People ask me all the time "what is Swampgrass music"? First off there's a story to tell. I started off as a young rocker back in the late 70's learning to play popular songs by Led Zep and Kiss. Not long after, I got a teacher who introduced me to the glories of Jazz in its complexity and harmonic sophistication. So I became a "Jazz Snob" and went around wearing a beret. Well all good things must come to an end and my days of jazz snobbery ended with my running across Kind of Blue by Miles Davis and simultaneously becoming a bar back at a very popular blues bar in Tampa, Florida called Skipper's Smokehouse. It was at Skipper's that I learned the economy of the blues phrase, and how similar that was in feel to the Miles approach. So jazz and blues now meet, but that's not all, because there is also the music of the Appalachians to consider. Let's not forget that Bill Monroe was playing very bluesy runs and it was that high lonesome sound that informed Hank Williams - a man who lived the blues if anyone ever did.

So as i put my own feelings down in music, people ask me to describe it. I say "swampgrass music" - my style touches on bluegrass, but has a lot of influence from the blues, rock and roll, funk, jazz, and anything else that crosses my path. So it's a gumbo. And that's what I want my guitar students to grab on to - there's no future in limiting yourself to one or two "styles" as if those are all that good music has to offer.

I should point out one important caveat here, one that will take up an entire lesson very soon. The specific sounds that make up all the vast american popular music depend on the equally important twin traits of the technology of the period and the musical rules and motifs used by the performer. Whenever attempting to approach a new artist one should do so with an attitude of respect. Therefore, it is important to pay attention to such details as the type of guitar and amp used, even what sort of microphone and recording equipment was used. Tuning, string gauge, even the size of the performers hands all play into making that unique sound. It's not as if you will ever recreate that performer, but the attention to detail will train your musical ear so much, and that sort of ear training will make you a better musician. We will get in to ear training in another lesson.

It is important to listen to new (to your ears) music. The music might be 50 years old, but if you have never really listened to it, you can't benefit.

When deciding on a guitar teacher the student must be clear about what is expected. What sort of music do you wish to play? Who do you think you want to emulate? What is your present level of skill? That last one is pretty easy to assess by using one failsafe method: Get a cheap boombox (or whatever you can afford) and record your playing. Like the saying goes; the tape don't lie!

There is an expression in Zen that goes warm hand to warm heart. That is the description of the relationship between teacher and student. The warm hand might be from slapping the student. In Zen, they weren't always politically correct! But still there is a passion in the exchange. And that is what a teacher can provide. Excitement and sometimes challenge to move further. Don't just look for a hot player, if they don't play what you want to play. You should also remember that you are ultimately responsible for your progress so you must keep up daily practice.

Looking and listening is an integral part of learning, and it can greatly supplement, but it is no substitute for human contact. In the old days they used to apprentice right up on stage. I think that sort of thing should come back around.