Guit Play Aug 2015

A N e w B A y M e d i A P u B l i c A t i o N

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4 | August 2015 | GUITAR PLAYER VAULT

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GUITAR PLAYER VAULT | August 2015 | 7

from the vault8 Superchops Lesson Extravaganza

Gettips,techniques,andwisdomfromChetAtkins,TalFarlow,LennyBreau,BillySheehan,andmore(fromtheJuly1984issuesofGuitarPlayer).

27 Robert JohnsonBluesexpertJasObrechtdelvesintothemyste-riouslifeandmusicofRobertJohnson(fromtheApril1976GuitarPlayercoverstory).

Gear34 New Gear

FromtheSeptember2015issuesofGuitarPlayer.

oN the NewsstaNd36 GPSeptember2015TableofContents

lessoNs38 Jamie Kime’s Superimposition Strategies (fromtheNovember2009issueofGuitarPlayer)

sessioNs42 Theever-popularTrueFire Lessons

traNscriptioNs44 “20thCenturyBoy”T. Rex50 “FreakOnALeash”Korn58 “ClassicalGas” Mason Williams

contentsAugust 2015 · Volume 5, Number 8

Chet Atkins - Page 8


classic interview


july 1984

Hear CHet atkins’ “Dizzy Fingers.”

https://www.youtube.com/watch?v=wpaYYBXub0w


classic interview


july 1984

CLASSIC INTERVIEWfrom the July 1984 issue

of Guitar Player magazine

An AmAzing Lenny BreAu hArmonic Lesson.

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classic interview july 1984

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classic interview


july 1984


classic interview


july 1984


classic interview


july 1984



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classic interview


july 1984



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classic interview


classic interview april 1982

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classic interview



april 1982

CLASSIC INTERVIEWfrom the April 1982 issue

of Guitar Player magazine

ExplorE thE roots of rob-Ert Johnson’s music.

lEarn how to play robErt Johnson’s “crossroads.”

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current issueHere’s what’s in the September 2015 issue of Guitar Player, on Newsstands Now!

RIFFSCraig Chaquico reminisces about Red Octopus, Joe Bonamassa grabs a piece of Terry Reid, we celebrate ten years of Baked Potato jams, another cool story about Les Paul, an excerpt from Jim and Dara Crockett’s GP book, and more!!

COVER STORYJoe SatrianiSatch reveals how his alter ego, Shockwave Supernova, busted into the sessions for his new album and directed some of the creative energy.

FEATURESMichael Schenker · Jon Hudson · Pat Travers · Steve Howe

NEW! FRETS ACOUSTIC SECTIONTommy EmmanuelReview Boucher Studio Goose OM Hybrid

Review Tronical Tune Plus

Vintage Excerpt Happy Traum on Fingerpicking (from the September 1979 issue of Frets)

LESSONSUnder Investigation A thorough examination of a particular style or player. This month: Paganini for guitar.

Kirk Fletcher Rhythm LessonFretboard Recipes Melodic Motifs Pt. 3

Rhythm Workshop Nine to the Universe

GEARNew GearGuitar String GuideJohn Page AshburnBuzz Feiten Gemini Blues Pro DeluxeXITS X103rd Power Wooly Coats SpankyStompbox Fever 65 Amps Colour Bender, 65 Amps Colour Face, Bogner Burnley, Bogner Harlow, Bogner Wessex, Crucial Audio Echo Nugget, Gurus EchoSex 2º

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Recording Tools AEA Nuvo Series N8 and N22

GET SmARTCraig Anderton on Technology

Carl Verheyen on Performance

Jason Becker on Creativity

Steve Hunter on Classic SessionsA N e w B A y M e d i A P u B l i c A t i o N

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32 G U I TA R P L AY E R . C O M / S E P T E M B E R 2 0 1 5

Featuress

Man on a MissionMichael Schenker Puts His EnErgy into tEmPlE of rockBy GREG PRATO

gpr0915_feat_schenker_ko2.indd 32 7/1/15 8:58 AM

S E P T E M B E R 2 0 1 5 / G U I TA R P L AY E R . C O M 63

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98 G U I TA R P L AY E R . C O M / s E P T E M b E R 2 0 1 5

Geartest drive

John Page has had a long history

with Fender. He joined the company in 1978 and

basically worked his way up to becoming a guitar

designer with credits for Bullet, and the Vintage,

Elite, and Performer series. In 1987, Page co-

founded the Fender Custom Shop with guitar

builder Michael Stevens, where he built one-

off instruments for a who’s-who list of players,

including Eric Clapton, David Gilmour, Pete Town-

shend, and Cesar Rojas. Page led the Custom

Shop for 12 years before taking a post as Execu-

tive Director of the Fender Museum of Music and

the Arts in Corona, California. He subsequently

relocated to southern Oregon in 2003, and turned

his attention to building artistic furniture for a

time before launching John Page Custom Guitars

in 2006. Page teamed up with HRS Unlimited

in 2014 in order to produce a production version

of one of his most popular models—the Ash-

burn Custom—and the end result is the Japa-

nese-made guitar on review here.

The Ashburn begins in classic form with an

alder body that draws on the outline of a Strat,

but has a more streamlined look and feels a

little more ergonomic. The maple neck mates

to the body via an offset-pattern 4-bolt joint

that uses machine screws and threaded inserts

to enhance vibration transfer and eliminate the

chance of wood screws stripping in their bores.

The neck’s medium thickness and comfy C shape

is instantly appealing, and maple ’board wears

22 nicely finished frets that measure .095” wide

by .045” tall. The fretboard dots are also shifted

to the bass side for greater visibility. Add a con-

toured neck heel for easier access to the high

positions, as well as very musical intonation all

along the way, and it’s easy to get that “nicest

Strat I’ve ever played” kind of impression from

the Ashburn. Staggered height tuners make

string trees unnecessary, which may also con-

tribute to the easy bending and buttery playing

feel. The Gotoh 510 vibrato has a silky travel and I

found it stayed reliably in tune when doing pretty

aggressive pitch bends with the press-in bar.

Designed by Page, the Bloodline single-coil

pickups feature alnico V magnets and flat-top

poles. The middle unit is reverse-wound to pro-

vide hum canceling in positions 2 and 4, and the

bridge pickup is wound a little hotter (7.38kΩ)

and installed in a reverse slant configuration to

tighten up the lows and mellow out the top-end

response. A 5-way switch provides the usual

pickup selections, and the controls are pared

down to just Volume and Tone, the latter of

John Page Classic Ashburntested by art thomPson

gpr0915_gear_page_ko2.indd 98 7/1/15 8:23 AM

September 2015 · Volume 49, Number 9


classic lessonSuperimposition StrategiesJamie Kime Shares Ways to Build Colorful Solos Over Static One-Chord Jams B y J u d e G o l d

What do EdWard Van halEn, StEVE Lukather, Scott Henderson, jazz bassist Christian McBride, Paul McCartney guitar-slinger Rusty Anderson, and late, great trumpet legend Freddie Hubbard all have in common? Each one of these iconic musicians has shown up at the Baked Potato—the wonderfully unpre-tentious jazz club just over the hill from Hollywood—to attend its popular Mon-day night jam.

Well into its fifth year, this weekly funk/ fusion throwdown is led by two tantalizing guitarists: John Ziegler—the explosive avant-shred force behind Pygmy Love Circus and Volto! (featur-ing Tool drummer Danny Carey)—and Jamie Kime, the hypnotic guitar whis-perer who collected a Grammy award earlier this year for his work alongside Dweezil Zappa and Steve Vai in Zappa Plays Zappa.

No, you don’t have to be a super-star to sit in at the ’Tater on these eve-nings—it’s open to everyone—but, after

you experience the epic fusion odysseys Kime, Ziegler, and the rest of the house band play to kick off the night, you’ll quickly realize that this isn’t your aver-age open mic. If you’re planning to step onto this stage, you’re expected to take your solo to the moon and back, or at least be willing to crash and burn try-ing.

As is often the case in jam-friendly environments, the repertoire at these sessions (which delves deep into the music of everyone from Coltrane and Shorter to Zappa and Miles) often lands on the jam-friendly terra firma of ex-tended one- or two-chord funk vamps. After all, it’s a lot easier to take a big solo when you don’t have to worry about chord changes or shifting key centers, right?

Not necessarily.When the stakes are this high, it’s a

mistake to think that improvising over a fixed harmony is any less daunting than doing so over a busy chord progression.

Remember, your musical soul is rarely more exposed than when you are hand-ed an open-ended solo on the I chord with no changes in which to take cover, no harmonic or melodic constructs on which to lean, and you are tasked with building something captivating, non-clichéd, and entirely your own.

“For me, the challenge in that situa-tion is to make things harmonically in-teresting,” says Kime. “I’m always try-ing to get that feeling of a rollercoaster going—that feeling of a wave going up and down—even when the background harmony is unchanging.”

Whether he’s wielding a Les Paul or a Stratocaster, attacking the strings with a pick or just his fingertips, Kime—like a snake charmer coaxing a cobra out of a basket—can pull a kaleidoscopically colorful solo out of the most ordinary groove. “I’m definitely more of a con-ceptual player than a lick player,” says the guitarist. “Any technique I have has been born out of needing that technique

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to execute a musical idea.”Let’s take a look at some of Kime’s

musical ideas. For instance, if Kime is handed a wide-open Dm groove, he might start his solo, like legions of oth-er guitarists, in D Dorian.

“But there are so many other notes to explore as well,” says Kime. “Over Dm, I might also think of superimposing C#maj7 [Ex. 1], which adds two very spe-cial notes to the mix: the major 7 (C#), and the #11 (G#). I love the way those chord tones sound over a minor back-ground. You can get a similar sound by simply playing C# major triads in the form of a C# major arpeggio over Dm [Ex. 2]. You’re superimposing interest-ing melodies in bite-sized chunks.

“Of course,” continues Kime, “you can also think altered-dominant to proj-ect an altered V chord sound—A7#5b9 over Dm—by playing this scale [Ex. 3]. It has the exact same notes as Bb melodic minor, but I find that if you think of it that way, you naturally start veering towards the harmony Bb— just like if you’re driving while looking right, your car may drift to the right. So think of it from the A perspective.”

Another thing Kime loves to super-impose upon a static minor chord is the “Coltrane changes”—three sepa-rate key centers a major third apart, à la “Giant Steps.” Over Dm7—which Kime thinks of as the IIm chord in C— this means Kime will tag the keys of Ab, C, and E. “I love that sound, be-

november 2009

40 | May 2015 | GUITAR PLAYER VAULT

classic lessonLESSONS Soloing Seminar

cause it creates so much tension,” says Kime, demon- strating the approach with the intriguing line in Ex. 4. “Plus, it’s fun—you’re getting the ‘Giant Steps’ sound, but not while almost dying trying to swing at 300bpm. Some of the notes will clash with Dm if you bring them out too much, so be diligent in working out which ones you’re going to emphasize—or just play everything re-ally fast! [Laughs.]”

As we wrap up our interview, Kime shares that if he has one goal as a gui-tarist, it is to become completely non-pattern-based in everything he plays. “Unfortunately,” he adds, “by nature of the instrument, that is pretty f**king impossible to do.” g

november 2009

Watch Jamie Kime go off in BrisBane.

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44 | August 2015 | GUITAR PLAYER VAULT Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.

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GUITAR PLAYER VAULT | August 2015 | 45Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.

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Used by Permission of ALFRED MUSIC PUBLISHING CO., INC.

https://truefire.com/all-access/gp/


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Features:

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THE METHOD YOU WISH YOU HAD

Alfred’s Basic Rock Guitar Method

Teach your students with Alfred’s Basic Rock Guitar Method, a completely new approach to learning that will keep students interested and coming back for more. This method starts on the 6th string so students will be playing riffs and licks quicker and easier than ever before!

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THE METHOD YOU WISH YOU HAD

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http://4wrd.it/A.ADGPV_0815_3

Documents

Guit Play Aug 2015