Reese Wynans – Guitarist Gathering – Vintage Guitar

Reese Wynans played keys in the early version of the Allman Brother’s Band and did a stint in Captain Beyond years before joining Double Trouble, the band that backed the legendary Stevie Ray Vaughan. After SRV’s tragic passing in 1990, he remained tight with the blues-guitar fellowship.

In 92’, Wynans moved to Nashville and picked up gigs with Hank Williams, Jr., Brooks & Dunn, Martina McBride, and other country acts along with blues guitarists Buddy Guy, Kenny Wayne Shepherd, Colin James, Ana Popovic, Dudley Taft, and others.

Lauded by pickers for his ability to hit the right notes at the right time, when producer Joe Bonamassa made calls to return the favor on Wynans first solo album, “Sweet Release” They replied with gusto.

There’s an impressive lists of guitarists on Sweet Release.

Doyle Bramhall, II is one of my favorite players. He did “You’re Killing My Love, “an Otis Rush song written by Nick Gravenites and Michael Bloomfield. I love the Otis version – so earthy-and Doyle took it to this cool place with perfect guitar lines. I’ve been a fan of Kenny Wayne Shepherd for years. I was in his band for Trouble Is. Kenny was a big fan of Stevie, so when Tommy [Shannon] and Chris [Layton] agreed to play on the album, the first guy I thought to do Stevie songs was Kenny. He showed up so ready and brought that aggressive style with such fantastic phrasing and energy.

We sent a track to Warren Haynes and he came back with this beautiful vocal and guitar on the Les Dudek song “Take the Time.” It’s very reminiscent early Southern Rock, with the slide. Keb’ Mo’ did Tampa Red’s “I’ve Got the Right to Be Blue.” We wanted it to sound like a record from the 40’s, and he did the whole track through an old tweed Fender. Joe played on several songs and sang “So Much Trouble.” He did a lot of auxiliary tracks, a lot of soloing, and played this great slow-blues on the Keb’ tune. It’s a very biting, aggressive blues sound. I go for guys who play with attitude, and when Joe plays, everything sounds real. I’ve been with him on the road for about five years, and it was great working with him in the studio.

What was it like to play with Tommy and Chris again?

For five years, the three of us were the engine that drove Double Trouble, and I don’t think I would’ve cut any Stevie songs if they hadn’t been along. Chris has been working with Kenny Wayne for years and is playing better than ever- fantastic shuffle, great rock feel on everything. And Tommy is a legend – he wrote the riff for “Crossfire.”

Speaking of, you did a great re-work of that song.

When we were originally writing “Crossfire,” somebody said, “This kind of sounds like a Sam & Dave groove.” I told Joe that story and he said, “Well we should get Sam [Moore] to sing this.” We changed a couple of things-added an organ solo where the guitar solo was, and the original was just bass and piano playing the main riff, but now there’s a guitar to it, as well. And there’s a fantastic Kenny Wayne solo in the middle, then more playing at the end.

How would you compare playing with Stevie Ray in the studio to live?

In the studio, Stevie would set up all his road gear. Recording In Step, he had 15 different amps set up in the room. It was so loud in there, but he got this unbelievable guitar sound. We would play a song, say “The House is a Rockin’, “and play it again. We must have played that song 20 times. These days, you play a song a couple times and if you get it right, you keep that and move on. It took us bit longer back in the day. Live, our show, every night. When we were inducted into the Rock and Roll Hall of Fame, we had to make a speech and in mine I said that none of us would be in the Hall of Fame if it wasn’t for the great talent of Stevie Ray Vaughan. We were the engine, but he was the musicality and the driving force that took us all there.

– Greg Prato