Vance Kelly (born January 24, 1954, Chicago) is a soul-blues singer and guitarist, who has performed regularly at various music venues in the Chicago area, chief among them the 1815, Checkerboard Lounge, Rosa's Lounge, Kingston Mines, Buddy Guy's Legends, and B.L.U.E.S. A long-time staple of the Chicago blues scene, Vance "Guitar" Kelly has wowed critics and fellow musicians for twenty-five years, but has somehow managed to slip beneath the radar of mainstream blues music fans. Bluebird is Kelly's sixth studio album, and a sure bet for increasing the audience of the Living Blues Award-winning guitarist. A collection of original soul-blues songs, Bluebird also features covers of Isaac Haye's "Little Bluebird" and Roosevelt Sykes' "Driving Wheel" and includes Vance's daughter Vivian guest-starring on vocals.
John Miller presents this guitar tutorial based on the music of Jackson, Mississippi from 1910 to 1940. The Jackson blues scene was stylistically rich, spanning the gap from the sophisticated pop blues of Bo Carter to the low-down blues of Rube Lacy.
There’s nothing more exhilarating for a guitarist than taking center stage and fronting a power trio. Witness the likes of Stevie Ray Vaughan, Hendrix, Jimmy Page, Clapton and so many other masters of this genre. It’s also a lot more challenging than it looks and that’s the premise for Kelly Richey’s Power Trio course, which focuses on the key elements, creative approaches and techniques that define the genre.
Learn to think & feel bass with this versatile studio bassist. Understand the essential relationship between the bass & drums. Develop your knowledge, feel, & technique with examples of rock & R&B grooves, various right-hand approaches, muting & more. Practical, easy-to-understand.
Orrin Keepnews' commentary (from his new liner notes): "The most significant feature of the album is the uncanny rapport between the two leaders. It is difficult to believe but probably true that, although they had undoubtedly frequently heard each other's work, they had never played together. But of course they had many attitudes and attributes in common. If the blues is indeed a language, it is one in which both of these men were extremely fluent. Equally important to both was the melodic content of their music. Some otherwise admirable players do not seem to have fully grasped the important fact that to perform a ballad properly involves much more than just keeping the tempo slow. Both Bags and Wes were firmly aware of this distinction. There is an extraordinary richness and fullness to their performances here, and there is also a feeling that each man is somehow drawing something tangible from the other's performance.”