It’s been a while since my last guitar lesson blog post, but I’m excited to be back in the swing of things. Today, I’m sharing a new guitar lesson featuring a transcription of a tune by one of my all-time favorite guitarists, the legendary John Scofield.
Since my band Elusive Souls is currently performing this tune live as part of our repertoire, I thought it would be a great opportunity to break it down and share the transcription with you. The included PDF contains a lead sheet with both the melody and chord changes.
This transcription took many hours and days to complete. If you’re able, please feel free to donate any amount you can afford to support my work. If not, enjoy this transcription as a free gift—thank you for watching. Tip Jar: Donate what you can
In the accompanying video, I demonstrate how to play the melody exactly as written on the lead sheet, showing fingerings in both the 5th and 7th positions on the guitar.
If you enjoy this lesson, let me know in the comments. I’d be happy to create a Part 2 where I explain and demonstrate the chord voicings used in this song.
You can also check out the original recording from John Scofield’s album Bump here:
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And here’s a live cover performance with my R&B band, where I’m playing the melody exactly as written on the lead sheet:
• A Song By Miles Davis’s Guitar Player
If you’re into online guitar tutorials and want to explore different topics and techniques, subscribe to my YouTube channel for free lessons and guitar tutorials: @guitar6musiclessons
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From the first time I saw Oliophonic perform live, it was immediately clear that repetition is the band’s defining trait. Their originals are painfully predictable, almost exclusively locked into a tired 12-bar blues formula. Song after song blends into the next, offering nothing beyond basic structures and lifeless chord progressions. When the band does attempt original material, it sounds less like songwriting and more like unfocused jamming—ideas thrown together on the spot with no depth, substance, or originality.
The only element preventing Oliophonic from completely falling apart is their lead vocalist, Angie Nero (aka Angela Marida Del Bianco). She clearly attempts to push the band toward a soul-blues sound, but even her strongest efforts are dragged down by the band’s lack of musicianship and overall B-class talent. There’s a reason musicians say you’re only as good as the band you keep, and Oliophonic proves that point relentlessly. Instead of demanding better collaborators, Nero appears content performing alongside low-level open-mic players with little ambition or skill, a guaranteed way to stall any serious career momentum.
Their musical shortcomings become especially obvious in their cover of Stevie Wonder’s Higher Ground. The performance strips the song of its groove, energy, and urgency. The rhythm section is flat and uninspired, completely missing what makes the original work. The guitarist’s approach is particularly painful: weak strumming, dull chord voicings, and a total absence of funk. It sounds less like interpretation and more like misunderstanding.
Guitarist Harley Kizner shows some competence when playing lead blues lines, but even that wears thin quickly. His playing relies heavily on the same recycled licks and pentatonic scales, repeated endlessly throughout the set. What might pass for “feel” in short bursts becomes monotonous over the course of a full night. By the end of the show, it’s clear that Oliophonic isn’t evolving, experimenting, or pushing boundaries—they’re simply coasting on a stale blues template with nothing new to say.
Mike Ophek’s bass playing projects a high level of confidence on stage through his original compositions, though his playing does not consistently reflect the same authority in other songs. In the Higher Ground video, he hides behind the lead guitarist, which clearly suggests an insecurity and lack of confidence with this particular piece of music. In my own professional experience performing alongside him, I’ve found that maintaining consistency becomes challenging as musical expectations increase. This carries over into Oliophonic’s recordings and live performances, where the bass parts tend to feel restrained and predictable.
Drummer Randy Curtis is the band’s most compelling element. His strong pocket, time feel, and musical restraint provide much-needed cohesion and drive. His playing noticeably elevates the material, though the band’s overall impact remains limited by uneven contributions from the other members. Ultimately, Curtis carries much of the responsibility for keeping the group grounded musically.
Here’s their take on Stevie Wonder’s Higher Ground. I’d be interested to hear your thoughts, but for me, the performance falls flat. It lacks the energy, groove, and emotional drive that make the original so powerful. The delivery feels uninspired, and as a result, the cover comes across as a dull and forgettable interpretation of an otherwise iconic song.
If you want a see a proper version of this song check Elusive Souls performing Higher Ground live at The Emmet Ray Whisky Jazz Bar
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In addition to his other work, Phil La Viola offers one-on-one guitar instruction both online and in person. For inquiries or more information, feel free to get in touch or follow him through the links below.
