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The Latest Breaking News from Wes Montgomery

“I had a hard time playing in tune. The producer stopped me and said, ‘George, tune up again.’ I didn’t realize the value of that until Breezin’ came out”: How George Benson landed a hit album by breaking the rules – and learning to play in tune

As Benson prepares to share his skills first-hand in an immersive music experience, the jazz guitar legend looks back on a magical career and explains why he's still learning

Guitar World

"We weren’t fiddling around and wondering what to do, we were going to nail this sucker": Steve Howe names the best record he's ever made

Yes guitarist Steve Howe picks his records, artists and gigs of lasting significance

Louder

“I heard some criticism that I didn’t play the parts enough like Criss, but I didn’t want to just go in there and try to be a clone of him”: When Alex Skolnick quit Testament – and was recruited to replace the late Criss Oliva in Tampa metallers Savatage

In 1994, following the death of the brilliant Criss Oliva, reeling Tampa metallers Savatage enlisted then-ex-Testament man Alex Skolnick. The experience left a lasting impression on both

Guitar World

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“I was really into Django Reinhardt, Pat Metheny, and Wes Montgomery, but I also loved Jimi Hendrix and Led Zeppelin. I asked him if I could have a guitar that does it all”: Trey Anastasio discusses the birth of his iconic Languedoc Koa 1 guitar

The Phish virtuoso has championed Paul Languedoc’s “genius”, which turned his scattershot six-string dreams into a reality

Guitar World

“People use them for fashion and shock factor. Your guitar is your workhorse, but on stage, it’s also your prop”: Phoebe Bridgers is playing B.C. Rich. Willow and Pete Townshend are picking up Jacksons. Have metal guitars gone mainstream?

When indie stars are grabbing pointy six-strings while metal musicians are eyeing up offsets, you know there’s something afoot in the guitar world. We explore the trend inverting the industry and why it’s good to shred outside the box

Guitar World

“Riders on the Storm started off as a surf tune – then it somehow morphed into what it became…” Robby Krieger on honing his Doors guitar tone, overcoming “dentist’s syndrome”, and why slide guitar is the ultimate way to express yourself as a player

Robby Krieger breaks down his new album with the Soul Savages’ new album, and details his struggles to come up with his own sound during his time with the Doors

Guitar World

“I’d never buy one from the ’70s because I’ve always felt that there’s no such thing as a good guitar from that decade”: Robby Krieger on what makes his 1968 Gibson Barney Kessel special

In 1983, the Doors guitarist and rock legend posed on the cover of Guitar World with a 1968 Gibson Barney Kessell. Krieger reveals the story behind his fellow cover star – and why it isn’t an SG

Guitar World

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“It’s an anti-establishment statement – I’m trying to make it okay for jazz guitarists to go out with their metal guitars”: Meet Cecil Alexander, the prog-loving jazz guitarist who’s challenging elitism by shredding bebop on a Jackson

The Michigan-born virtuoso shares his secrets for getting the perfect jazz tone on a metal guitar, the parallels between jazz and prog, and why jazz guitar isn’t as scary as it seems

Guitar World

“He showed complete mastery of the bebop jazz language – a language invented on horns”: Celebrating Joe Pass, jazz guitar’s great re-inventor – and a player who had the rare ability to nail sax lines on a six-string

Bona-fide jazz legend Joe Pass had it all. Here we celebrate the life and career of on of jazz guitar's most fluid and fluent players

Guitar World

Think metal guitars can’t handle jazz? Cecil Alexander just shredded a set of Wes Montgomery classics on a Jackson Soloist – and his tone has guitarists raving

The jazz guitarist is proving you can shred bebop with clean and distorted tones on his Jackson Soloist, mimicking a semi-hollow guitar in extraordinary fashion

Guitar World

Pat Metheny on Wes Montgomery: "He had this amazing ability to describe very complex ideas in ways that were so clear and well backed up with spirit and soul"

Newly shared documentary footage finds the jazz great digging into his roots and the inspiring element of his hero's musical legacy that's often overlooked

MusicRadar

Rik Emmett: “If I wrote a pop tune, the guys wanted to make it heavy. I’d put more power chords in and Townshend it up. For a while, it worked”

The former Triumph guitarist looks back on the Canadian rock phenomenon, addresses those Rush comparisons, and reveals how they kept the Rock & Roll Machine running – until it ground to a halt

Guitar World

Jazz impresario Creed Taylor was one of the last of a dying breed of ‘record men’

Armed with just a passion for jazz, Taylor became a producer and the owner of the world’s most successful jazz label, working with everyone from John Coltrane to Nina Simone

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