Miller ably composes her way through a spectrum of styles, including traditional-sounding jazz, peaceful folk, and quirky blues.

Jane Miller
Three Sides to a Story
Pink Bubble Records

Berklee Associate Professor and former PG columnist Jane Miller has gone solo for Three Sides to a Story. With a mix of originals, standards, and pop classics, it is, as Miller says, a snapshot of where she is with her guitars now, and it’s a flattering one.

Original tunes are the foundation of the 15 tracks, and Miller ably composes her way through a spectrum of styles, including traditional-sounding jazz, peaceful folk, and quirky blues. She also showcases her deep knowledge and experience as a jazz musician by tackling George Gershwin’s “Our Love is Here to Stay,” Miles Davis’ “Nardis,” and Jimmy Van Heusen’s “Here’s That Rainy Day.” Miller is a skilled arranger, taking tunes meant for full orchestration, paring them down to their essence, and making them sound like they were written for six strings.

Miller’s electric, steel-string, and nylon-string guitars are captured beautifully by recording engineer Lauren Passarelli, who combined a direct signal and a mic on the two electrics to produce an incredibly intimate sound. A solo guitar record is an artistic challenge, and on Three Sides to a Story Miller proves herself a master of many genres.

Must-hear track: “Gratitude”

How jangle, glam, punk, shoegaze, and more blended to create a worldwide phenomenon. Just don’t forget your tambourine.

Intermediate

Beginner

  • Learn genre-defining elements of Britpop guitar.
  • Use the various elements to create your own Britpop songs.
  • Discover how “borrowing” from the best can enrich your own playing.
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When considering the many bands that fall under the term “Britpop”–Oasis, Blur, Suede, Elastica, Radiohead’s early work, and more–it’s clear that the genre is more an attitude than a specific musical style. Still, there are a few guitar techniques and approaches that abound in the genre, many of which have been “borrowed” (the British music press’ friendly way of saying “appropriated”) from earlier British bands of the 1960s, ’70s, and ’80s.

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"'If I fall and somehow my career ends on that particular day, then so be it," Joe Bonamassa says of his new hobby, bicycling. "If it's over, it's over. You've got to enjoy your life."

Photo by Steve Trager

For his stylistically diverse new album, the fiery guitar hero steps back from his gear obsession and focuses on a deep pool of influences and styles.

Twenty years ago, Joe Bonamassa was a struggling musician living in New York City. He survived on a diet of peanut butter and jelly sandwiches and ramen noodles that he procured from the corner bodega at Columbus Avenue and 83rd Street. Like many dreamers waiting for their day in the sun, Joe also played "Win for Life" every week. It was, in his words, "literally my ticket out of this hideous business." While the lottery tickets never brought in the millions, Joe's smokin' guitar playing on a quartet of albums from 2002 to 2006—So, It's Like That, Blues Deluxe, Had to Cry Today, and You & Me—did get the win, transforming Joe into a guitar megastar.

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