Stefan Grossman's Early Masters of American Blues Guitar: Blind Blake
Blind Blake / transcr. Stefan Grossman

SERIES: Stefan Grossman’s Early Masters of American Blues Guitar

The Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this fascinating collection of 16 songs, transcribed exactly as performed by legendary blues master Blind Blake. In addition to Stefan's expert transcriptions, the book includes a CD containing the original recordings of Blind Blake so you can hear the music as he performed it.

Blind Blake was the greatest ragtime blues guitarist to record during the 1920s. His guitar styles and techniques were unique, capturing the pulsating rhythms of the blues, ragtime, and jazz music of the period. His records sold well and were greatly influential on generations of guitarists. This collection presents sixteen tunes that will keep your fingers very busy. Sound, feel, and control over right-hand thumb are the elements of Blind Blake's playing that will demand all your attention and patience. Enjoy the wonderful songs, and good luck developing your "sportin' right hand!"

Price: €27,99


BLUES SOLOS FOR ACOUSTIC GUITAR. Di Johnny Norris; 16 stili in 16 istantanei brani. CD TAB.

Play blues style guitar with this superb book/CD pack. Specially composed solos include 'Overdrivin'', 'Soho Blues' and 'Eight Bars On The Highway'.

Price: €20,99


COMPLETE COUNTRY BLUES GUITAR BOOK. S.GROSSMAN, 260 pagine per chitarra sola, 57 classici di blues rurale, come "Crow Jane", "monday morning blues". Delta blues, ragtime blues, alternating bass & open tunings, Texas blues, bottleneck blues. 2 CD TAB.

Product Description:
Over 50 fingerpicking guitar solos in notation and tablature in country blues, Delta blues, ragtime blues, Texas blues and bottleneck styles. An extremely comprehensive blues solo collection. 2 CD's included.

Format: Book/2-CD Set
Series: Complete

Shake That Thing --
Nobody's Dirty Business --
It Won't Be Long --
Fare Thee Well Titanic --
You Got the Pocketbook, I Got the Key --
Ragtime Mama Blues --
Salty Dog --
Blues Ain't Dry --
Old Country Rock --
Take A Whiff On Me --
A Tribute To Lonnie Johnson --
Crow Jane --
One Kind Favor --
Easy Rider Blues --
Ragged And Dirty --
Return To Little Rock --
Monday Morning Blues --
Spoonful --
Weeping Willow --
Mississippi Blues --
Just A Closer Walk With Thee --
Working On The New Railroad --
Juicy Lucy --
Easy Street --
Vestapool --
Kassie Jones --
John Henry --
Sitting On Top of the World --
Police Dog Blues --
New Pony Blues --
If You Haven't Any Hay Get On Down The Road --
Yonder Comes The Blues --
Moon Goin' Down --
Belzona Blues --
Special Rider Blues --
Hard Time Killin' Floor --
Buck Dancer's Choice --
Bill Bailey --
Ton of Blues --
Blake's Breakdown --
Franklin Blues --
Sister Kate --
Struttin' Rag --
Twelve Sticks --
Man of My Own --
Strange City Streets --
Come Back Baby --
Mourning Blues --
Charley James --
Country Line --
Tickle Dew --
Banty Rooster --
One Kind Favor --
Someday Baby --
Wake Up Mama --
Good Morning Little Schoolgirl --
God Moves On the Water --

Price: €43,99



Series: Guitar
Publisher: Homespun Listen and Learn Series
Medium: Softcover with CD
Author: Rory Block

Here are some of the greatest country blues solos of all time, taught in phrase-by-phrase detail. Rory Block, one of the most knowledgeable and talented exponents of this style, performs and breaks down these fingerstyle pieces by Willie Moore, Blind Willie McTell, Tommy Johnson, Mississippi John Hurt, Skip James and others. 32 pages



Dear Friends,
There was a time when the last thing I wanted to do was to teach blues. I was 15 years old and
believed that one needed to devote ones life to apprenticeship with the masters in order to
learn the old music. I didn't have the perspective at the time to realize how briefly those
masters would be among us and how little access the country at large had to a small area of the
east coast and a dot in time. I hoarded the music jealously.
Later on I realized how the things I had learned firsthand from Son House, Reverend Gary
Davis, Mississippi John Hurt, Fred McDowell, Skip James and others did not just belong to
me, or to those who had the good fortune of being at the right place at the right time. I realized
that his precious music belonged to everyone, and that I was the last person who wanted to see
it die away. I began to desire to share whatever I knew, to pass on my small part of the puzzle,
to inspire and educate if I was able. During this time many other venerable musicians, famous
and obscure have added their own irreplaceable passion to the equation. We have also recently
seen a new wave of the second generation, children and grand children, heirs to this great
music, and at the same time an increase in both availability and interest in historic music.
Myoid frienn. Artie Traum was there, as was I, during the roots music revival of the '60s, and it
was Artie who suggested I sit down and record this first audio series of my all-time favorite
country blues songs. I now feel it a great honor to be a part of this process, and hope to inspire
in each listener and player a burning need to add something of themselves to everything they
play, because that connection with the soul, that expression of the individual in each note is
what really carries the music on.

Classics of Country Blues Guitar

Table of Contents


"Old Country Rock"
Intro Music - "Old Country Rock"
Tuning Pitches
1st 4 Measures
G7 Chord
Connecting Run
Measures 7 and 8
1st 8 Measures - Slow Version
1st 8 Measures - Fast Version
Rhythmical "Gem"
Tag #1
Tag #2 ("A" Section)
Tag #2 ("D" Section)
"Old Country Rock"

"Statesboro Blues"
Intro Music - "Statesboro Blues"
Intro Breakdown
Full Intro
Song Breakdown
"Statesboro Blues"

"Big Road Blues"
Intro Breakdown
Ascending Bassline
"Big Road Blues"
"D" Section Substitution
G7 Section
Right Hand Techniques
Right Hand Techniques Continued
"Snapping" Continued
Last Section Breakdown

"Canned Heat"
Intro Music - "Canned Heat"
Song Breakdown
Song Review

"Future Blues"
Tuning Pitches
"Future Blues"
Song Breakdown
Adding Vocals

"Devil Got My Man"
Tuning Pitches
"Devil Got My Man"
Song Breakdown
Song Breakdown Continued
Song Discussion
"Devil Got My Man" with Vocal

"Police Dog Blues"
Intro Music - "Police Dog Blues"
Song Breakdown
Alternate Ending (meas. 15 and 16)
Alternate Verse #1 (meas. 7-11)
Alternate Verse #2 (meas. 7-11)
Song Review

"Mississippi Blues"
Tuning Pitches
Song Discussion
"Mississippi Blues"
Intro Breakdown
Intro Review
Verse Breakdown
Verse Review
Solo Breakdown
"Mississippi Blues" with Vocals
Continue Your Studies with Rory Block
A Selected Discography 

Price: €23,99


HOW TO PLAY COUNTRY BLUES GUITAR. By Alan Warner. Esempi e sei solos, con accordature aperte e bottleneck. CD TAB.

Essential techniques for that authentic blues sound simply explained. Includes six great solos for you to play demonstrated by Alan Warner.

Price: €59,99



Stefan Grossman's Early Masters of American Blues Guitar: Lonnie Johnson
Lonnie Johnson / transcr. Stefan Grossman


SERIES: Stefan Grossman’s Early Masters of American Blues Guitar
CATEGORY: Guitar Method or Supplement

The Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this fascinating collection of 16 songs, transcribed exactly as performed by legendary blues master Lonnie Johnson. In addition to Stefan's expert transcriptions, the book includes a CD containing the original recordings of Lonnie Johnson so you can hear the music as he performed it.

One of the most influential blues artists of the 20th century, Lonnie Johnson began his 50-year music career in the early 1920s, and continued to perform and record until his passing in 1970. Recording both as a soloist and with legends like Louis Armstrong, Duke Ellington, and Eddie Lang, Lonnie Johnson's influence can still be heard today, from the work of blues guitar greats like T-Bone Walker and B.B. King, to a whole new generation of blues players.


by Stefan Grossman
I grew up in New York City. During the 1960s I had the
unique opportunity to see and study with a host of great
blues guitar players: Mississippi John Hurt, Son House,
Skip James, Fred McDowell, Mance Lipscomb, Bukka
White, and especially Rev. Gary Davis.
I spent several years traveling up to the Bronx every
weekend to learn guitar from Rev. Davis. He had a vast
repertoire of songs and guitar styles and a memory that
was as sharp as a razor. He would talk about recordings
and performers of country bluesmen from the 1920s and
1930s. Usually he was disdainful of their talents-Blind
Lemon Jefferson could play the guitar but he cried when
he sang; Blind Boy Fuller couldn't play the guitar and
needed lessons; using a bottleneck was cheating. But
Rev. Davis had his own guitar heros-Blind Blake had a
sportin' right hand, Willie Walker was a guitar giant and
onnie Johnson was the king of the fretboard.
s a teenager, I absorbed each word and note of Rev.
Davis as the gospel. I bought blues albums, searched for
old 78s, and went to clubs to see blues guitarists. Gerdes
olk City was a center for concerts in New York City and
one week I discovered that Lonnie Johnson would be
playing there. With great eagerness I went down to see
he "king of fretboard."
onnie was playing a cheap electric guitar and using
a plectrum. His blues were a combination of late 1940s
&B tunes and folk blues played in a very diluted
ashion. His singing had a cocktail lounge edge. All in all
I was disappointed. I saw and heard nothing that I would
ant to play.
uring the next few years, I saw Lonnie Johnson in
arious blues festivals and club appearances. I was
ever impressed but in the back of my mind I had Rev.
avis' unequivacable recommendation that Lonnie was
one of the best that had ever played the blues.
Nhat a fool a teenager can be! If only one of my record
ollector friends would have played me some of Lonnie's
great instrumental tracks from the 1920s, I might have
een converted on the spot! As was, I didn't really
delve into Johnson's playing until 20 years later. During
e 1960s, Lonnie's brand of blues was out of fashion
with both record collectors and blues enthusiasts. The
Delta blues was high on everyone's mind and guitar
playing fingers. The steady flow of melodic riffs and
runs that Lonnie recorded in the 1920s/1930s were too
sophisticated and jazz oriented for blues guitarists and
record collectors.
Many of the fingerstyle blues guitarists of the 1960s
eventually got interested in single-line improvisation and
electric blues styles. This usually started with studying
B.B. King and then Albert King and Freddie King. The
road travelled backwards in time from players of the
'60s to '50s (T-Bone Walker) to '40s (Charlie Christian)
and eventually ended in the '30s and '20s with Lonnie
Johnson. The roots of modern electric blues and rock
guitar can be found in the playing of Lonnie Johnson.
Lonnie was sadly overlooked in his later years by blues
and guitar playing historians. He was never interviewed
in depth about either his life or his guitar techniques.
What a crime; especially as his guitar playing has so
many mysteries.
When listening to Lonnie's early great recordings, one
is struck with how spectacular, complex and innovative
they are. What is very unusual is that the tonality and
key is the same for so many tunes. He might have his
guitar tuned low, or play it with a capo, or use a twelve
string instead of a six string but the chord shapes are
always based around the key of D. Document Records
(Eipeldauerstr. 23/43/5, A-1220 Vienna, Austria) have
released a 7-volume CD set Lonnie Johnson-The
Complete Recorded Works (each CD containing over 20
titles) and within those 140 plus tracks, you will only find
3 or 4 tunes in a key other than D! Yet, Lonnie's recording
output in the 1940s and 1950s has little in common
with blues in D, and he in fact rarely played in that key
or style during these years. I personally CCllHlUlcile
another guitarist whose style and technique changed so
dramatically, especially after it was so widely acclaime
and imitated. This is a very strange phenomenon that
only Lonnie could have helped us to understand.
There are a host of great instrumentals and blues
accompaniments that Lonnie recorded in the '20s and
'30s. This book presents a collection of 16 instrumental


The Early Masters of American Blues Guitar series provides the unique
opportunity to study the true roots of modern blues. Stefan Grossman, noted
roots-blues guitarist and musicologist. has compiled this fascinating
collection of 16 early blues guitar classics as performed by the legendary
Lonnie Johnson. In addition to Stefan's expert transcriptions, the book
includes a CD containing the original recordings so you can experience
the music as it was originally performed.


Mr. Johnson's Blues
Love Story Blues
To Do This, You Got to Know How
Blues In G
Away Down In the Alley Blues
Sweet Woman You Can't Go Wrong
I'm So Tired of Living All Alone
Bitin' Flea Blues
Life Saver Blues
Blue Ghost Blues
Uncle Ned Don't Use Your Head
Cat You Been Messin' Aroun'
There Is No Justice
Go Back to Your No Good Man
Stomping 'Em Along Slow
Woke Up With the Blues In My Fingers

Each book in the Earlv Masters series contains the original artist's performances, transferred
from vintage 78s. These original recordings are a piece of musical history, and the only way to
hear and appreciate the powerful feel and impact of these pivotal, early music giants.

Price: €26,99



Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover with CD
Artist: Kenny Sultan

This book/CD package allows you to explore the styles of Lightnin' Hopkins, Blind Blake, Mississippi John Hurt, Blind Boy Fuller, and Big Bill Broonzy. Through Sultan's arrangements, you will learn how studying the masters can help you develop your own style. 48 pages

Price: €28,99



Rev. Gary Davis / transcr. Stefan Grossman

SERIES: Stefan Grossman’s Early Masters of American Blues Guitar
CATEGORY: Guitar Method or Supplement

The Early Masters of American Blues series provides the unique opportunity to study the true roots of modern blues. Stefan Grossman, noted roots-blues guitarist and musicologist, has compiled this fascinating collection of 13 songs, transcribed exactly as performed by legendary blues master Rev. Gary Davis. In addition to Stefan's expert transcriptions, the book includes a CD containing the original recordings of Rev. Gary Davis so you can hear the music as he performed it.

Reverend Gary Davis, also known as Blind Gary Davis, was a master musician who felt comfortable playing in a wide variety of styles and techniques. He could freely improvise on ragtime, religious and blues themes, and was an exciting and vibrant performer. An ordained minister, Rev. Davis often expressed a preference for gospel music, sometimes refusing to play the blues. In addition to transcribing all the songs in this collection, Stefan Grossman was also a student of Rev. Davis.

Blues, rags and holy blues from the playing of the fingerstyle genius, Rev. Gary Davis are presented in this new collection. 13 arrangements are transcribed to provide you with insight into the playing of this legendary guitarist. A compact disc is included that features Rev. Davis playing all 13 tunes.

Titles include:
Goin' To Sit Down On The Banks Of The River,
Great Change Since I've Been Born,
A Little More Faith,
Pure Religion,
Buck Rag,
I Am The Light Of The World,
You Better Mind,
Walkin' Dog Blues,
Let Us Get Together,
The Angel's Message To Me,
Make Believe Stunt,
Cocaine Blues
God's Gonna Separate.

Price: €20,99

SULTAN KENNY, ACOUSTIC BLUES GUITAR. CD TABLATURE slide bottleneck, playing open and standard tunings-Hey hey


SULTAN KENNY, ACOUSTIC BLUES GUITAR. Contiene diversi esempi di blues shuffle, Delta blues, ritmi sincopati, boogie, basso alternato, le accordature aperte in sol e re, il bottleneck. Incluse "can't be satisfied" di Muddy Waters, "hey hey" di Big Bill Broonzy, "dust my droom" di Robert Johnson. CD TABLATURE



Blues in five different keys, plus slide / bottleneck, playing in open and standard tunings.

Series: Guitar
Publisher: Centerstream Publications
Format: Softcover with CD
Author: Kenny Sultan
Intermediate level

This book for intermediate-level guitarists is a follow-up to Kenny's Introduction to Acoustic Blues. It covers blues in five different keys and positions, and incorporates slide or bottleneck playing in both open and standard tunings. All songs are primarily fingerstyle with a monotone bass used for most. The accompanying 70-minute CD features performances of every example and song, played slowly then up to speed to facilitate learning.

Inventory #HL 00000157
ISBN: 9780931759734
UPC: 073999400922
Width: 9.0"
Length: 12.0"
48 pages

Back Breakin' Blues
Boogie Blues
Boogie In A
Can't Be Satisfied
The CC Blues
Cincinnati Flow Rag
Clean My Room
Delta Blues
The Don't Know Blues
Dust My Broom
The F-B Blues
Filthy Rich
A Fine Filly
Fly Hen
Hey Hey
Hideaway Blues
Joseph's Blues
Lonesome Couch Blues
Muddy's Blues
Shuffle In A
Sleepy Head Blues
State Street Blues
West Coast Blues




Welcome to the second book, Acoustic Blues Guitar, Intermediate level. For those of you unfamiliar with my previous book, Introduction to Acoustic Blues, (What else?), we will be trying to play finger-style acoustic blues the old-fashioned way. The rules are as stated:

1. have fun

2. play loose

3. play with feeling

4. don't worry about mistakes

Sound easy enough? Remember, this is a book about Lightnin' Hopkins, John Lee Hooker, Muddy Waters, Blind Blake and other funky guys. So just have fun, and go with the flow. We will cover blues in five different keys and positions, A, C, D, E, and G – these are the keys I primarily use, and they are the best for acoustic blues. We will also incorporate slide or bottleneck playing in both open and standard tunings. All songs will be played primarily finger-style with a monotone bass used for most of the straight blues and an alternating bass used for the ragtime blues. On the 70-minute cassette tape that accompanies this book, I play each example and every song. Most of the songs are played at slow speed and at regular tempo, and nearly all of the tunes will have a detailed explanation about the music and how to best play it. This book is one step harder than my previous book and should prove to be a good challenge for you. Blues guitar is different than other styles of guitar in that there is more feel involved than technique. It is very important that you use the tablature only as a guide to your ears. The accompanying tape will be your most valuable tool. All the nuances of the blues cannot be written down properly; listening is the only way to really absorb all the material. My suggestion is to listen to the tape before you try any of the songs. Hear exactly what you're supposed to do, then read the music to help you create the sound desired. In my workshops, classes, and private lessons, I urge my students to learn everything by ear. I rarely use written music, but under these circumstances the written notation should be used, but not relied upon exclusively. Memorize each song, then put the written material away. Try to let your own personal feelings come through in your playing. Make each song an individual experience. Remember, this isn't classical music, so play it loose. Don't worry about mistakes, and above all.

Fingerpicks Strings Capo's
Before we close, there are a few more things I would like to discuss. The first is fingerpicks.
I use them, but I'm not sure I would recommend them to all my students. They are very
awkward and hard to get used to. If you want to try them anyway, I would recommend a Herco
thumbpick and Dunlop fingerpicks. The picks will make your guitar sound louder, enable you to
play faster, and make the brush technique easier. But again, they are difficult to use. If you are
having trouble, try turning the picks gently towards your thumb so they are slightly off center.
This will help with the angle of attack and eliminate some pick noise.
My favorite strings are made by John Pearse. If these aren't available, Martin guitar strings
are excellent. I use medium gauge or on occasion, medium lights. As far as a capo, there is only
one that works for me, and it is made by Schubb. It is easy to get on and off the guitar neck and it
doesn't pull the strings out of tune.
The guitars I play vary, but my favorites are a 1936 Martin 000-18, a Santa Cruz OM
model, and a new National style "0" resonator guitar. All are great instruments, and I highly recommend them. Both the Santa Cruz and the National are heard on the cassette tape.

Well, I hope you enjoyed the book and didn't become too frustrated with
my methods. Have patience, and it will all come together. If you find this book
too difficult, try to check out Blues Guitar, An Introduction to Acoustic Blues also
from Centerstream Publications.
Remember to listen to the tape continuously and don't rely only on the
music. This will help you get the proper feel for the music. (I can't stress this
enough!) It is also very important to listen to as much other recorded blues as
possible. The musicians I think you should listen to include John Lee Hooker,
Johnny Shines, Robert Johnson, Brownie McGhee, John Hammond, Taj Mahal,
Rev. Gary Davis, Snooks Eaglin, Lightnin' Hopkins, and Mississippi John Hurt to
mention a few.
I personally have five albums out with my partner, Tom Ball, the newest
entitled, "Filthy Rich" (FF 619). Tom is an excellent harmonica
player/vocalist/guitarist, and we cover a wide variety of blues styles on these
recordings. They are available from your better record stores or from Flying Fish
Records, Chicago, IL, or from myself:
Kenny Sultan, Santa Barbara,
Also, feel free to write me if you have any questions about this book. This
is the second in a series of blues guitar books I am doing for Ron Middlebrook at
Centerstream Publications, so keep an eye out for the next Blues Guitar book.
Until then, good luck with your playing, stay loose.

About The Author. Kenny Sultan has been playing guitar since the age of seven. Soon thereafter, his brother introduced him to the Blues of T-Bone Walker and Lightnin' Hopkins. The effect was permanant. A noted teacher, he has taught music, guitar and blues at the College level. Kenny has also conducted workshops and seminars  throughout the country. He has five albums to his credit with his partner Tom Ball and has appeared as a sideman on numerous recordings by other artists. He currently resides in Santa Barbara, California.


About The Author


Basic 12-Bar Blues Progression

Blues Shuffle in E

Single String Shuffle

The Syncopated Shuffle

The Funky Shuffle

The Harmony Shuffle



Hideaway Blues (key of E)

Delta Blues (key of E)

Sleepy Head Blues (key of E)

Hey, Hey (key of E) Big Bill Broonzy

State Street Blues (key of E)

Lonesome Couch Blues (key of E)

Shuffle In A

Boogie In A

The C C Blues (key of A)

Joseph's Blues (ke of A)

Back Breakin' Blues (ke of A)

Alternating Bass

A Fine Filly (key of G)

The Don't Know Blues (ke of G)

Boogie Blues II (key of G)

Fly Hen (key of G)

Filthy Rich (key of G)

West Coast Blues (key of C) Blind Blake

Cincinnati Flow Rag (key of C) Rev. Gary Davis

Slide or Bottleneck

OPEN G Tuning                                                                                                       


Can't Be Satisfied - Muddy Waters

OPEN D Tuning

Dust My Broom - Robert Johnson - Elmore James

Clean My Room


Muddy's Blues

The F-B Blues

Fingerpicks-Strings-Capo's .


Price: €20,99

THE ROOTS OF ACOUSTIC BLUES GUITAR CD TABLATURE baby,please don't go-Lightnin' Hopkins-come back baby

THE ROOTS OF ACOUSTIC BLUES GUITAR. Sokolow. Canzoni complete con il canto: baby, please don't go, Lightnin' Hopkins -come back baby, Mance Lipscomb -hey hey, Big Bill Broonzy -I'm so glad, Skip James -the prodigal son, Rev. Robert Wilkins -stack o'lee, Mississippi John Hurt. CD TAB.

Price: €19,99
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