Education

Django a Go Go 2017

This was an evening to remember! As I mentioned last month, I was psyched for this concert and I can say now that I had a fantastic time at Django a Go Go and saw some GREAT live Gypsy Jazz in one of the best venues in the world (Carnegie Hall)! It seems the accompanying bandcamp and smaller concerts out in Maplewood, New Jersey were also well-attended and a roaring success. While talking about it from the stage, organizer Stephane Wrembel described the whole idea as “CRAZY”, but it worked out beautifully. Stephane has been playing/promoting these concerts since 2004 so he is definitely adept at pulling all of the necessary elements together and had all of the right kind of help. Gypsy Jazz is more popular than ever in New York City!

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My girlfriend and I arrived at Carnegie Hall, had a nice glass of wine, checked out some of the history in the place at the museum and then made our way to our seats at about 7:30. Together we have seen some great shows at all of the big venues in New York over the years, but neither of us had ever been to Carnegie Hall. What a great place. So much history and a part of a very different time, yet it remains so functional in the modern era. The view from our seats was awesome — completely unobstructed, which is just what I was going for. While I’ve seen people say that the show was sold out, that isn’t completely true. Our area of the balcony was not, which was GREAT! We could really stretch out and enjoy the show and the others who were around us were cool and likewise had plenty of room. I knew the sound would be amazing. It’s Carnegie Hall! While the above pic might make it seem like the 2nd balcony is too far away, it really wasn’t. As I have mentioned on this blog in the past: it was Django Reinhardt’s 1953 version of Night and Day, this video of Stochelo Rosenberg and seeing Stephane Wrembel live that inspired me to learn Gypsy Jazz. I’ve seen Stephane in many incarnations over the years, but have never seen Stochelo. I have also never seen Al Di Meola live and so this was what I was psyched for going into the concert.

Stephane started the show to great cheers from the hometown crowd and after acknowledging the importance of the night and his thanks to the fans, began the show solo with his sublime version of Django’s Improvisation #1. His band joined him on the next tune, the very kinetic original number, Prometheus. As always, Stephane’s playing was brilliant and his band was great. They totally nailed the tunes and then provided great backup for everything else over the course of the evening. Nick Driscoll joined in on saxophone for a great Coltrane-type version of Django’s Troublant Bolero. Totally cool. There was some singing from David Gastine who did a Jean Sablon tune and then related that his dream had always been to sing Take Me Home, Country Roads at Carnegie Hall. Hmm. Not what one would expect at this show, but he nailed it, had people singing along (including us for a chorus [blame the wine]) and got a big ovation for a job well done. Stephane also played Bistro Fada, his very well-known theme for Woody Allen’s Midnight in Paris movie. Then they were joined by guitarist Larry Keel who played some serious Doc Watson country style guitar. The show reminded me of an old-time variety show or maybe Prairie Home Companion. Stephane explained that this has always been the theme behind this concert; bring many divergent styles and musicians together and make it happen!

Then it was time for Stochelo Rosenberg and he did not disappoint. He was CHARGED! He explained before starting that he hadn’t been to Carnegie Hall since 1993 when he was invited by the great Stephane Grappelli. Twenty-four years later he returned thanks to another Stephane and completely burned through his original, modern Gypsy Jazz classic, For Sephora. To see and hear him play this song live was an incredible experience. Everything I wrote about in this post regarding Stochelo’s incredible technique; his strength, touch, tone, and articulation was on full display. Even the other musicians onstage were just shaking their heads as he blazed through 4 choruses of the tune. It was brilliant! It was awesome! They followed up with a Django-era classic, Coquette that also sounded great! I could see everything Stochelo was doing and he was very animated and having a good time, which is a bit unusual for him. Usually he lets his hands do all the moving. Al Di Meola came out next and related that he too had played the hall 42 years ago with Chick Corea and also hadn’t been back since. He launched into a very dramatic classically-inspired solo piece that went through many movements before coming to a big climactic ending and then the ensemble finished with a blazing version of Indifference. During this tune, Stochelo, Al, and Stephane did all kinds of tag-team soloing and comping that was a prelude of the great things that awaited us in the second set. It was a pretty amazing first set and the show had already run more than an hour and a half. And it only got better!

After a short intermission, Stephane, Stochelo, and Al came out alone and Stephane related before they began how influential the Friday Night in San Francisco recording of Di Meola, Paco De Lucia and John McLaughlin from 1981 was to him and to many guitarists he knew. (It was to me too). I was expecting they might do this and as soon as I saw the three of them come out I knew they would! They launched into Mediterranean Sundance and it was EPIC! No, really, it was so good they all hugged at the end of the 12-15 minutes worth of awesome playing. I am not even going to describe how epic it was, but the playing from all three was magnificent! They followed it immediately with a great version of Chick Corea’s Spain joined by Keel and bass player Ari Folman-Cohen. Crazy good. For me everything that had happened between when Stochelo appeared and the end of Spain alone was worth the price of admission. But there was more! A great swinging version of Django-era Georgia on My Mind, with Stochelo playing all of Django’s brilliant lines and chordal fills and It Don’t Mean a Thing with sublime Freddy Taylor-type vocals on both by Ryan Montbleau. Then there was a great guitar hero version of Nuages (with a solo intro by Stochelo to open) that also featured some more great sax from Nick Driscoll. Finally, there was the big rave-up at the end with the Gypsy Jazz anthem, Minor Swing that included the great Paulus Shafer and Stephane’s student, Sara L’Abriola, that succeeded in bringing down the house!

The week after the concert I saw this page of the program (didn’t look at it the night of) and this review from Downbeat and both show a program I totally don’t remember in spots, but I think I’m remembering correctly. I know that Coquette was played because Stephane briefly introduced it as a song Django wrote (which he didn’t) and that had Stochelo shaking his head no (because he didn’t) while if they had played Djangology, that would have been true, since that is a Django Reinhardt composition. Minor Blues was definitely not played and neither was Dark Eyes and if Double Jeu was played it was worked in as a part of Indifference because I know Double Jeu from that awesome Romane/Stochelo Rosenberg DVD that I have raved about on this blog a number of times. Anyhow, I’m sure there had to be some alterations and spontaneity and that is what jazz is all about!

Finally, as I wrote here, I lost my mother almost a year ago to the day of this concert. She was always my Number 1 musical supporter and over the years I was able to take her to many different cultural events in NYC, which she always enjoyed. We never saw anything at Carnegie Hall though, but I like to think she was with me for this great night of music. My girlfriend lost her father about six months ago. He lived to the ripe old age of 94 and while that is quite an accomplishment in and of itself, the fact that he was stationed on Iwo Jima with the Japanese army when he was but a lad of 22 makes it all the more amazing. He was wounded in an air raid and was evacuated from the island before the final American assault. One of the bullets that struck him remained in his leg for his entire life. He passed away just after I bought tickets for Django a Go Go and bequeathed the field glasses from the his army days to his daughter to use for the concert. We were able to get up close and personal to some of the action on stage and that was great! After all of these years, and so many miles, they still work and he would’ve appreciated that they were put to such good use. Swords into plowshares and all of that. I felt very fortunate to have been a part of this evening with so much great music and great playing by all of the musicians. Of course, it was a monumental night on a personal level for me to see Stochelo! I am also glad that Stephane took it all on and set up such a great program of events and hope to see more in the future!

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Christmas Time is Here — Part II

So in Part I of Christmas Time is Here I briefly described some of the history of Christmas carols and popular holiday songs with the idea in mind that as musicians we are sometimes called to play them and shouldn’t shy away from playing them or enjoying the rich history and tradition they symbolize. In this post I will cover actually moving on to making these songs a part of repertoire. The first step in that direction is, of course, deciding on, and building up an arrangement of a song that you like, that works with your abilities as a musician, and will fit the performance you are going to give. This can be an arrangement you learn or one you adapt from either a vocal or instrumental arrangement that is already out there. Every musical number I do, Christmas song or not, even if it is based on someone’s version of a song, I like to change it a little bit or add something to it. That is just a way of personalizing the music or performance and jazz musicians especially do this all of the time.

If you are inclined to a the classic era of Big Band and vocal performances, you can never go wrong with any of the masters from the Golden Age of jazz and pop: Frank Sinatra, Dean Martin, Ella Fitzgerald, Sammy Davis Jr., Nat King Cole, Tony Bennett, and Bing Crosby to name a few. Their interpretations of holiday music are still heard regularly today — I heard Nat King Cole’s The Christmas Song (Chestnuts Roasting…) in 3 different stores during the buildup to 12/25 this year. The arrangements are usually pretty involved but they are also accessible and can be very inspiring in what you add to the song or (if you also sing) how your vocal arrangement will sound.

Speaking of Chestnuts and roasting on an open fire… We’ve all heard Nat King Cole or someone else sing this song, but how many people have actually seen a chestnut? Have you ever wondered about that? There was a time when chestnut trees were almost 25% of all hardwood stock in some areas of North America and recipes for everything from roasted chestnuts to chestnuts and sausages were typical fare. But a blight, introduced by planting a strain of Asian chestnuts in Long Island, NY in 1904 wiped out literally billions of trees. That’s right, Billions! It’s estimated there are only a few dozen pre-blight trees still alive in North America today and, of course, hardly anyone eats chestnuts during the holidays and almost all of the chestnuts that are eaten have to be imported. By the time The Christmas Song (Chestnuts Roasting…) was written in 1944, most of the nation’s chestnut tree stock had already been wiped out. What an ecological nightmare! The things I learn blogging sometimes.

Many great instrumentalists from the 40s, 50s and 60s made holiday albums: Oscar Peterson, Count Basie, George Shearing, Joe Pass, Charlie Byrd all made Christmas albums. So did swinging 60s style artists like Herb Albert, and so have newer jazzy/poppy superstars like Wynton Marsalis, Diane Krall and Nancy Wilson. There are literally weeks worth of instrumental and mood-type Christmas music on YouTube and possibly something on one of these albums could inspire you.

Some people may be more inclined to the rock and roll side of things but keep in mind that the lines of where Golden Classics leave off and rock and roll begins is a fine one indeed. Elvis Presley recorded a whole bunch of Christmas music and his tastes range from gospel, to rock and roll to straight pop. His interpretations of the classics (I’ll Be Home For Christmas, Little Town of Bethlehem) are as good as anyone’s because his gospel background and religious convictions give such sacred songs a depth that many secular vocalists just don’t do as well. It’s very easy to reduce a whole lot of the religious holiday music to camp and sentimentality, but Elvis never does this. He also recorded the definitive version of Blue Christmas. On the original version his vocals are awesome and the arrangement, including the background vocals by The Jordanaires, was inspiring and musically groundbreaking for the time. Was this the first rock and roll Christmas Song? Hmm. Maybe someone more knowledgeable than I will chime in. Of course there was a whole lot of rock and roll Christmas after 1957 including: Chuck Berry, The Ventures, Phil Spector’s Christmas (including The Ronettes’ version of Sleigh Ride, which is also a classic), The Beatles, who released lots of Christmas craziness through their fan club and then later, John Lennon and Yoko Ono’s So This Is Christmas and Paul McCartney’s Wonderful Christmas Time, both of which still get HEAVY airplay during the season. They are modern standards for sure. The Boss, Bruce Springsteen, also has a modern standard with his version of Santa Claus is Coming to Town, which has also been covered by everyone from Mariah to Bieber. José Feliciano, who I wrote about here, has the awesome Felice Navidad song that still gets yearly airplay and the recently-departed George Michael had a big 80s classic hit with the holiday favorite Last Christmas. Back in 1992 I was lucky enough to catch the Johnny Cash Christmas show when it rolled through New York City. That was a lot of fun. Brian Setzer has had a Christmas show/revue for years and he has covered a whole ton of great songs. Like this one:

So, depending on your preferred style of music, you can adapt and arrange any song you see fit and spice up everything from musical performances to family gatherings. Christmas songs, carols and melodies lend themselves to a wide variety of possibilities; they can have a very bare bones arrangement that you may sing along with, or they also can be turned into an instrumental mind-blower like what the always amazing Ted Greene does below. When I was in a punk band we used to do a twisted, Black Sabbath kind of take on Santa Claus is Coming to Town. When I got old and settled down, Christmas Time is Here was the first Christmas song I learned to play as a solo improviser and I have played it every year since and performed it at numerous gigs. This past year I worked up an arrangement that was based on The Ventures version of Sleigh Ride and tweaked it to work with gypsy jazz, rehearsed a couple times with the fellows, and away we went at a gig 4 days before Christmas. It was one of the best songs of the gig(!) even though no one had either a vibrato bar or copious amounts of delay since we were playing amplified acoustic. As always: If you are playing the songs instrumentally MAKE SURE you can play the melody without screwing it up! That means going over it a bunch of times. You should be able to play it 3-5 times in a row without a mistake. If you can’t, you will probably fudge it at the gig or in front of people. So beware!

There are about 7-8 songs that I can play pretty well solo and I start getting them together in the fall and play them through the season. Christmas songs are great vehicles for learning to play in an unaccompanied style (especially if you are new to unaccompanied playing), because the melodies are so well-known and the arrangement you can begin with can be very simple, but still very effective. As always take it slow and work your way through it a couple bars at a time. Since most songs do not have many different parts or modulations (unless you add them, which you can certainly do!) you will find that they will come together pretty quickly. Learning to play and perform these tunes is also a great test of what you can add to the performance every time you play it once you become comfortable improvising with yourself. I blew off a version of White Christmas while a few of us were sitting around one day in December and it sounded pretty flippin’ good! If you’re comfortable with the arrangement and comfortable improvising (throwing in some wacky chords and riff choices) you can turn the song into a really special and personal thing…and it can be a little bit different every time! So maybe give that a go later on in the year. Here is a list of jazzy, snazzy solo guitar instruction to get you started. If you’re not up to that yet, try these. You will become part of a long and very storied and important tradition that has involved the guitar and other string instruments for the better part of a millennium. Even if you play in a punk or metal band — everyone likes Christmas songs if you play them well and it’s November or December. Whatever you do, don’t even try this in July man!

Here is Part 1 of this series.

Christmas Time is Here — Part I

Wait, what? Christmas is over, right? Well, yes, the holidays have come and gone again. January is always a little bit of a downer, isn’t it? Especially if it was an enjoyable season. The holidays can certainly be a difficult time too, but this year was great for me and I was inspired to write this post and put it up now before I forget or the year gets away from me. You can come back after Thanksgiving and it will be here if you are Holiday-ed out.

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As I said in another post, right before Christmas I played a gig, my first in over a year. It was a GypsyJazz/Jazz type holiday gig and it went very well. Playing the gig got me thinking — musicians are expected to play Christmas songs and holiday music during the holidays, and many do. For some, it’s a chore and a real groan-fest, but personally, I’ve always enjoyed it. This year we played 5 songs in our 3 sets: My Favorite Things, Django Reinhardt’s version of Danse Norvegienne, our own arrangement of Let it Snow, a rowdy version of The Ventures Sleigh Ride (a real crowd pleaser) and a loose arrangement of Vince Guaraldi’s Christmas Time is Here that I have been playing for years. Since we had a clarinet player sitting in with us there was a very classy and Christmas-y vibe to all of these songs, even the ones that aren’t specifically holiday songs. I also heard a whole lot of Christmas music during the season and I’m sure everyone else did as well. So where did these songs come from? What makes a great Christmas carol? As a musician, should you and how can you work some holiday cheer into your repertoire?

Well, some history. The holiday that is Christmas evolved out of pagan, solstice, end of calendar (or seasonal) year celebrations a long, long time ago. The earliest Carols were sung in Europe thousands of years ago and were probably sung in celebration of all four seasons, but it is really the end of year, (Christmas) songs and styles that have survived. As early as 129 AD, Christians began appropriating these songs of praise and celebration and that year a Roman Bishop decreed that a song called the Angel’s Hymn should be sung at Christmas service in Rome. However, Christmas carols didn’t really take off with ordinary people until the Middle Ages when St. Francis of Assisi started staging Nativity Plays in Italy. Music was part of these plays and an important factor that changed the acceptance of the songs was that instead of the music being performed in Latin, the language of the Catholic Church, the songs were sung in various native tongues, so the idea spread all over Europe as people were now able to more fully participate in the music and celebrations. This was controversial because in effect it adds an element of showbiz to religious rites, but this made the rites a more integral part of people’s lives, whether in church or not and thus began the Christmas Carol tradition. Or probably begat, if we use the language of the time.

The earliest English Carol was written in 1410 and reads and sounds more like a poem or lullaby than what we would commonly think of as a Christmas carol. There were many other similar type verses written during this time. In 1454, with the invention of the Gutenburg printing press, carols could be printed and distributed but, believe or not, severe factions within churches did not encourage such vocal celebrations. Oliver Cromwell actually banned Christmas Carols in England during the mid-1600s. And you thought The Grinch was bad! The first American Christmas Carol was written sometime in the 1640s by a man named John de Brebeurf and was called Jesus is Born (The Huron Carol). Though many churches in Europe would refuse to make carols a part of their celebration well into the 19th century, this was not true of ALL churches and the songs were composed and performed by theater companies, musicians, troubadours, and, of course, by great composers like George Frideric Handel and his very grand and famous Messiah, which was first performed in 1742. Or, from much simpler beginnings came arguably, the most famous Christmas carol of all, Silent Night. In 1818 an Austrian assistant priest named Joseph Mohr composed this three stanza ditty to be sung chorally at Christmas mass because the church organ was broken and could not be repaired in time for the holiday celebration. The first time the song was played the congregation heard the priest and choir director Franz Xaver Gruber sing accompanied by Fr. Mohr’s guitar. As it turns out, the guitar was Fr. Mohr’s favorite instrument! Silent Night would, spread across the world as a great song and would be the central carol to the 1914 spontaneous Christmas Truce between warring factions on the Western Front during World War 1. And it all started basically as a religious singer-songwriter guitar tune. Pretty cool, eh?

Over the course of the last 150 years Christmas carols became an integral part of the Christmas and holiday celebrations and they became ever more popular (and big business too!). Bing Crosby‘s version of White Christmas is the best-selling single of all time according to various sources, with sales in excess of 100 million. Wow! Amazing what grows from such humble beginnings? Can you imagine the holiday season without the music we all know so well? In many ways, on a very emotional level, the music defines what we know and feel about the holiday season; the services, the memories, the presents, the dinners, the parties, the decorations, the celebrations, the stories, in sacred and secular manner. In the realm of modern discourse and pop culture it is no longer necessary or possible to separate the story of Jesus’ birth from the Christmas tree or Santa Claus. Over the years music has helped meld all of these elements together into this one big event that everyone recognizes. This is probably what terrified those early church leaders and why they tried so hard to prevent the secular carols from becoming a part of religious celebrations.

Nothing illustrates the Christmas package better than The Charlie Brown Christmas Special with the accompanying soundtrack by the Vince Guaraldi Trio. This classic from 1965 has entertained millions of children and adults for more than 50 years. Elements of the show include Charlie Brown bemoaning the commercialization of Christmas, Snoopy winning a best decoration competition, Linus reciting the appropriate Biblical canon concerning the birth of Jesus Christ and a very unimpressive tree turned into the season’s most important symbol. It has been televised every year since it debuted and even today ABC currently holds the rights and broadcasts the Special twice in the weeks before Christmas. Guaraldi’s soundtrack has also sold well; over 4 million copies! While most of the people involved thought the show would be a disaster due to it’s slow pacing, simple animation, and weird mix of jazz and sacred (choir) music, it was a hit from the first broadcast. The show and the soundtrack are among the most loved holiday entertainment in the United States and you can check out the rankings HERE if you are interested. As with the Peanuts crew or St. Francis of Assisi’s church, the first few years I was in school we had an annual Christmas pageant. Two of the years I even had speaking roles and this was my first taste of performing. I’m sure this is true for many of you out there and this is what tradition is all about!

The 1950s and 1960s was a very classic time for a certain type of holiday music and nothing better represents this time than this album by Fred Waring and The Pennsylvanians — The Sounds of Christmas. Known during his lifetime as America’s Singing Master or The Man Who Taught America to Sing, Fred began with a self-created banjo orchestra that, over time, blossomed into one of mid-20th century America’s great Arts institutions. He also…wait for it, invented the Waring Blender. Because he came from the jazz background of the great bandleaders, there was always a whole lot of SWING and a fair amount of BLUES in the choral presentations, so in addition to perfect vocalizations there is also a whole lot of HIP Daddy-o! While he released many albums and was on television frequently during the late 40s and 50s, that was all way before my time. However, my parents had this record and hearing it instantly takes me back to holidays of yore. Fred Waring was described as a perfectionist and a taskmaster and the performances on this album are flawless. There are many examples of different groups trying to do the same arrangements on YouTube and I haven’t found one yet that is quite as sharp.

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The album covers a wide range of styles: Swing (Ring Those Christmas Bells, Santa Claus is Coming To Town); nostalgia (Opening, Carol Brothers Carol [written by W.A. Muhlenberg, who founded St. Lukes Hospital in New York City and was very influential in the development of early American Education]); Porgy and Bess style blues (Rise Up Shepherd an’ Foller, Go Where I Send Thee); the classics (Silent Night, O Holy Night) and six songs that were written by another jazz musician, unknown at the time, by the name of Alfred Burt. His carols began as a family tradition to accompany the yearly Christmas card to friends and relatives and were first heard outside the family circle in the early 1950s. He composed all of the music for these carols and family friend Wilha Hutson wrote the lyrics and they were a hit with choir groups that heard them. Hollywood recordings quickly commenced, but unfortunately, Burt did not live to see his creations sung and popularized by the likes of Nat King Cole, Tennessee Ernie Ford and Fred Waring. They were very popular at the time and since then the carols have entered the popular Christmas music lexicon and there they have remained. This album contains: Caroling, Caroling, O Hearken Ye, Jesu Parvule, The Star Carol, Come Dear Children, and This Is Christmas.

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While many of these carols, like all carols, are very simple in structure, Waring’s arrangements take them to interesting places and the talent assembled to perform them was obviously top-notch. They do not make albums like this anymore! The Sounds of Christmas is available again so either relive the magic (if you grew up with it like I did) or check it out for yourself! It gets a 5-star rating on Amazon so I obviously know what I’m talking about *wink*!

Okay! Look for the conclusion to follow next week. Like a ride through the woods to Grandma’s house the posts will lead back to the guitar and how you can make Christmas songs your own!

Here is Part 2 of this series.

Happy 2017

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I hope everyone had a great holiday season and is looking forward to the New Year! It will definitely be one full of many challenges. I think we can agree on that, yes? No matter what comes along, music will help with anything the universe has in store. We’ve all seen how powerful the effects of music are on people in all kinds of situations and certainly I make it a point to never forget how healing the ability to play, listen and appreciate music is. Definitely one of the major joys of our existence on this planet. Never forget or take for granted!

Also, in the spirit of new beginnings, I am rolling out another type of Dispatch, one that will allow me to cover an assortment of small items within one post. It’s the same kind of formula as the GuitarSongs series, which I was really enjoying and will pick up again in a few weeks. ShortRiffs will cover everything going on in my life, music-related and not. The Gimme Shelter and Vital Van posts, which are full of music, but also full of other stuff, are two of the most popular posts I’ve done and I want to do more of that kind of writing. The name is a word play on the (guitar) riffs we all play combined with the old slang of “riffing”: a short piece of speech or writing that develops a particular theme or idea. Ideally, that is what I will attempt to do and maybe even have a thread that will snake through a few or several of these posts; like an old-time serial.

As always: I totally appreciate everyone who reads, comments, and sends notes. This blog is almost 6 years old with 116 posts and 50,000 visitors. I never thought it would be the thing it is today and I have only my awesome readers to thank for that! Take care and keep playing!

Jimi Hendrix in Words and Pictures (part 3)

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How to sound like Jimi Hendrix? That’s a loaded question and one people have been trying to answer for many years, obviously. I feel I am qualified to talk about it since I have played a bunch of Jimi over the years in various settings. There are a few tips and tricks I can offer and the first is always try to watch someone play live or video. Nothing beats seeing Jimi or one of the true masters play his stuff and there’s plenty to be found online. Definitely start there.

play the blues

Before one dives into the details, probably the most important and obvious thing to realize is that Jimi achieved his excellent sound and style on guitar by learning and playing blues, early rock and roll/rhythm and blues guitar. Take apart almost every song, every jam that features Jimi Hendrix and you will find the structure and sound of the blues underneath, no matter how FAR OUT the song is. Blues playing is primarily intuitive and feel-based. Jimi’s knowledge of music theory, best described by Miles Davis is his autobiography, was limited, but his ear was finely developed and he had a great musician’s instinct. According to Miles (via Jimi Hendrix: Electric Gypsy page 399): “When Miles attempted to explain musical theory, Jimi just looked blank, but once Miles played the piece, however complex it was, Jimi picked it up immediately.” Having a background in the blues enables you to comfortably navigate many styles of music. If you can’t play a half decent blues solo or are not happy with your knowledge of the blues and pentatonic scales and blues phrasing, work on that first. Definitely make sure you can navigate the fretboard in all positions. You can base the above scales or arpeggios off of the chords you are playing. Many of Jimi’s best riffs and solos come from this way of doing things. Also, make sure your bends, slurs and hammer-ons/pull-offs are as accurate and clean as you can make them. These techniques must be practiced slowly and carefully to get them right. There are many blues guitar lessons on YouTube. Look around and find ones that will help you with areas you are having trouble and practice until you have it down.

spice it up with some jazz

Though Jimi wasn’t thought of as a jazz musician by most people of his time, he was influenced very heavily by jazz icons like Wes Montgomery and, especially, Rahsaan Roland Kirk, who was instrumental in Jimi’s approach to sound collages like Third Stone From the Sun. Jazz does figure in some of the rhythmic patterns that Mitch Mitchell developed and used in songs like Manic Depression, the middle of If 6 Was 9 and very obviously the brush work (actually suggested by Noel Redding) in Up From the Skies. (Mitch had actually played in jazz bands prior to joining The Experience). Jimi rarely played the standard power chord shapes, opting instead for variations that allowed him to use his thumb to cover the bass notes. He also used very jazzy 6, 9, maj, and sus chords on songs like If 6 Was 9, Third Stone From the Sun, Love or Confusion, Angel and many others. Jimi also regularly used partial chords as runs or lead lines. This chord melody type of playing is common in jazz and is also used in rhythm and blues/Stax playing as well. There are many jazz/rock lessons as well as chord melody lessons on YouTube. Not only will this knowledge help with Jimi Hendrix tunes, but it will also expand other areas of your playing.

technical stuff

Jimi’s technique, which was developed from constant playing and a whole lot of roadwork with bands like the Isley Brothers and Little Richard, made use primarily of Fender instruments, Stratocasters especially. Jimi would restring a right-handed guitar and play it lefty, which meant that the volume and tone controls, pickup switch and whammy bar were in a different position than would be typical for a player no matter they were right or left handed (if they were playing the appropriate guitar). According to the book Scuse Me While I Kiss the Sky, he would bend the whammy arms by hand to allow him “to tap each string with the bar” (?) but the book Jimi Hendrix: Electric Gypsy disputes this saying he bent the arms to allow the bar to line up with the high E string. I wouldn’t be surprised if both of these theories are wrong and he bent the arms to allow for further depression of the tremelo unit, resulting in much wider and deeper bends. From reading guitar magazines I know that Jimi favored using 4 springs for the whammy unit and used custom light strings. According to Jimi Hendrix: Electric Gypsy from September of 1966 through June of 1967 Jimi played tuned to regular concert C or E, if you prefer. (This time period would’ve included the recording of Are You Experienced?) The sessions for Experienced and the 2nd album, Axis: Bold as Love were almost back-to-back but most of the Axis album is tuned to Eb. From hereon Jimi would tune down (sometimes as low as D) and while this did allow for a “heavier”, darker guitar tone and ease of string bending, the primary reason was it was “less strain on Jimi’s voice”. He favored Marshall amps and turned everything way up, full blast! His outstanding control of his instrument and his ability to turn the sounds, noises and feedback into either vocal-quality sounds, sound effects or music was legendary (The Star Spangled Banner, Third Stones From the Sun, I Don’t Live Today). Randy Hansen, Jeff Beck, Eric Johnson and Stevie Ray Vaughan have all approached the level that Jimi had with this kind of manipulation of the instrument. He would frequently introduce himself to the audience as playing “public saxophone” and I think this illustrates that he looked at the guitar as “more than a guitar”, primarily dealt in SOUND more than TECHNIQUE or NOTES and was inspired and influenced by much more than other guitar music. Unfortunately there is no substitute for constant tweaking of one’s gear and sound to be able to replicate either Jimi’s sounds or the ones you hear in your head. Listening to and trying to replicate sounds that aren’t “music” can also broaden your approach. A major thing to understand is that these components are never the same in different rooms or situations. A player must constantly readjust as the gig goes along. Eric Johnson does this all the time. Watch him closely in these videos.

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While Jimi certainly made use of many different effects over the years, I’m not one of those people that believes you need to have expensive or even authentic pedals to get a sound that will reproduce a Jimi number well. I’ve certainly done without. All of those pedals are available though if you wish to go that route. Back in the late 80s I was at a jam in Brooklyn and after covering All Along the Watchtower 3 guys who had been hanging out in the lobby, including the guy who was running the studio came in and looked at my pedals. All I had was a Tube Screamer, an MXR Envelope Filter (for the wah sound) and a Boss digital delay. Without saying a word they looked at me, looked at the pedals, shook their heads and walked out. I had certainly done my homework on the solo parts of Watchtower and could play it well. I had also found some settings that really approximated the sound of the original and that night hit it perfectly right. I had a Crybaby wah-wah but did not always carry it around on the subway so that’s why I had the envelope filter instead. Worked out just fine. You would be amazed how much your hands and attitude affect how you sound. I was reading a discussion on Gearslutz the other day from people who were talking about recreating the sound of Van Halen 1. I know, guitar players can be geeks, nerds, whatever and just like to think and talk about different equipment, but you could easily sink $50,000 into a project like that, have all of the guitar and studio equipment that may or may not have been used back in 1978 and come up lacking, so keep that in mind.

putting it all together

A band I was in for a few years covered Love or Confusion live many times. By this time I no longer used a distortion pedal. I had a Mesa Boogie head and two 4×12 cabinets and just played loud using the gain from the amp. I also used a Phase 90 and an MXR Flanger and sometimes the Crybaby Wah. I never worried about playing the solo exact (and never do-just go for it!). The sound IS the thing. If you play in tune and in time and have the sound of this music (or any music) you are more than halfway there. I liked to concentrate on how the chords rang against the rhythm and the overtones at the end of each verse (and the end of the song). Eric Johnson covers this song nicely. I remember EJ said in an interview that some of the sounds Jimi got on those last stop chords reminded him of a vacuum cleaner. That’s why I spent a lot of time coming up with slightly different fingerings every time the G chords come around. I was always amazed how those parts sounded too! How did he do that? Sometimes the right amount of fuzz, vibrato and open-string overtones produced exactly what I was going for. The trick with these sus chords is to get that major/minor ambivalence thing between the strings you fret versus the strings that are ringing open. That’s how some of those cool combinations happen. I also tried do what Eric does — actually meld both of Jimi’s guitar tracks into 1! Good Times!

instruction

elecladyIn the old days these books were like the best thing, and in some ways still are. Meticulously notated for guitar, bass and drums — your whole band can look over the music and get down. You still have to bring the feel in for a lot of what you will be trying to do, but that’s where the fun is. Just like what I was talking about in the last paragraph. All of these books have tab and performance notes and I used them a bunch back in the day for songs that I hadn’t been able to pick up just by listening. All of the transcriptions were done by Andy Aledort and the performance notes and general supervision was done by jimibk2Dave Whitehill and they are both giants in the guitar biz. Usually associated with Guitar World Magazine, I’m sure their names are familiar to anyone who has been around the biz for awhile. Because they are are total pros you know there aren’t any mistakes. While I regularly find mistakes in tabs I find online or in some of the YouTube tutorials, I have never encountered one in these books. They are still very affordable and I would recommend if you are looking for accurate reproductions of Jimi’s music.

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For those who don’t want to go the book route, there are, of course, many online resources for Jimi Hendrix material. As I said in the last paragraph, however, be careful that it is a good tab or lesson or you’ll be wasting your time. I recommend watching any live Jimi you can find. Then check out Randy Hansen(!), Stevie Ray Vaughan and Eric Johnson, or some of the stuff from the Experience Hendrix tour. For lessons, here’s a series that walks you through most of the songs on the first side of Are You Experienced?. Here’s Joe Satriani showing how he plays like Jimi and here’s an interesting video on getting a sound in the vein of Jimi. YouTube is FULL of many interesting videos on playing like Jimi Hendrix so strap in, strap on the guitar and get cracking! You’ll be wowing your friends with stunning versions of his best songs in no time at all!

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Here is Part 1 and Part 2 of this series.

Nashville Cats

Back in the mid-60s The Lovin’ Spoonful had a hit with a song about Nashville guitar players. The television appearance shown above is a little different though, isn’t it? They all look happy. (haha) I’m not sure what guitar part old Zal is playing there. Also, who the heck plays an Autoharp anywhow? Well, John Sebastian, I guess. He’s got a bit of a rock and roll pedigree. And this guy. That’s actually pretty rockin’. And…Dolly Parton plays one too. But Dolly could probably play anything and people would show up to watch her. But anyhow, what the above song illustrates is that even back in the days of the Lovin’ Spoonful, Nashville, Tennessee had a reputation as a city with lots of great guitar pickers. Chet Atkins, Jerry Reed, Fred Carter Jr. and Johnny Cash sideman Luther Perkins all made Nashville their home town and that’s just scratchin’ the surface of the people who lived there at one point. Pretty impressive, no? The city has a rich history of great music and great guitar playing and there are still a whole lot of great guitar players in Nashville. They can still play clean as country water and wild as mountain dew too! Even though modern country is not my favorite musical style, I can sure appreciate someone who plays the heck out of a guitar. Many of these guys are flat out amazing, and play a crossover blend of country, hillbilly, swing, blues, jazz, rockabilly, and rock and roll that pretty much anybody should be able to appreciate. I like the sound of this stuff and wish I could play it better. Let’s take a look-see at a few of modern Nashville’s hottest heroes.

Here’s one guy who is legendary — Brent Mason. He proves with this Fender Tele/Fender Twin – driven version of Cherokee that he can burn with the best of ’em. Thumbpicked bebop! Whoever heard of such a thing? And with some steel guitar soloing too! Ain’t that pretty? I think it is. Brent was discovered by none other than Chet Atkins after moving to Nashville from Ohio. Since those days he has appeared on thousands of records, produced a few, written some tunes and even won a Grammy Award in 2008. From a guitar standpoint though, Brent can do anything and play it well. He has many tutorial videos available and looking here and here will get you started on making his style work for you…or just provide some entertaining viewing for those slow days at work.

Here’s a video of Brent Mason playing with another Nashville killer, Johnny Hiland. Johnny is known as The Chicken Pickin’ King of Nashville these days, but it’s obvious from his videos that he’s another guy who can play just about anything. He has been on the scene for almost 20 years and has played with a huge roster of diverse artists, released his own records and has a whole bunch of instruction videos out there for aspiring guitar players. And boy is it good! Like many of us guitarists he is also a total gearhead and is always trying out new stuff so that is fun to watch too. Look for it here!

Speaking of gear and country superstars, here is Brad Paisley showing off a very pretty G-Bender Telecaster at Guitar Center. Though Brad is a country superstar, thought more of as a singer/songwriter who has sold like a billion records, he is actually a great guitar player as well. Here is a list of nice lessons on his awesome licks and technique.

Finally here is a video of another Nashville Cat, Guthrie Trapp on the Learn and Master series. Guthrie is also a great player and has played with many a country superstar over his career and the past 15 years in Nashville. I just watched this video last week and what impressed me about him the most was his touch on the guitar. If you check out the feel and fluidity when he starts playing (around the 8 minute mark) you can see why he was and is an in-demand player and session musician. Watch the whole thing! And check out some of his other stuff!

One thing I’ve learned from listening to these guys play and talk is that two guys especially cast a long shadow over the sound and approach of modern country guitar and those two guys would be 1) Merle Haggard and 2) The guitar player in Merle Haggard’s band, The Strangers Roy Nichols. Here is an interesting thread on Roy Nichols: Western Swing fan, early chicken picker, clean Telecaster tone, hybrid pick and fingers style, snappin’ and poppin’ bluesy bends, swing and jazzy lines — all of the elements of a great sound and style. Here’s a thread of Roy Nichols guitar with a whole lot of great performances by Roy and others.

Now this list isn’t supposed to be comprehensive because, as I said at the beginning, this style isn’t really my thing, but the players are great, the style is popular and the guitars sound sweet enough to make you want to practice or cry in your beer. Give ’em a listen!

Jimi Hendrix in Words and Pictures (part 2)

In the second part of this series on Jimi Hendrix I will profile some of the books and DVDs that I have owned over the years. None of the real scandalous type of material is here; I haven’t read it. In my experience, the best and most accurate books on musicians are done from a “musical” angle. Everyone knows trash biographies are a big part of the media industry and there are plenty of people out there who will take every insinuation or conspiracy theory and run with it, no matter how implausible. But the books I’ve listed here are all on the up and up and I recommend them to anyone looking to widen their knowledge on the subject of Jimi Hendrix.

‘Scuse Me While I Kiss the Sky

JHE_18This is the oldest book in my possession. I’ve had it since 1980! That’s a pretty remarkable accomplishment considering how itinerant I was some of those years. Written by David Henderson, the book was an expansion of the original Jimi Hendrix: Voodoo Child of the Aquarian Age, first published in the late 1970s. Both of these books are still available or have been reprinted multiple times and you can pick them up if you so desire. This book is a fun read and the author deserves a whole lot of credit for being one of the first people to write about Jimi from a positive point of view. However, there are some accountability/accuracy issues with the book, mostly because of the way it is written. Unlike other books, ‘Scuse Me While I Kiss the Sky has no footnotes and there are instances when it is unclear who is alleging what happens or the point of view is suspect. This isn’t always the case, but in some instances or at crucial points in the narrative there are no attributions when there should be and it doesn’t appear that this has changed with subsequent releases. I’m not the only person who finds this problematic. For instance:

“…He feels bile coming into his mouth. It takes a superhuman effort for him to sway his body toward the edge of the bed. It is impossible for him to rise. He barely makes it to the edge of the bed. A stream of bile comes through his mouth. His cheek rests against the sheet. The sheet absorbs the bile. His retching ceases. Suddenly he does not care anymore. He falls quickly back into semi-unconsciousness…”

There is no attribute for who is saying this. It’s certainly not Jimi, even though it describes Jimi in his final moments of barbiturate overload. It’s obvious that there is a whole lot of poetic license taken with this passage and it forces the reader to wonder where else this might be occurring in the book. Henderson states in the conclusion that more than five years of research went into the book; hundreds of interviews were conducted and the info was then fused into a “narrative”. This approach and a lot of the 70s language gives the book a very “nature of it’s time” feel, which is great on the one hand. This is the environment Jimi Hendrix lived and created in. However, while a narrative style of writing can paint a nice picture, it can also help sustain unhelpful or even completely inaccurate myths — something that is apparent in other 1960s events like Altamont/Gimme Shelter. ‘Scuse Me While I Kiss the Sky does have that funky, New York sass that was pretty awesome at the time and is effective at putting across the druggy, politically paranoid, racially-aware culture of the late 60s-early 70s that was very evident in places like New York City and on the West Coast (Berkeley). But, like the Jimi Hendrix film, I find the NYC-centered version of Jimi’s existence to sometimes be more about New York and the people in New York than about Jimi. This would all be fine, well and good if all of the elements of “the story” had remained accurate and true throughout the 40+ years since his death. That has turned out not to be the case and while I think this is a good book, it’s best read as a companion to other books.

The Hendrix Experience

This is a great book — Experience drummer Mitch Mitchell’s story of his time with Jimi in the Experience and beyond. As a musician, I put a lot of stock in a book like this because it’s written from a musician’s point of view. It doesn’t explore in depth any of the social stresses and ramifications that the previous book deals with (not that those issues aren’t important), but is really all about being in the band. This book is co-written with John Platt who provides the framework for the story while Mitch contributes fun and important anecdotes. Mitch was the longest serving foil to Jimi’s guitar heroics and is, of course, a legendary drummer in his own right. He certainly brought an original approach to everything he ever played on and was a major factor in the success of the Experience. He also knew Jimi and the scene at that time as well or better than anyone. There are some interesting revelations in the book: His opinion of Allen Douglas (which I’ll explore in Part 4), his belief that some shady stuff went down the day/night Jimi died and that Monika Dannemann was not the true love of Jimi’s life. (Only Kathy Etchingham and Devon Wilson could rightfully make those claims, which is pretty much what everyone has known all along). Also Mitch alleges that Buddy Miles was guilty of shooting his mouth off by accusing Mitch of racism around the time of Jimi’s death and he called Buddy on these accusations and got an apology. Unlike some people who speak or write about Jimi and their close relationship with him, Mitch’s legacy has always been undisputed and he remained a legendary performer and valued asset to the Hendrix Legacy right up until his death in 2008. This is a book I definitely recommend — lots of great photos too!

Are You Experienced?…

imageI used to have Experience bass player Noel Redding’s book too but lost it a few years ago. His book, co-written with Carol Appleby, was released in the mid-90s and was an interesting read. Though he wasn’t a member of the Experience for as long as Mitch, was not a bass player by choice or trade, and had more of a contentious relationship with Jimi, Noel did keep a diary of those days and was, from the very beginning, the first and loudest guy demanding a serious accounting of the band’s finances. Because of “bitterness”, that I think was partially just Noel’s droll personality, neither this book or his interviews are light, pleasant reading. But he was a smart guy and was justified in some of the bitterness he carried. Neither he or Mitch or Jimi ever got their just financial due for the great music they created, especially considering how many times it was repackaged and resold over the years. This book is best described as a “cautionary tale” as it provides a window into the cutthroat nature of the music business and explores the personal pitfalls that have done in many a musician. It’s almost like the literary version of House of the Rising Sun. I recommend reading any interview or book written or co-written by Noel and Mitch. There are a lot of great stories and some valuable information to be gleaned from their recollections.

Black Gold…

JHE_27This book is probably the most thoroughly-researched recent book I’ve seen! I enjoyed it and definitely learned a few things reading it. The author, Steven Roby, has written a few books on Jimi, which you can peruse here and has also worked with Experience LLC, which gave him access to important data and documents. He used to have a WordPress type of blog, which is no longer active, unfortunately. But here is a pretty good interview with him. With Black Gold, Roby makes an attempt to document all of Jimi’s lost sessions, gigs, appearances, and recordings. What a HERCULEAN feat that is, lemme tell you! While I think the book succeeds, I would not agree with the promo copy that I see online that says this is the first book to do this. It it not. The final book on this list was the first and is in some ways, even more exhaustive. But Roby’s efforts are great and everything is notated so you know you’re getting the real deal as far as info goes.

Jimi Hendrix: Electric Gypsy

JHE_19This is one of the best biographies and probably the most thorough musical profile I have ever read. Very impressive. I’ve had this book for twenty five years and it is still a reliable source of information (except for that stuff which is outdated of course). Written by Harry Shapiro and Caesar Glebbeek, the book was updated in 1995 to reflect the new information on Jimi’s death. So, no matter what version you pick up, it is well worth the price. I believe it is the only Hendrix book to rate 5 stars and it is really an impressive effort. Not only is Jimi’s life well-researched and then factually told, guitarists will find that every guitar, effect, amp, pick and string ever used by the master is documented, along with Jimi’s impossibly large discography. This is the only book I’ve seen that is as thorough as Black Gold for listing gigs, recordings, tv/video appearances and equipment. There is a section that tries to figure out the very complicated and convoluted mess of The Experience’s finances. It also has a whole lot of great photographs of Jimi from the time he was a youngster all the way through his years of fame and fortune. In short it is pretty much the only book you will ever need on Jimi Hendrix! Highly recommend. They seriously don’t come any better than this, whether you’re a musician, guitarist, or just a fan.

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In the next post of this series I will write about the guitar-specific stuff I know to help you get your inner Jimi on! Of course, I can’t cover everything and I encourage anyone and everyone to purchase any of these books. They are all very entertaining and paint a great picture of a mighty man and a mighty band. Also, for younger readers, they are a good look into a period of time that is rapidly fading into history.

Here is Part 1 and Part 3 in this series.

Jimi Hendrix in Words and Pictures (part 1)

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Over the years I have amassed plenty of Jimi Hendrix reading and listening material and I have decided to share it. (I also wanted to use this shade of blue in one more post) Jimi is easily one of the most important guitarists to have ever picked up an axe, and, like Django Reinhardt, Charlie Christian, Wes Montgomery, and Eddie Van Halen — there was pre-Jimi and then there was everything after. His influence lit up the music world, no doubt about that! So I’m gonna use a couple of posts to show some of the cool photography and say a little bit about the paraphernalia I have. (All of the pics that follow come from the following books: ‘Scuse Me While I Kiss the Sky by David Henderson, Jimi Hendrix • Electric Gypsy by Harry Shapiro and Caeser Glebeek, Black Gold by Steven Roby and Mitch Mitchell’s, The Hendrix Experience). While it is true that Prince, the recently departed (and may he rest in peace) Paisley Park hero was a great guitar player, Jimi was the original king of purple style and sound.

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Before the books though, let’s talk music …briefly. Here is how I would rate the Jimi Henrix material that I’ve heard or had or both over the years.

Are You Experienced? ***** Brilliant! My vote for his best. Never gets old even though I have probably played it well over 500 times in my life.

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Axis: Bold As Love ****1/2 A very close second to Are You Experienced? Jimi, drummer Mitch Mitchell and bass player Noel Redding expanded on the brilliant music that made them famous and redefined rock and guitar playing. There are a couple of numbers that are derivative (Ain’t No Telling, Little Miss Lover) but the best ones (If 6 Was 9, Little Wing, Spanish Castle Magic, Up From the Skies, Castles Made of Sand and the title cut) are amazing and Jimi’s use of the studio and new pioneering effects makes this as much of a groundbreaking record as the first.

Electric Ladyland **** While many people think this is Jimi’s magnum opus, I disagree. Side 4 is brilliant, Side 2 is very good and combined with Side 4 would’ve made a great (single) third disc. Side 3 is kind of boring; the sound painting tale of Mermanism is dated and Side 1’s 15-minute blues jam Voodoo Chile is too long and has likewise very dated lyrics. Is the album ambitious? Yes. Some great tunes? Absolutely! All Along the Watchtower, Voodoo Child (Slight Return), Crosstown Traffic, Have You Ever Been (to Electric Ladyland), Gypsy Eyes, Still Raining, Still Dreaming, and House Burning Down are all classic Jimi. But it’s just not the solid double album it could’ve been, unfortunately.

Band of Gypsys *** This disc is just so-so and the band was likewise. To me, anyone but Mitch Mitchell playing with Jimi was akin to anyone but John Bohnam or Keith Moon playing with Jimmy Page and Pete Townshend, respectively. Also, some of the “songs” are really just jams that are trying to be Sly and the Family Stone or something. This era is often heralded as Jimi searching for a new sound or a change in direction, but I think in many ways he was floundering. Machine Gun and Them Changes are great and if nothing else this disc shows that Jimi’s capabilities as a live guitarist were never in doubt even if everything else was.

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Everything released after Band of Gypsys is suspect because Jimi died in September of 1970. The studio product is especially crappy, except for a few bright spots. It’s important to remember that Jimi was a perfectionist in his writing, playing, and even his live sound. He would be totally bummed at some of the stuff released after 1970 that, of course, he had no control over.

The Cry of Love ***1/2 This a pretty good record and has some really great tunes: Freedom, Angel, Ezy Rider, In From the Storm, Drifting and Straight Ahead. Completed post-1970 by engineer Eddie Kramer and Mitch Mitchell it might not be exactly what Jimi would’ve done had he still been alive to complete it, but it is close. There are also no obvious acts of sabotage or douchebaggery that would appear on subsequent releases. An important thing about this disc is that it proves that right up until the end Jimi was playing some absolutely amazing guitar and bringing great riffs into the studio and that is a great legacy.

Rainbow Bridge **1/2 A mix of studio and live stuff that sounded maybe ok in 1971. Much better stuff would emerge later. Dolly Dagger, Room Full of Mirrors, and Hey Baby (New Rising Sun) are good rips but I don’t think they were completely finished. Some great guitar nonetheless. Incidentally, the movie of the same name as this album, which was seen by every Hendrix fanatic at a stoned-out midnight movie showing circa 1975-1985, was one of the dumbest things ever put to celluloid.

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War Heroes ** A friend had this album but we didn’t play it much. More for the outtakes pile.

Hendrix in the West ** Live album. Weak set list but the performances aren’t bad. It was obviously getting to the point where anything that could be milked was. Does anyone need to hear Jimi playing Blue Suede Shoes given the wealth of live material that was obviously available and would be released later? I think not.

Crash Landing * The first of the Allan Douglas-produced albums. Worthless and criminal considering Douglas brought in session musicians to fill out what was already substandard material and then claimed co-writer credit on 5 songs. Without Jimi’s name and picture on the cover no one would’ve bought this pile of shit.

Midnight Lightning * See above. Douglas hacks his way to another shitty Hendrix album, this time aided by Jon Bon Jovi’s cousin Tony Bongiovi. I never bought either of these albums, but a roommate had them, so I’ve heard them and then promptly never listened to them again.

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The Essential Jimi Hendrix Volume Two *** I bought this because it had the Experience playing a cover of Them’s Gloria in the studio on an inserted 33 1/3 single with the album. It was actually pretty genius packaging. The song was a bit of a disappointment though and the rest of the album had already been released.

Jimi Hendrix: High, Live and Dirty *1/2 Also known as Bleeding Heart, or Woke Up This Morning and Found Myself Dead or…any of the other 14 names it was released under throughout the years. Basically Jimi’s private jam tapes from The Scene in 1968 that were stolen when he died. Or not…These jams included many rumored people but one person definitely there is a very drunk Jim Morrison yelling various obscenities. Supposedly, Janis Joplin was also in the audience that night. Talk about the planets aligning. Johnny Winter was long alleged to be the second guitarist but he swore to his dying day that he never met Jim Morrison. So it might’ve been Rick Derringer. The thing is…for a boot…some of this stuff is pretty good. I had the record while I was in college. The version of Red House and Tomorrow Never Knows have a lot of great guitar goin’ on. Interesting, but ultimately exploitative.

Kiss the Sky **** A fairly good compilation. I bought it on cassette for my car. Has some of my favorite Jimi songs including Third Stone from the Sun, All Along the Watchtower, Are You Experienced?, and Purple Haze. Also contains the b-side Steppin’ Stone from the Izabella single, the live Killing Floor from Monterey and a slammin’ live version of I Don’t Live Today from San Diego 1969.

Jimi Plays Monterey ****1/2 Yes! This is what I’m talking about. Jimi and the Experience taking the US by storm at the Monterey Pop Festival. Great versions of Killing Floor, Hey Joe, Can You See Me?, Like a Rolling Stone, Wild Thing, Foxy Lady, Purple Haze, and Rock Me Baby. Then and now a totally live wake-up call to anyone who plays guitar.

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Radio One/BBC Sessions ***** Two things: The best Jimi stuff post-1970 was previously unreleased live stuff because 1) he was dead so he wasn’t making any new material and 2) it is really Jimi and the Experience (mostly) at the height of their creative powers, not a bunch of disco musicians hired by Alan Douglas to fill out Jimi’s studio sketches. Also, pretty much all of the stuff released by artists who appeared on some program associated with the BBC (The Beatles, The Stones, Zeppelin, Yardbirds) has been great and the Jimi Hendrix Experience is no exception. Fantastic versions of many songs, including never before released stuff like the supremo guitar workout, Driving South. I have both of these discs and they are phenomenal.

Live at Woodstock **** Iconic and pretty good, even though I think the band at this performance was lacking and it’s not terribly well recorded. It was a great Jimi performance, however and obviously this version of The Star Spangled Banner is one of the most defining 5 minutes of the whole 1960s decade. Other bright notes are Izabella, Spanish Castle Magic, Hear My Train A Comin’, and Villanova Junction, which I always liked for its jazzy, minor key overtones. Overall, not of the caliber of Monterey or BBC for sheer guitar awesomeness, but important nonetheless.

The Ultimate Experience **** An interesting, if slightly flawed compilation. The track listing was the result of a poll of his most popular recordings in Europe. My girlfriend has this disc and it has some of Jimi’s classics mixed in with lesser known songs like Wait Until Tomorrow, Angel, Highway Chile, Long Hot Summer Night, and Gypsy Eyes. It also includes Wild Thing from Monterey and The Star Spangled Banner from Woodstock. I think the disc flawed only because it omits some better material from all of the studio albums in favor of some of what I just listed (minus Angel and Gypsy Eyes) and also includes Burning of the Midnight Lamp, which is my absolute least favorite song Jimi recorded.

Blues ** I wanted to like this, but unfortunately I didn’t find it that enjoyable and it contains more Douglas hackery (splicing various takes together, pulling out stuff Jimi probably never would have released, etc, etc). Anyone who has spent more than a month listening to Jimi Hendrix knows he could play the f*ck out of the blues and that many of his songs were based around very bluesy motifs. Guitarists especially know this. That’s what makes all of the popular acclaim for this album stupid. It doesn’t deal with the fact that it was just another cynical ploy to extract money out of people for Hendrix material that was average at best.

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Jimi Hendrix ***1/2 — Another Midnight Movie Treat for many years and I’ve also had it as a DVD for a long time. It’s a pretty good movie and features a compilation of performances from throughout Jimi’s career and interviews with interesting people: Jimi, Eric Clapton, Pete Townshend, Fayne Pridgon and The Ghetto Fighters and not interesting people like Lou Reed (did he and Jimi even meet ever?). All of the time Jimi appears onscreen playing guitar is movie gold though and for many years it was all that was available.

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Woodstock and Live at Berkeley *** — I have both of these DVDs. From a guitarist standpoint, there is something educational in watching any performance Jimi gave, of course. There is some blistering guitar work to be found but there is a spark missing from these later-year performances that was definitely there in 1967, early 1968. Jimi seemed very tired, physically and spiritually. Both movies are very instructive for how they illustrate the messy backdrop of the times that Jimi is immersed in and one can only imagine how that affected his mood and the performances. The Live at Berkeley movie especially has a lot of the political stuff that had completely overtaken any and all counterculture conversations (especially in Berkeley) by early 1970. Definitely worth viewing as an education, but not necessarily the best music Jimi ever played.

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So that’s it for Part 1…hope you enjoyed it. There will always be new Jimi Hendrix releases and I’ve heard some here and there, but I’m not fanatic about hearing every version of Hear My Train A-Comin’ that he recorded or played. The early stuff is what I return to again and again, although I did recently get some enjoyment out of listening to Cry of Love for the first time in a long time. Part 2 in this “series” will deal with the books I have and two others I had at one time and Part 3 will be very guitar specific. Stay tuned!

Here is Part 2 and Part 3 in this series.