Guitar_Player__January_2018

FEATURES
>>> TRUE FRIENDS
some Gilmour-isms in the phrasing, and
hints of jazz harmony.
Bravo on picking that up. Gregg instructed
me to think about David Gilmour and Kenny
Burrell! I knew exactly what that meant.
What’s the story on your other original
tune, “Love Like Kerosene”?
I first recorded that song on my 2011 solo
album, Scott Sharrard & The Brickyard Band.
Gregg first covered it with us on Gregg Allman
Live: Back to Macon, and it became a concert
staple. We cut a swampy, Howlin’ Wolfstyle
take on this record. I used the bridge
pickup on the CS-336 to get a snappy tone
from the Super.
Can you detail the resonator guitar on
GREAT READS FOR
BASS PLAYERS!
Bass Player Presents
THE FRETLESS BASS
by Chris Jisi
Backbeat Books
This book collects the best
Bass Player interviews, lessons,
and gear and maintenance
guides into one smoothreading
compilation.
00331928 .............................. $19.95
THE BASS
HANDBOOK
by Adrian Ashton
Backbeat Books
This new, revised edition will
help you master the instrument
and make it your own. The
book-and-CD package includes
a step-by-step guide to playing
and offers practical guidance
on reading both tab and
standard notation.
00119655 ............................. $29.99
THE RICKENBACKER
ELECTRIC BASS
50 Years as Rock’s
Bottom
by Paul D. Boyer
Hal Leonard
Lavishly illustrated with archival
shots, this is the first book to
trace the history of the iconic
guitar.
00333679 ........................... $24.99
Free U.S. shipping on orders of $25 or more!
Least expensive method applies. Use promo code MDBSP at checkout.
musicdispatch.com | 800-637-2852
the Dylan cover, “Going, Going, Gone”?
Taj Mahal gave that Dobro to Gregg as a
present, and it was my pleasure to play it on
that tune at Gregg’s request. I tuned standard,
and I used my usual slide—a Pyrex
Dunlop Blue Bottle. They stuck a mic on it
in a booth, and we rolled.
What are your overall thoughts on
playing slide?
Playing slide is like flying a helicopter. I
still don’t feel like a natural with it, because
there’s so much muting to do, and pressure
means everything. Intonation is very delicate.
Duane was the master, and now it’s Derek.
Besides Duane, my influences growing up
were Lowell George, Bonnie Raitt, Robert
Nighthawk, Tampa Red, Warren Haynes, and,
of course, Elmore James. Start with Elmore,
and you can’t lose.
Did you or Gregg play acoustic on Jackson
Browne’s “Song for Adam”?
I played acoustic on that, but Gregg was
a great acoustic guitar picker. He used his
thumb, and fingerpicks.
How does it feel to look back on Southern
Blood?
Southern Blood is a beautiful farewell
letter to my man’s friends, family, and fans.
He lived for music. We wrote one song that
we didn’t have time to cut. It’s a good-time
funky blues, so it probably wouldn’t have
fit anyway. It will be a bonus track on my
solo album Saving Grace, which is due for a
spring release. I recorded part of it at FAME,
as well. It’s also worth mentioning that I got
to use Duane Allmans ’57 goldtop Les Paul
on my record.
What are your thoughts on being an
Allman torchbearer?
Gregg changed my life a couple of times
over. His band gave me the courage and drive
to play this music—real rock and roll—with
blues, jazz, soul music and its many tributaries
as bedrock. Writing with him, helping
lead his band, and taking the stage was a finishing
school for me. I’m at an absolute peak
as a player, writer, and singer. I intend to use
Gregg’s passing as fuel to be better. The bar
is very high. Every legend that passes leaves
an enormous hole. It’s going to take elbow
grease, desire, humility, fire, and passion to
pull us out of the musical tailspin of the past
20 years. I intend to protect traditions while
also pushing forward. As we mourn the loss
of our hero and my friend, you can trust that
I’m just getting started. g
30 GUITARPLAYER.COM/JANUARY2018