
Duke Ellington, Elvis, Chuck Berry, the Beatles, the Stones, Miles Davis, Prince, Zeppelin … all the music John Bohlinger loves was born from the trailblazing jazz and blues of Bessie Smith (above) and Satchmo.
While watching the Ken Burns documentary Jazz, I realized all the music I love was born from the jazz and blues of Bessie Smith and Louis Armstrong.
Ancient Egyptian paintings and sculptures all look like they were created by a sixth grader. They are stiff, flat profiles with feet, nose, and chin pointing in the same direction: no depth, no realism. All art was this primitive until the 5th century, when Greeks took a giant step forward … literally. They developed contrapposto, where a standing human figure is posed with their weight resting on one leg. The weight shift brought organic movement, bringing the paintings and sculptures to life. (Check out the 5th century Kritios Boy, which is the earliest known Greek statue to use contrapposto.)
Similarly, look at European art from the medieval times, or the Middle Ages, from the 5th century to the 15th century. Much of it is cartoonish—flat, distorted, and unrealistic. Baby Jesus almost always looks like a weird little man, not an infant. No wonder they called it the Dark Ages. Then Leonardo, Michelangelo, Raphael, and others, inspired by the ancient Greeks, built on this realism and brought about the Renaissance, pushing the world forward and making art come to life. I look at Ancient Egyptian art and feel nothing. I look at Michelangelo’s Pieta and weep. That’s what art is about.
I recently rewatched Ken Burns’ 10-part miniseries, Jazz. Sometime during the 2,280 minutes of running time, it occurred to me that American music went through a similar evolution as the world of visual art. Much as the Renaissance artists brought realism to art, jazz musicians— specifically Bessie Smith and Louis Armstrong—brought realism to music. Here’s a little backstory.
“I listen to vaudeville; I feel nothing. I hear Armstrong and I weep.”
In 1877, when Thomas Edison invented the phonograph, he was looking for a way to improve telegraph communications, going for what he called a “speaking telegraph.” Maybe it’s because Edison’s first recording was of him singing “Mary Had a Little Lamb,” but quickly people figured out that if you’re going to record something, music is probably a solid option.
Partly fueled by Edison’s game-changing inventions, the United States was becoming a true superpower, leading the world in industry, tech, finance, etc. The Burns documentary suggests this was when U.S. leaders, trendsetters, and titans of industry thought that it was time for an American Bach to legitimize the nation’s contribution to the world’s music. They looked to the universities, the military, and the establishment to provide this musical genius.
One of the earliest recording artists (in the late 1800s) was John Philip Sousa, “the March King” of America. With all due respect, it’s amazing that records caught on. I’m as patriotic as the next person, but who in their right minds pours a class of wine and cranks up “The Stars and Stripes Forever” to relax at the end of a long day? Sousa’s marches feel as stiff and lifeless as an ancient Egyptian wall painting.
Louis Armstrong: When it comes to authenticity and swing, the buck starts here.
A decade later, in the early 20th century, vocalists dominated record sales. They were mostly vaudevillians like Billy Murray and Arthur Collins, who had hits like “You’re a Grand Old Flag,” “Give My Regards to Broadway,” and “The Yankee Doodle Boy.” They were theater performers, trained to act melodramatically while singing and speaking in a loud, affected manner so they could be understood in the back of a theater. It was a stage voice—not the voice of someone genuinely communicating or expressing emotion.
Then, in the 1920s, music took a contrapposto step in an unlikely way. One of the biggest artists of the early 1920s was Al Jolson, who performed in blackface, stealing bits from African-American culture and making it more palatable to a xenophobic white audience. Based on Jolson’s success, Columbia Records execs thought, “Hey, instead of a white guy in blackface singing a white guy’s interpretation of Black music, why not record the people they’re stealing from?”
“The powerful were looking to themselves for the answer when what they sought came from slaves and their poorly treated descendants. The poetry of it all.”
Columbia found and recorded Bessie Smith, a Black orphaned blues singer who grew up supporting her impoverished family by busking on the streets of Chattanooga, Tennessee. Smith’s genuine performances connected with record buyers. The “Empress of the Blues” became a wildly successful entertainer, which opened the gate for Louis Armstrong. Not only did Armstrong introduce the world to a swinging groove, his genuine, conversational voice made those trained, affected voices seem wooden by comparison. I listen to vaudeville; I feel nothing. I hear Armstrong and I weep.
It’s the classic unlikely origin story, like baby Jesus being born in a manger. The necessary hero/savior rarely comes from the establishment. The powerful were looking to themselves for the answer when what they sought came from slaves and their poorly treated descendants. The poetry of it all.
Duke Ellington, Elvis, Chuck Berry, the Beatles, the Stones, Miles Davis, Prince, Zeppelin, Clapton, and pretty much everything I love descended from the jazz and blues of Bessie Smith and Satchmo. When Duke Ellington was asked how he felt when he couldn’t stay at the hotels where he performed, he replied, “I merely took the energy it takes to pout and wrote some blues.”
- A Practical Approach to Picking Proficiency - Premier Guitar ›
- Django's Gypsy-Jazz Secrets - Premier Guitar ›
- The Hub of Hip-Hop Bass Playing - Premier Guitar ›
- Playing Bach’s BWV 995 Sarabande - Premier Guitar ›
Ernie Ball, the world’s leading manufacturer of premium guitar strings and accessories, proudly announces the launch of the all-new Earthwood Bell Bronze acoustic guitar strings. Developed in close collaboration with Grammy Award-winning guitarist JohnMayer, Bell Bronze strings are engineered to meet Mayer’s exacting performance standards, offering players a bold new voice for their acoustic guitars.Crafted using a proprietary alloy inspired by the metals traditionally found in bells and cymbals, Earthwood Bell Bronze strings deliver a uniquely rich, full-bodied tone with enhanced clarity, harmonic content, and projection—making them the most sonically complex acoustic strings in the Ernie Ball lineup to date.
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
Milkman’s Jerry Garcia-style JG-40 combo.
Grateful Dead-inspired gear from Milkman and Scarlet Fire helps to keep the guitarist’s sound alive.
Guitar players wanting to catch the Grateful Dead’s particular lightning in a bottle exist along a spectrum. Some are content to take inspiration from Jerry Garcia’s playing but make their own way regarding guitar choice and signal path. Others strive to emulate Garcia’s sonic decisions down to the most minor details and create signal paths as close to Jerry’s as possible. In recent years, an ecosystem of gear has developed around fostering Jerry Garcia’s electric tone, including everything from guitars, amps, and stompboxes to on-board preamps and speakers.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-120. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
PRS Guitars today launched five new three-pickup, 22-fret models across the S2 and SE series. The S2 Series release includes the S2 Special Semi-Hollow and S2 Studio, while the SE Series welcomes the SE Special Semi-Hollow, SE Studio, and SE Studio Standard.
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.