Jack Pearson. The name itself resonates with guitar aficionados and music lovers who appreciate genuine talent and profound musicality. To simply label him a guitarist is an understatement; he is a multifaceted musician – a singer, songwriter, producer, and sought-after session player. In 2018, the state of Tennessee officially recognized his immense contribution, with the Senate honoring him as a “gifted guitarist and an American musical treasure.” While celebrated as a blues-rock luminary and a master of slide guitar, the artistry of Jack Pearson extends far beyond instrumental prowess. He is a storyteller through song, a soulful and inventive artist with a unique voice.
Pearson’s original compositions are deeply affecting, imbued with honesty and authenticity. His music compels you to move, driven by grooves that are both infectious and profound. Lyrically, his songs often explore themes of hope and resilience, resonating with listeners and reminding them of the power of perseverance in the face of adversity. This potent combination of lyrical depth and musical hooks has led to his songs being embraced and recorded by other artists, further cementing his reputation as a songwriter of substance.
His mastery transcends genres and instruments. Jack’s ability to elevate any musical style he engages with is remarkable. His guitar playing is characterized by both sophistication and raw emotion, captivating audiences and leaving fellow musicians in awe of his seemingly effortless skill. Blues Revue aptly described him as a “world-class guitarist,” while Rolling Stone lauded his “light touch and fluid, jazzy style…dynamic slide playing.” These accolades only scratch the surface of his musical depth.
Jack Pearson’s musical journey is shaped by a vast and deep understanding of music history. His performances are not just displays of technical skill but are steeped in tradition, reflecting his profound knowledge and respect for various genres. His instrumental versatility is astounding, encompassing electric, slide, acoustic, and resonator guitars, along with mandolin, old-time banjo, and Hammond organ. He seamlessly integrates these instruments into blues, roots music, jazz, bebop, pop, rock, bluegrass, and country, ensuring that his live performances and recordings are always dynamic and captivating.
Music Row Magazine aptly declared, “Anyone who’s caught Pearson live knows he can flat burn. His tone and prowess are flawless…he picks with a playful inventiveness that I haven’t heard since Duane Allman…” Vibes Magazine echoed this sentiment, recognizing the unique and impactful nature of his guitar playing.
From 1997 to 1999, Jack Pearson held the esteemed position of guitarist in The Allman Brothers Band, a testament to his exceptional talent and standing in the music world. His career is studded with collaborations with an astonishing array of music legends spanning jazz, rock, blues, and country. The list is a veritable who’s who of music royalty: The Allman Brothers Band, Gregg Allman, Vince Gill, Jimmy Buffett, Tommy Emmanuel, Joe Bonamassa, Charlie Daniels, Keb Mo’, Delbert McClinton, Earl Scruggs, Chris LeDoux, Bobby “Blue” Bland, Mac McAnally, Amy Grant, Groove Holmes, Mike Snider, Faith Hill, Ronnie Milsap, Jimmy Hall, Gov’t Mule, Buddy DeFranco, T. Graham Brown, Shelby Lynne, Jimmy Raney, Vassar Clements, Bonnie Bramlett, Mundell Lowe, The Jordanaires, Jim Horn, Lee Roy Parnell, Kirk Whalum, Martina McBride, Taj Mahal, Trace Adkins, Dr John, Sam Moore, Eric Church, John Hiatt, Tedeschi Trucks Band – a list that continues to grow, reflecting his enduring influence and demand.
The Genesis of a Guitar Legend: Jack’s Story
Born in the vibrant musical landscape of Nashville, Tennessee, Jack Pearson’s journey into guitar mastery began around the age of twelve. His first chords were taught by his elder brother, Stanley, who played a pivotal role in shaping Jack’s early musical education. Beyond initial lessons, Stanley provided Jack with a fretboard chart, urging him to memorize it as a foundation for understanding the instrument’s architecture. This emphasis on foundational knowledge proved invaluable. Furthering Jack’s slide guitar journey, Stanley presented him with a slide, despite not being a slide player himself, recognizing its importance in blues and roots music.
Jack credits Stanley as a patient and insightful teacher. Stanley’s method involved immersing Jack in the music of influential artists. He introduced Jack to records by Chuck Berry, Carl Perkins, Scotty Moore, Jimmy Reed, John Lee Hooker, Lightnin’ Hopkins, and The Ventures, guiding him to learn specific songs and absorb their nuances. Jack’s dedication was evident in his relentless practice. He would spend countless hours dissecting songs, meticulously learning each note, identifying its position on the fretboard, and striving to replicate the tone and feeling of his guitar heroes.
Jack’s early musical palette was richly diverse, encompassing influences like Duane Allman, Dickey Betts, B.B. King, Wes Montgomery, Toy Caldwell, Billy Gibbons, and Roy Clark. He admired any guitarist who demonstrated exceptional skill and inspired passion. A pivotal moment arrived one Christmas when he received The Allman Brothers Band’s “Live At Fillmore East” album. This record was a revelation. He was tasked with learning every note, and he embraced the challenge wholeheartedly. Although familiar with the album, owning his own copy allowed for intensive study. He absorbed every guitar lick, every bass line – knowledge that would prove remarkably beneficial when he later joined the band.
Jack’s commitment to practice was unwavering. Driven by a profound love for music, he practiced incessantly, sometimes to the point of his fingers bleeding. Music was not just a passion; it was a calling. As Jack himself has stated, “I’ve always felt like the Lord must have made me to play music.” He views his talent as a gift, a responsibility that necessitates continuous practice and growth.
Early in his career, Jack was simultaneously involved in multiple bands – a pattern that has persisted throughout his musical life. He played with family members, school friends, and seasoned musicians, performing in clubs even before he was old enough to drive. At the age of 16, he landed his first studio session, marking the beginning of his professional journey.
He encountered a local band named Renegade, notable for featuring a slide guitar player – a rarity in the local scene at that time. Intrigued, Jack attended one of their early shows. Equipped with his guitar in his car, he was invited to sit in and ended up playing the entire night. The next day, Renegade’s slide guitarist, Lee Roy Parnell, extended an invitation for Jack to join the band. Lee Roy recounted in an interview with Hittin’ The Note Magazine, “…I wanted him in the band real bad. Jack was just so good and so right, and I felt the vibe right away. The other guys were saying, ‘we don’t really need another guitarist’ but I simply told them ‘Let me put it to you like this – if Jack don’t go, I don’t go.’” In the fall of 1977, at just 17 years old, Jack embarked on a two-week tour to Florida with Renegade, which unexpectedly extended into nearly a year on the road, a formative experience in his burgeoning career.
Although Renegade eventually disbanded, the musical partnership between Jack and Lee Roy continued. In 1979, they relocated to Austin, Texas, forming The Lee Roy Parnell Band and opening for notable acts like Taj Mahal, Joe Ely, and Jerry Jeff Walker. Austin provided a fertile ground for musical growth. Jack frequently sat in with W.C. Clark, connected with keyboardist Reese Wynans (a continuing musical relationship to this day), and had the invaluable experience of jamming with Stevie Ray Vaughan and Bonnie Raitt. However, financial realities were harsh. Jack recalls times when affording both a hamburger and guitar strings was a luxury. This financial strain led him to return to Tennessee in 1980. His possessions – a guitar, an amplifier, a suitcase, and a ten-speed bike – were loaded onto a Greyhound bus for a two-day, sleepless journey home, marking a new chapter in his musical journey.
Upon returning to Tennessee, Jack shifted his focus towards acoustic blues and singing. He secured a gig as the opening act for Leon Redbone, which helped to solidify his acoustic blues style, influenced by masters like Blind Willie Johnson, Rev. Gary Davis, and Brownie McGhee. He also spent periods in Muscle Shoals and Miami, expanding his musical network and performing whenever and wherever opportunities arose.
In 1983, Jack returned to Tennessee again and embarked on a deeper exploration of jazz. He performed with jazz luminaries such as Jimmy Raney in 1986, Buddy DeFranco in 1987, and Groove Holmes in 1988. Influenced by jazz guitar icons like Wes Montgomery, Django Reinhardt, Charlie Christian, Joe Pass, Grant Green, and Kenny Burrell, as well as instrumental voices beyond guitar – Oscar Peterson, Johnny Griffin, Charlie Parker, Dizzy Gillespie, Art Tatum, Wynton Kelly, Chet Baker, Clarke Terry – Jack’s versatility and unique talent shone brightly in the realm of jazz.
Jack’s collaboration with William Howse, a long-time friend and musical partner, began in 1978. William, a harmonica virtuoso deeply rooted in the styles of John Lee Williamson, Big Walter, and Deford Bailey, and possessing vocals reminiscent of Muddy Waters, is considered a true bluesman. Together, they forged a powerful musical synergy, co-writing numerous impactful songs, some of which were recorded by artists like Gregg Allman, Johnny Jenkins, and Jimmy Hall. They contributed their talents to recordings and live performances for other artists as well. As a duo and as the core of the popular local blues band The Nationals (from the late 1980s through 2002), Jack and William consistently delivered captivating performances. Their individual musicianship, combined with their songwriting prowess, created an unforgettable live experience.
The Nationals’ performances showcased both original compositions and dynamic covers, often featuring exciting musical interplay between Jack’s guitar and William’s harmonica. They released one recording as a band in 1990 and shared stages with iconic artists like The Neville Brothers featuring Aaron Neville, Bo Diddley, and Johnny Taylor.
As a duo, Jack and William explored acoustic and country blues, evoking the spirit of earlier, more rural blues traditions. Their music blended tradition with personal experience, resonating deeply with listeners. They performed at the Ryman Auditorium alongside The Fairfield Four and The Nashville Bluegrass Band and opened for blues legends like Doc Watson, Honey Boy Edwards, Yank Rachell, and Johnny Shines. William also gave a special performance at the dedication of the Tennessee Historical Marker for harmonica great Deford Bailey, and as a duo, they performed at the dedication for blues harmonica legend John Lee “Sonny Boy” Williamson. With just two chairs, a resonator guitar, and a harmonica belt, they created an authentic delta blues sound. Their recording, simply titled “William Howse & Jack Pearson,” is a testament to their collaborative songwriting and musical chemistry.
In 1989, Jack began working with Delbert McClinton, and in 1990, he started performing with Jimmy Hall of Wet Willie fame. Beyond his guitar work, Jack contributed songwriting to Jimmy Hall’s 1996 album “Rendezvous With The Blues,” co-writing several tracks on what is considered a must-have blues recording.
A life-changing phone call arrived in 1993 from Warren Haynes, then a member of The Allman Brothers Band. Warren invited Jack to fill in for Dickey Betts during a tour. Having grown up listening to and learning from The Allman Brothers Band, this was a momentous opportunity. Jack’s dedication to learning both Duane Allman and Dickey Betts’ guitar parts from their recordings proved invaluable, as there was no time for rehearsals. He flew to Dallas, Texas, met Warren to work out harmonies, and the very next night, found himself on stage with The Allman Brothers Band in front of 20,000 people.
Following his successful tour stint, Gregg Allman invited Jack to join his solo band, Gregg Allman & Friends. After his initial run with The Allman Brothers Band concluded, Jack harbored a wish to play with Dickey Betts someday. This wish materialized through various sit-ins and jams with ABB. Then, in 1997, after Warren Haynes’ departure, Gregg called Jack again, this time with an offer to become a full member of The Allman Brothers Band. He accepted without hesitation. Jack visited Dickey Betts at his home to connect and play together. After they had played for a while, Dickey left the room and returned, presenting Jack with one of Duane Allman’s slides – a deeply symbolic gesture of welcome and respect. Jack was later asked to play Duane’s dobro, famously used on “Little Martha.” His performance prompted Dickey to spontaneously play hambone. In a Guitar World interview, Gregg Allman remarked, “After he played with [Jack], Dickey said, ‘Either we hire him or I ask him for lessons.’”
Jack remained a member of ABB from 1997 to 1999. He made the difficult decision to leave due to severe tinnitus. Despite trying various custom earplugs, the stage volume at that point was too damaging. Derek Trucks replaced Jack, and later, Dickey Betts also departed, with Warren Haynes eventually rejoining. However, Jack remained connected to the band, receiving calls to fill in when needed, even substituting for both Warren and Derek on different tours. This gives Jack the unique distinction of having played in the band with Warren, Dickey, and Derek. He continues to visit and sit in with his friends whenever ABB plays in his vicinity.
Jack considers himself incredibly fortunate for the extraordinary experiences music has brought him. These include moments like sitting in Chet Atkins’ kitchen, receiving a chord voicing lesson from the legendary CGP (Certified Guitar Player); becoming a member of his favorite band; meeting his musical heroes like Joe Pass, B.B. King, and Albert King; performing with countless talented musicians (many deserving of greater recognition); playing at the Grand Ole Opry, Farm Aid, and iconic venues such as the Ryman Auditorium, Red Rocks, Madison Square Garden, and The Beacon Theatre; and recording and touring with a vast array of gifted artists.
Mixed with these career highlights are the inevitable low points faced by every musician. Jack has experienced his share: earning meager sums from bar cover charges ($1.73 per person), sharing cramped hotel rooms with multiple band members, roadside breakdowns with equipment, and playing to near-empty venues. In the face of sparse audiences, Jack would humorously quip, “Boy, we really had him going tonight!”
Whether performing to a handful of people or a packed arena, Jack’s commitment remains constant. He pours the same intensity and passion into every performance. He holds nothing back, playing with his entire heart and soul, often leaving drummers sweating and his own legs weak after solos. Jack reflects, “When it comes to low points, it’s important to keep things in perspective. They call hard times paying dues. Going through hard times is tough, but my faith leads me on. I have so much to be thankful for. It’s such a blessing to be able to play music to begin with.”
This sense of hope and faith permeates his songwriting, even in his instrumental pieces. His songs often address life’s challenges, emphasizing resilience and emerging stronger from adversity. This reflects his own life journey, where faith serves as a source of strength. His aim is to uplift and encourage listeners. As a songwriter, Jack has collaborated with a distinguished group of writers, including Gregg Allman, William Howse, Leslie Satcher, Bernie Nelson, Dan Penn, Donny Lowery, Lee Roy Parnell, Warren Haynes, Allen Woody, A.J. McMahon, Johnny Few, and Pete McClaran.
While Jack’s guitar skills span an extensive range of musical styles, his talent extends beyond the guitar. He is self-taught on instruments like Hammond organ, mandolin, bass, drums, and old-time banjo. He incorporates these instruments into his own recordings and session work for others, achieving proficiency on each.
He began learning mandolin in December 2001, dedicating hours daily to practice, studying the styles of masters like Jethro Burns, Mike Compton, Yank Rachell, and Bill Monroe. Having played mandolin on numerous recording sessions, he was honored to contribute to a project by the legendary Earl Scruggs. He regularly features mandolin in his live performances, both on traditional and original songs. He notes, “This instrument has given me another voice and added something that had been missing from my music.”
Regardless of the instrument, Jack’s playing philosophy is selfless and responsive. He is deeply attuned to the musical context, listening intently to his fellow musicians and contributing in a way that serves the song. “Whatever a song needs, I’m going to play – or not play,” he explains. Gregg Allman, in Hittin’ The Note Magazine, praised this quality: “He’s one of the finest I’ve ever seen. He really listens, he plays great, tasteful solos, he comps great and he knows how to play with you instead of behind you.”
Jack’s profound understanding of diverse musical styles and his ability to authentically perform them makes him an exceptional instructor. He has conducted countless guitar clinics and workshops and now hosts his own instructional programs. He recognizes the importance of preserving and accurately teaching techniques that are in danger of being lost or misrepresented. His online instruction enables him to reach guitar players globally, allowing them to learn at their own pace and benefit from his vast knowledge.
Over the years, Jack has also honed his skills as a producer, earning credits for producing, engineering, mixing, and mastering projects for himself and other artists. His production expertise is evident in his solo recordings, demonstrating his ability to interpret and record songs in diverse styles. Jack states, “I’ve always believed that you can play a good song in any groove or tempo. A truly good song has a life of its own and then it’s just a matter of interpretation and production.” He aims to expand his production work, envisioning collaborations with his extensive network of talented musician friends.
Jack Pearson has released several acclaimed solo projects and consistently works on new music. He plans to release a collection of his extensive recordings as downloads, making his music more accessible to fans worldwide.
Guitarist, singer, songwriter, producer, session musician – while many in Nashville and beyond carry these titles, Jack Pearson stands apart. He is a truly exceptional musician, a genuine American musical treasure. As Vintage Guitar Magazine aptly concludes, “If you can only check out one player, make that player Jack Pearson!”
