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The REAL Greatest Guitarists of All Time

Garcia is always underappreciated on top guitarist lists, imo.

Interview with Maria Mulduar

DI: What did you learn from working with Jerry?
MM: I learned that it isn’t so much the notes or the technical perfection -- because he could flub a few notes, old Jerry, you know -- but the way he played came from the inside. He would start out on a solo and he’d just feel around. He wouldn’t just come out of the gate with some rip-roaring, dazzling, fancy licks; he would sort of meander around and wait until the spirit came together. He would build a stairway to heaven with his notes. It didn’t have to do with fanciness; it had to do with waiting for the spirit to descend on him and the band. When that happened, the whole audience would get it. It wasn’t about, “Look at me, I’m going to do something dazzling.” It was more about, “Let’s all really feel this moment together.” I’ve had very accomplished guitar players since then, guys who could just whip all over the guitar neck. A fabulous black guitarist from Marin County named Archie Williams, a real jazzer, could play any kind of lick -- inside out, upside down, backwards, fast, you know -- and he just didn’t get it. There are a lot of other very accomplished musicians who don’t get the “Jerry thing.” They wondered, “How come he’s selling out to millions of people, audiences everywhere, and I’m so good and nobody knows who I am?” I tried to explain to them, it’s because Jerry was not playing from a place of ego. He was not playing to impress anybody; he was playing because the spirit moved him to play.
 
Roy Buchanan (incredible technician).

Freddy King (most underrated blues guitarist of all time, because he tragically died way too young). I saw him at the old Memorial Coliseum in W-S my freshman year at Wake (71-72). He was the warm-up for Credence and just blew the whole place away.
 
Roy Buchanan (incredible technician).

Freddy King (most underrated blues guitarist of all time, because he tragically died way too young). I saw him at the old Memorial Coliseum in W-S my freshman year at Wake (71-72). He was the warm-up for Credence and just blew the whole place away.

Certainly two of my faves right there...feature them regularly on the radio show I host. Freddie King finally inducted into the RRHoF. Such an influence on so many. Even today, any self-respecting blues/rock guitarist better know a few Freddie King instrumentals...or you got no cred. If pushed, I'd say Freddie King is my ~favorite~. :)

While not one of my most favorite guitarists, I do like the quote about J Garcia in ChirsL68's post. I seem to have gravitated more to soul/feeling players than outright technicians...though I can certainly appreciate them, too.
 
Obviously, I'm a Duane fan. His guitar just sounded ferocious. I heard "Dimples" on Sirius yesterday, just one more indication on his guitar playing intensity. But my favorite solo of all time is James Honeyman Scott in "Tattooed Love Boys" by the Pretenders. Also think Joey Santiago of Pixies fame is underrated.
 
Obviously, I'm a Duane fan. His guitar just sounded ferocious. I heard "Dimples" on Sirius yesterday, just one more indication on his guitar playing intensity. But my favorite solo of all time is James Honeyman Scott in "Tattooed Love Boys" by the Pretenders. Also think Joey Santiago of Pixies fame is underrated.

Heroin kills
 
Interview with Maria Mulduar

DI: What did you learn from working with Jerry?
MM: I learned that it isn’t so much the notes or the technical perfection -- because he could flub a few notes, old Jerry, you know -- but the way he played came from the inside. He would start out on a solo and he’d just feel around. He wouldn’t just come out of the gate with some rip-roaring, dazzling, fancy licks; he would sort of meander around and wait until the spirit came together. He would build a stairway to heaven with his notes. It didn’t have to do with fanciness; it had to do with waiting for the spirit to descend on him and the band. When that happened, the whole audience would get it. It wasn’t about, “Look at me, I’m going to do something dazzling.” It was more about, “Let’s all really feel this moment together.” I’ve had very accomplished guitar players since then, guys who could just whip all over the guitar neck. A fabulous black guitarist from Marin County named Archie Williams, a real jazzer, could play any kind of lick -- inside out, upside down, backwards, fast, you know -- and he just didn’t get it. There are a lot of other very accomplished musicians who don’t get the “Jerry thing.” They wondered, “How come he’s selling out to millions of people, audiences everywhere, and I’m so good and nobody knows who I am?” I tried to explain to them, it’s because Jerry was not playing from a place of ego. He was not playing to impress anybody; he was playing because the spirit moved him to play.


You must spread some Reputation around before giving it to ChrisL68 again.
 
I'm not a musical guru and really don't have much to add to this thread except to say that Derek Trucks played at my high school (Watauga, up in Boone) back in 96 or 97. I was part of student council and as a result got to help with the setup and meet the band. It was pretty wild cause this kid was our age and he had been on stage with ABB and played with a lot of other well known artists. Again, I don't think I really appreciated it back then as much as I would now but it was a pretty cool experience.
 
If you were to ask Clapton or Beck it would be this guy...



That is the dearly departed Roy Buchanan kids...
 
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Interview with Maria Mulduar

DI: What did you learn from working with Jerry?
MM: I learned that it isn’t so much the notes or the technical perfection -- because he could flub a few notes, old Jerry, you know -- but the way he played came from the inside. He would start out on a solo and he’d just feel around. He wouldn’t just come out of the gate with some rip-roaring, dazzling, fancy licks; he would sort of meander around and wait until the spirit came together. He would build a stairway to heaven with his notes. It didn’t have to do with fanciness; it had to do with waiting for the spirit to descend on him and the band. When that happened, the whole audience would get it. It wasn’t about, “Look at me, I’m going to do something dazzling.” It was more about, “Let’s all really feel this moment together.” I’ve had very accomplished guitar players since then, guys who could just whip all over the guitar neck. A fabulous black guitarist from Marin County named Archie Williams, a real jazzer, could play any kind of lick -- inside out, upside down, backwards, fast, you know -- and he just didn’t get it. There are a lot of other very accomplished musicians who don’t get the “Jerry thing.” They wondered, “How come he’s selling out to millions of people, audiences everywhere, and I’m so good and nobody knows who I am?” I tried to explain to them, it’s because Jerry was not playing from a place of ego. He was not playing to impress anybody; he was playing because the spirit moved him to play.


Otherwise known as noodling
 
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