I like the way she fingers *right behind the fret* for definition's sake, except for those times when she desires the "wood" to sound.

And I wish more guitar players understood the situation - and the value - of paying attention to that. Some seem to hear it, some don't.

Been a long time since Rm 335 listening here, but I'm thinking her solo is a note-for-note transcription rather than improvisation. If not, its darn close or captures the spirit of the original solo very well. That's not a knock, note-for-note transcription soon makes for awesome improvisational chops IMO.

Somebody buy that young lady a guitar that's not a plank now...


--Mac