Truefire

Cult figure, rock & roll legend and music writer, Cub Koda defined Jump Blues as "an up-tempo, jazz-tinged style of blues that first came to prominence in the mid- to late '40s. Usually featuring a vocalist in front of a large, horn-driven orchestra or medium sized combo with multiple horns, the style is earmarked by a driving rhythm, intensely shouted vocals, and honking tenor saxophone solos - all of those very elements a precursor to rock & roll. The lyrics are almost always celebratory in nature, full of braggadocio and swagger. Jump blues was the bridge between the older styles of blues - primarily those in a small band context - and the big band jazz sound of the 1940s."

Across the entire history of music, there are very few guitar players who we can point to as true innovators of a new style or technique of guitar. Not just truly gifted players, (so many of those!) but players who singlehandedly crafted an entirely new and fresh approach to the instrument, which in turn greatly influenced future generations of players. TrueFire’s Play in the Style series focuses on the unique stylings, techniques and creative approaches of these highly influential guitarists.

Blues is a mysterious series of contradictions. It’s one of the easiest styles to learn how to play, but its also one of the hardest styles to play really well. There are great guitar players that can play the blues really well, but there are also great guitar players that couldn’t play the blues really well if their life depended on it. Everyone uses the same simple progressions, chords and basic vocabulary of licks, yet everyone sounds so different doing it.