create variations with out dropping the spirit – strive different-but-similar melodies from the artist’s normal vocabulary and re-work acquainted phrases, including combos from numerous solos.

What number of Star Licks packages did you do?
Greater than 40 in each model, however principally laborious rock and metallic as a result of that was so standard within the early ’80s. We had some in style types – a “laborious rock” tape, a “blues” tape, a “nation” tape, one which was “progressive rock” with Steve Howe or Allan Holdsworth licks. When dwelling video grew to become widespread, Star Licks saved tempo; the primary video we did was with Brian Might, then Tony Iommi, Albert Lee, and Al McKay from Earth Wind and Fireplace. My very own video, Starting Lead Guitar Energy Builder, was the sixth, and it grew to become very talked-about as a place to begin for rock gamers.

Have been you principally targeted on studio work by then?
Properly, I used to be doing studio and a little bit of street work. My ear was at all times to the bottom, in search of the following studio gig, publishing demos. Typically there could be nothing for weeks, so I’d do different stuff; if someone advised me a couple of band that wanted a guitarist who might sound like Eddie Van Halen, I’d look into it.

What led to writing your first e book of transcriptions?
I’ve to credit score Pat Martino. He cherished the best way my transcriptions appeared, and inspired me to do extra. Inside a pair years, I had 250 pages of his music. When he did Joyous Lake, he requested me to do lead sheets for copyrighting.

Because the scene modified within the late ’70s, I began doing more-advanced rock stuff. I had college students who wished to study Van Halen, Robben Ford, or perhaps the Larry Carlton solo in “Child Charlemagne.” So I wrote that out. I did lots from Inside Story, Yellowjackets, Room 335, a Jay Graydon solo, some Lee Ritenour and Carlos Rios. Finally, I attached with Cherry Lane, which had rights to publish Randy Rhoads/Ozzy Osbourne music for print. They requested me to transcribe a couple of issues as a result of their transcriptionists have been piano guys who didn’t know learn how to notate Randy’s strategies – the bends, vibrato, tapping. We invented new symbols to deal with it.

What else do you recall about doing the Rhoads Star Licks e book?
It was a problem deciding what to not cowl. Twenty licks by Randy… Ought to I exploit “SATO” or “Believer”? “Over the Mountain” has good things. All the pieces off the primary album? Cherry Lane had the whole catalog, so we did three books. I additionally did a e book with audio for Music Gross sales referred to as Authentic Randy Rhoads.

Do you keep in mind what you have been doing while you heard that he died?
Sure. I used to be on the airport and someone ready for a flight mentioned to me, “You seem like someone who may be on this…” and talked about listening to a neighborhood TV-news report a couple of guitarist who died.

What was the native chatter within the days that adopted?
Lots of people knew Randy as an amazing individual and nice soul, so there was deep disappointment on the town. We instantly realized that his legacy could be necessary. There’s a number of Randy’s affect in ’80s music, even in earlier metallic bands like Judas Priest and Iron Maiden. Powerslave and Stranger in Time are so totally different from what they did within the ’70s. They have been less-bluesy and there’s classical consciousness in how the guitar leads correspond to chord modifications – that’s the Rhoads impact. The harmonic-minor sounds Randy performed weren’t widespread earlier than. Eddie Van Halen was doing neoclassical arpeggios and such, like on “Eruption,” however he wasn’t sneaking in harmonic-minor stuff all that a lot. Randy and Yngwie have been. I used to be instructing 4 days every week and all my college students have been influenced by Randy.

How did you get into journal work?
On the 1982 NAMM present, I met John Stix, who’d simply began Guitar for the Practising Musician, and he requested to see a few of my work. I labored with them till 1990, doing a month-to-month column and interviews with individuals like Stevie Ray Vaughan, B.B. King, Allan Holdsworth, Larry Carlton, and John Sykes.

What was the impetus on your Wolf Marshall Guitar Technique?
In 1990, I signed with Hal Leonard particularly to create that course, and we spent a yr creating it. It was primarily based on rock and blues ideas and strategies, and had matching transcription songbooks with audio CDs [Power Studies] in a wide range of rock music, from Carl Perkins and the Beatles to Jimi Hendrix and Bluesbreakers, from Van Halen and Randy Rhoads to Stevie Ray Vaughan and Weapons ’N Roses, to validate the tutorial materials. The unique plan was to do three volumes, however it expanded to eight and has since been translated into German, Dutch, Italian, and Japanese. As a part of that relationship, I labored as columnist and interviewer with Guitar World and Guitar Faculty for greater than three years.

You have been additionally key to beginning Guitar One journal…
Guitar One was a part of an association I had with Cherry Lane when it was being acquired by Hal Leonard, and I used to be the founder and authentic Editor in Chief. It was reciprocal; I had three years left on my contract, so I labored for Hal Leonard and GPM for a pair years to get again of their fold.

Was the journal your idea?
Sure, from ’95 to ’98 it was referred to as Wolf Marshall’s Guitar One. It emphasised training and tab, referencing my methodology and the way it utilized to rock songs. Every problem had transcriptions for 12 songs. The primary cowl was Hendrix.

Did you interview gamers?
We had two or three interviews and three or 4 academic articles – one thing on energy chords, riffs, or an album. I interviewed Steve Vai, Alex Lifeson, Chet Atkins, Ritchie Blackmore, the Scorpions, and plenty of others.

Did these discussions key on technical components of taking part in?
It dealt extra with music specifics than did different magazines. With Alex Lifeson, we talked in regards to the chords at the start of “Limelight.” There wasn’t a number of that in different magazines I’d been writing for.

Was there discuss of taking the journal past the size of your contract?
Sure, it continued with out me for a couple of years. I’d gotten a suggestion to work with Riff Interactive and Microsoft, and actually wished to be a part of the brand new on-line media. We did periods with Hank Garland answering questions on a livestream, with chat, audio, and visible content material. Identical with Steve Lukather, Albert Lee, and others. We have been breaking new floor. That’s how I ended up doing interactive chats within the late ’90s for the Expertise Music Undertaking and creating content material for Line 6’s GuitarPort on-line classes.

When did Classic Guitar ping your radar?
In 1998 or ’99. After my experiences with the opposite magazines, I acquired the sense that VG had totally different motives and had the most-honest presentation. It was on newsprint once I first noticed it. It didn’t really feel company; it felt like an underdog with a special perspective. That was interesting. I felt a pure connection.

You skilled certainly one of your private and profession highlights in 2012, while you related with Burt Bacharach.
Yeah, certainly one of my good mates, jazz guitarist Henry Johnson, inspired me to start out taking part in reside once more, so I began taking part in jazz in native locations with a community of gamers. One evening, I sat in with pianist and arranger Larry White, who later steered that Burt Bacharach name me for a gig. Burt was assembling a band to do new music and dealing with a lyricist. It was thrill to get a name from him.

The place and when did you play?
We did exhibits twice a day on the Outdated Globe Theater in Balboa Park from November of 2012 by way of January ’13. It was thrilling. I acquired to sit down with the arrangers and work on guitar components. Burt was there and concerned throughout rehearsals, taking part in piano; afterward, he and I labored on components collectively, which was one of many excessive factors of my life as a result of he was an idol. As a child, I knew all of his hit songs.

What number of items have been within the band?
He had a full rhythm part – bass, guitar, drums, piano, synthesizer, horns, vocalists. It was like a Broadway present, and the band was under the stage, so I by no means truly noticed it (laughs).

Which guitar and amp did you utilize?
I’d just lately discovered a 2000 Surf Inexperienced Jeff Beck Strat. I’d at all times wished one. I had a ’92 in purple – that was my #1 Strat, so once I noticed the inexperienced one at Lark Avenue Music, I jumped at it. For mellow issues that wanted a up to date jazz humbucker sound, I used a Sadowsky semi-hollow, like a small single-cut 335. Burt additionally wished acoustic guitar – steel- and nylon-string – so I requested Taylor to endorse me for the present, they usually gave me two.

What did you run the Strat and Sadowsky by way of?
My Cyber Twin SE, which went direct in stereo to the home console.

During the last 20 years, what has influenced your guitar selections?
Most have been jazz guitars – the ’64 L-5 I play lots, and I’ve a ’63 for a spare. I even have a 1960 dot-neck 335 with the transitional lengthy pickguard.

What’s the story behind how you bought the primary L-5?
That begins once I constructed a {custom} Strat whereas doing a Star Licks Yngwie Malmsteen video. I used to be closely into Yngwie’s taking part in, so I had it made with a ’76 neck that I’d rescued. Considered one of my college students cherished the best way that guitar appeared – white, H/S/S pickups, scalloped fretboard, flame-maple neck. It was earlier than there was an official Yngwie mannequin. Anyway, after the video, I by no means performed it a lot, and my pupil cherished taking part in it when he’d go to. He’d say, “I actually like that guitar,” and I actually favored his L-5 (laughs), which he wasn’t taking part in. So we made a mutually useful commerce.

A few of your different guitars have attention-grabbing histories.
Sure, and whereas nothing tops the Black Guitar, which was Howard Roberts’ primary instrument within the ’60s, I even have the ’66 Tremendous 400 that belonged to Wayne Carson, a singer/songwriter who wrote “The Letter” and the Elvis track “You Have been All the time on My Thoughts.” Shortly after getting that, in 2017 or ’18 I discovered a ’69 Tremendous 400, the primary yr with the restored Venetian cutaway.

Was that influenced by your appreciation for Kenny Burrell?
Yeah, Kenny was certainly one of my favorites from the early days. After we carried out collectively in 2006, he employed me to show with him within the music division at UCLA. That’s a profession spotlight.

What did you educate?
Jazz Guitar Improvisation and repertoire, intermediate and superior. I taught my college students on one lengthy day, as a result of from 2013 to ’18 I had demanding weekly jazz gigs in San Diego. I did Wednesday solo, Saturday and Friday with my trio, after which ultimately solo on different days on the Aviara Park Hyatt resort. For 5 years I used to be their in-house man for occasions that wanted jazz. I additionally performed each Thursday evening on the Twenty20 membership on the Sheraton. It was a really busy time.

Which guitars did you utilize for these gigs?
My Tremendous 400 on the solo gigs and my L-5 with the trio. The gigging was nice for studying learn how to get the optimum sounds from them; the jazz-archtop sound is principally an amplified acoustic guitar that requires making allowances along with your guitar Quantity, amp settings, and fingering strategies.

What have been your amps of alternative?
For my trio, I used a Twin Reverb with the B-3, and for smaller locations, a Fender Jazzmaster Ultralight head with two 1×12 cabs. I used a Fishman Performer or SA PA with the Platinum Professional EQ/preamp for solo gigs. For jazz-rock fusion, I used to be utilizing two very good PRS amps that Paul Smith graciously made for me after I helped him excellent his first construct with Doug Sewell in 2009. They’re now invaluable studio rigs that present one thing very totally different from my customary Marshall, Soldano, and Boogie voices.

How lengthy did you retain the instructing gig?
For 16 years, till I acquired too busy to commute. I wanted to focus and end Jazz Guitar Course. When everybody was hunkered down in the course of the pandemic, I wrote daily to complete the e book and report the tracks. I additionally created and developed video for my TrueFire tasks. That’s within the works with my upcoming TrueFire channel.

In August of ’18, you performed certainly one of John Pisano’s “Guitar Night time” gigs at Viva Cantina in Burbank.
I did, and that was very significant. I’d at all times dreamt of taking part in “Fleur D’Ennui” with John, and he me let me “be” Joe for a night.

Which amps are you taking part in most now?
Within the studio, my ’66 Tremendous Reverb, ’61 Bandmaster, and a reissue blackface Twin Reverb. I even have a Benson HR from the mid ’60s.

My latest acquisition is a Schertler Charlie, which is devoted jazz-guitar amp. I even have a few Henriksens; they’re workhorse jazz amps, very constant and dependable. On gigs, I additionally nonetheless use my Twin and Jazz Grasp.

Which guitars have you ever just lately favored for normal use?
The classic L-5s and Tremendous 400s, a ’60 335, and a Riversong custom-made to my specs primarily based on my L-5. There’s additionally a ’72 Tele reissue I used for a British documentary on Keith Richards that was a part of a sequence referred to as Below Assessment.

Your assortment has its share of signature fashions.
Sure, I’ve acquired a Heritage Kenny Burrell Tremendous KB, a Gibson Pat Martino Customized, B.B. King Lucille, John Lennon J-160E, two Jeff Beck Strats, a Hendrix ’68 Voodoo Strat, Stevie Ray Strat, a Fender Robben Ford, Sadowsky Jimmy Bruno, two John Jorgensen Gypsy-jazz guitars, an Eric Clapton 000-28EC, and an Eddie Van Halen Music Man.

What attracts you to them?
In duplicating the work of many guitarists, you need to have one thing near their rig. It additionally stirs my ardour for particular voices. It goes again to my studio days, once I needed to copy distinctive sounds.

Jazz Guitar Course has simply been launched. What’s its premise?
Each style has a language, and the course is just the language of jazz spoken on guitar. It covers the necessities – chords, chord-melody, typical scale sounds of jazz, attribute melodies and patterns, and improvisation in context over customary tunes utilizing transcriptions, examples, and demos offered in a linguistic method, to foster listening to, instinct, assimilation, and innovation.

It additionally consists of knowledge I gleaned from Martino, Burrell, Van Eps, Move, Roberts, and Smith. That information shouldn’t finish with me; it should be a part of jazz lore.

How would you describe it as a lesson sequence?
It’s very versatile and user-friendly. It may be linear, performed chronologically, or modular, the place a participant can delve into a selected topic. If you wish to find out about blues in jazz, go to chapter three and discover important blues chords and progressions. There’s additionally a chapter on blues melody, demonstrating basic licks and the way these melodies are utilized in improvising towards chord modifications.

These sections tackle lots of the questions my college students coming from rock and Chicago blues have requested as they get inquisitive about jazz. All the pieces is defined within the method these legendary gamers defined it to me.

This text initially appeared in VG’s April 2024 problem. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.