Editing Brian Jones (section)

===Musical contributions===
[[File:Kungliga Tennishallen Stones 1966a.jpg|thumb|left|Jones (left) with the Rolling Stones in Stockholm, April 1966]]
Jones was a gifted multi-instrumentalist, proficient on a wide variety of musical instruments.<ref>{{cite web | url=https://www.semana.com/gente/articulo/brian-jones-el-rolling-stone-original/465962/ | title=Brian Jones, el 'Stone' original | date=19 March 2016 }}</ref> His ability to play a wide variety of instruments is most evident on the albums ''[[Aftermath (Rolling Stones album)|Aftermath]]'' (1966), ''[[Between the Buttons]]'' (1967) and ''[[Their Satanic Majesties Request]]'' (1967). As a guitarist, in the early days, he favoured a white [[Vox Mark III|teardrop-shaped electric guitar]] produced by the [[Vox (musical equipment)|Vox]] company, especially in live performances; he also played a wide variety of electric and acoustic guitars from companies such as [[Rickenbacker]], [[Gibson (guitar company)|Gibson]], and [[Fender Musical Instruments Corporation|Fender]]. As a slide guitarist, he favoured the [[open E tuning|open E]] and [[open G tuning|open G]] tunings.<ref>Paul Trynka interview with [[Dick Taylor]], early bass player for the Rolling Stones:{{cite web |last1=Trynka |first1=Paul |title=Open G tunings and open secrets |url=http://trynka.net/2014/08/open-g-tunings-and-open-secrets/ |access-date=24 January 2018 |author1-link=Paul Trynka |archive-date=25 January 2018 |archive-url=https://web.archive.org/web/20180125024641/http://trynka.net/2014/08/open-g-tunings-and-open-secrets/ |url-status=live }}</ref>

Richards maintains that what he calls "guitar weaving"<ref>{{Cite web |url=http://odeo.com/audio/5490053/view |title=Rolling Stones' Guitar Weaving (Podcast)-Q107 Toronto |access-date=12 May 2008 |archive-date=21 October 2013 |archive-url=https://web.archive.org/web/20131021141144/http://odeo.com/audio/5490053/view |url-status=usurped }}</ref> emerged from this period, from listening to [[Jimmy Reed]] albums: "We listened to the teamwork, trying to work out what was going on in those records; how you could play together with two guitars and make it sound like four or five."{{sfn|Jagger|Richards|Watts|Wood|2003|p=39}}