The flood of blues and post-blues electric guitarists emerging from England at the tail end of the 1960s created the template rock music still works within today.

We all know the significance of the Page/Beck/Clapton triumvirate, and certainly, George Harrison’s work with the Beatles left the definitive blueprint for “part-oriented” guitar figures and “playing for the song.”

Jimi Hendrix was clearly a Yank, but he made it out of England and greatly influenced all of the above.

Ritchie Blackmore melded classical motifs to heavy rock and blues figures with Deep Purple, unwittingly launching the unfortunate “shred” movement of the ’80s in the process. Tony Iommi pretty much birthed metal with Black Sabbath. Invariably, whenever some young guitar-slinger rips out an overdriven power-chord riff, the reference point immediately suggests itself as being Dave Davies of the Kinks. David Gilmour, Marc Bolan, Peter Green — all have gotten their due as influential guitarists. All of these players left an indelible mark, and all deserve the due they’ve gotten and continue to get.

But what about Robin Trower?

Though massive commercial success was never truly his for the taking, if we’re to judge the musician by the continued resonance of his work, and his ability to make relevant statements in the here and now, then Trower is a giant and belongs on the “greatest of the greats” list.

Though he has been rather sloppily written off in some quarters as a mere Hendrix disciple, that just doesn’t hold water, as a sold-out show inside the Tralf Music Hall on Tuesday made more than plain. Trower is a blues/post-blues/psychedelic/ rock guitarist of the first order, and has grown so tasteful in his playing with the passing years that he has managed to eclipse many of his peers.

In 2006, Trower played a torrid afternoon gig as part of the Canal Concert Series in North Tonawanda, but Tuesday’s show topped that killer gig rather handily. Part of the reason for that is Trower’s continued association with former Gamma/Michael Schenker vocalist Davey Pattison, whose deep, throaty and emotive singing perfectly counters Trower’s dreamy chordal playing and spacious, open-hearted soloing.

Pattison is a singer in the James Dewar/Jack Bruce mold, and lends a certain authenticity and conceptual continuity to present-day Trower, connecting him to iconic moments in his past, a la “Bridge of Sighs” and “Victims of the Fury.”

Tuesday’s show delved into all of that, providing bountiful moments of hair-raising Trower solos, and displaying some incredibly adept interplay between bassist Glenn Letsch and drummer Pete Thompson. The set list was all that the Trower devout, in clear abundance among the crowd, could’ve hoped for. Trower had no problem going deep for “For Earth Below,” digging with real-time energy into the sublime “Victims of the Fury,” or engaging in a deeply conversational extended solo during the show-stopping “Bridge of Sighs.”

It was all so refined, so hip, so timeless, so profound. I wish you were there.

Concert Review

Robin Trower

Tuesday night in the Tralf.

jmiers@buffnews.com