Keith Wyatt, L.A.'s premier blues and rockabilly guitar maestro guides you through all the techniques, chord patterns, riffs and licks you could ever need!. Among the things you'll learn: blues forms, chord voicings, swing patterns, bass lines, rhythm guitar feels, horn style fills, organ style punches, minor blues, "jungle" beats, and much more!
Keith Wyatt gets you started right playing "down home" blues on your acoustic. Learn all the classic moves in the three popular keys, including open-string chords with melodic embellishments, turnarounds, and both slow and quick-change versions of the 12-bar blues progression. Youll also earn strum patterns, bass lines and the blues shuffle. Keith includes the use of a capo as well as a wealth of insight into this traditional and influential style.
Oscar Alemán is one of the great unknown talents in jazz history. A brilliant guitarist who sounded very close to Django Reinhardt at times, Alemán was overshadowed in Europe by Reinhardt in the 1930s and spent much of the rest of his career in his native Argentina, remaining well known only in that country. This 1998 double CD from Dave Grisman's Acoustic Disc label has highlights from Alemán's career, including the eight selections he recorded during his three European sessions of 1938-1939, plus music from 1941-1947 and 1951-1954. Although the settings varied (including a sextet with violinist Svend Asmussen, a nonet, and two unaccompanied guitar solos), Alemán's basic swing style stayed the same, retaining its enthusiasm and creativity and remaining unaffected by bop. Sticking throughout to acoustic guitar and taking an occasional good-time vocal, Alemán is heard in peak form. He deserves to be much better known. A definitive two-fer from a major talent.
Keith Wyatt, one of the country's foremost blues and rock educators, takes you through all aspects of acoustic slide playing including choosing the right slide, open tunings, use of a capo, fingerboard patterns, vibrato, special intonations, and muting techniques. Keith also shows you how to mix slide with standard guitar technique for fills and self accompaniment.
Get all three Talkin' Blues DVDs from Keith Wyatt in this special combo offer! That's over 6 hours of in-depth video lessons on essential blues elements and guitar-playing techniques.
Many improvisers would agree that having the feeling of the blues is a crucial part of jazz expression; however, the jazz and blues worlds don't interact nearly as often as they should. There are jazz musicians who will play Miles Davis' "All Blues" or Charlie Parker's "Parker's Mood" on a regular basis but wouldn't know John Lee Hooker from Little Milton; there are blues artists who are much more likely to work with a rock musician than a jazz musician. So it is a rare treat to hear a blues-oriented guitarist and a jazz-oriented guitarist co-leading a session, which is exactly what happens on More Conversations in Swing Guitar. This 2003 release is a sequel to bluesman Duke Robillard and jazzman Herb Ellis' 1999 encounter Conversations in Swing Guitar, and the CD proves that good things can happen when jazz and blues players interact. More Conversations in Swing Guitar is an album of very blues-minded instrumental jazz – it's hardly a carbon copy of Robillard's work with the Fabulous Thunderbirds, but the bluesman has no problem appearing in a jazz-oriented setting.
This is a not very challenging, but thoroughly charming, summit meeting between a blues guitar master and a jazz guitar legend. Taking four classic swing tunes ("Just Squeeze Me," "Avalon," "Stuffy," and, inevitably, "Flyin' Home"), two Robillard originals, and a jointly composed slow blues, and helped out by bassist Marty Ballou and drummer Marty Richards, Duke Robillard and Herb Ellis deliver a 48-minute swing guitar master class, Conversations in Swing Guitar. Ellis comes from jazz and Robillard from the blues, so their approaches are just distinct enough to keep things interesting; although both play with a clean, fat jazz tone and no one ever really hauls off and shreds, Robillard tends towards bent notes and funky chordal things while Ellis thinks a bit more in terms of long lines and florid ornamentation. Every so often you might find yourself wishing that the edges were just a bit rougher, but both of these guys are clearly having a great old time, and you will too.