Ultimate Play-Along Guitar Trax: Blues: Guitar Book & CD

This series captures what makes blues guitar tangible and learnable: you hear a complete rhythm section lay down the groove, study transcriptions of how working professionals approach each tune, and then play the same changes with the same players. The combination of demo solos, rhythm charts, and tab transcriptions means students aren't guessing at what they're hearing; they can see exactly how Scott Henderson, Steve Trovato, and Robben Ford voice their ideas.

Sitting in a studio watching three seasoned blues guitarists show you exactly how they think through a 12-bar form. The rhythm section grooves hard enough to push you, the transcriptions are honest and playable, and the demo solos are tasteful rather than intimidating. You're not just learning about blues guitar; you're learning from people who actually play it for a living.

Intermediate guitarists ready to move beyond chord charts and into the language of blues improvisation. This resource serves students who learn best by ear and example, and players who want to understand how established musicians approach phrasing, timing, and soloing over real changes.

• Study the demo solo first without the play-along track. Transcribe or read the tab, play it slowly, and absorb the phrasing and note choices before you layer in your own ideas over the rhythm section.
• Use the rhythm charts to lock in the harmonic structure before attempting improvisation. Knowing exactly where the changes fall frees you to focus on melody and feel rather than scrambling to find your place.
• Loop individual blues changes until your comping and soloing feel natural at tempo. The CD format makes this easy; the rhythm section stays locked and patient while you build confidence.
• Record yourself playing over the tracks and compare your phrasing to the demo artists. Listen for differences in how they bend, vibrato, and resolve phrases, then work those specifics into your own playing.

Deploy this as supplemental material for intermediate jazz or popular music ensembles, or as a self-directed study resource for guitarists working on improvisation outside ensemble class. The transcribed solos also work well as listening and analysis assignments, where students can compare how different players approach the same harmonic territory.

• Blues form recognition and navigation (12-bar structure, quick-change variants)
• Transcription and tab reading from recorded solos
• Phrasing, bending, and vibrato techniques from professional players
• Rhythm section comping over blues changes
• Improvisation over stationary and changing harmonic contexts
• Call-and-response listening and adaptation