Originally Posted by rojo
Cool rojo!!
"When you play the horses you´re bound to lose sooner or later" regarding drugs and alcohol. The addiction always controle the addict, never the other way around. Now you have a great sunny weekend!!
Best regards,
intet-at-tabe
True; addictions are dangerous.
About the sunny weekend, I'll certainly try!
''Music, I feel, should be emotional first and intellectual second.'' - Maurice Ravel
''The greatest education in the world is watching the masters at work.'' - Michael Jackson
rojo and everyone else. After a short break, yesterday occipied all day with my lawyer let´s continue the journey from the late 1966, when Jimi Hendrixs suddenly appeared in the Swinging London musical invironment. An outcast from America.True; addictions are dangerous.
About the sunny weekend, I'll certainly try!
However before we continue this journey, we have to look at a very important english undergrown group at the time with the name The Yardbirds, where three of England´s most famous guitarists in rock and blues later on went to the 101 class playing the guitar as teenagers. Jeff Beck, Erik Clapton and Jimmy Page are the names.
The most interesting and well known of these three exquisite guitarists being Eric "slow hand" Clapton, not really an englishman, but born on Jamaica in the Caribean and his brother in blues played on the guitar, his american collegue Duane Allman, from the Allman Brothers band, and one individual male almost 2 meters tall, albino born in the south of America in Texas with the name Johnny Winter.
You may think that nothing happened in the evolving music department in America, when Elvis Presley, the KING of rock & roll topped the polls musically and throughout a lot of movies, acting a soldier or a beach lion. The KING in America from the early days of rock & roll in the middle of the 1950´s with Jerry Lee Lewis, Bill Haley, in England Tommy Steele from 1955-65 were stars like Paul Anka, Perry Como, Nat King Cole and Frank Sinatra each of them made a huge career in soft jazz with lyrics accompaigned by a Big Band. For instance the Nelson Riddle Orchestra, long time backing for Frank Sinatra and Paul Anka songs, before The Carpenters "Close to You" and "Raindrops keep falling on my hair" from the movie with Robert Redford and Paul Newman were screened. Paul Anka, who actually wrote and composed the song "My Way", which became identical to Frank Sinatra.
Intermission,
intet-at-tabe
Last edited by intet_at_tabe; Jan-24-2008 at 19:19.
The Yardbirds was not really a group in the beginning, more like a musican´s kollektive where nothing was planned, and everyone being able to do a few chords on an instrument, were as good as the next guy.
You have to remember, when The Beatles first appeared in 1962/63 John Lennon and George Harrison could hardly chisel their own guitars. Paul McCartny told this years later on an interview about the early days, when a guitarist only had to be able to play a few 4-5 chords to perform and make a demo on an oldfashioned taperecorder to a musical company.
Eric Clapton entered the Yardbirds in 1963, at this time his idols were Robert Johnson. Chuck Berry and Little Walter, who all of them had their basis in guitar playing in the american invented - the blues an extended musical art form from the Negro Spirituals, songs sung by African American slaves in the cutten- and suggar plantations in the south of America, long before The United States Of America had it´s birth in 1776, when new americans (former europeans) through out the british, after the french/british war on american soil.
In 1965 EC, already well known in London, England. He left the Yardbirds to enter Mr. White Blues in Europe, the band John Mayall´s Bluesbreakers. Here mr. Eric Clapton became famous in only one year for his guitarplaying, mostly his solos on older blues songs from americans, composed by his long time friends (today) Mr. B. B. King and John Lee Hooker, both of them black american musicians. Particular on one song called "Have You Ever Loved A Woman" a blues standard which Eric Clapton made his own.
John Mayall knew listening to EC´s guitar: This guy is going to go the whole way and become the guitarist of an entire generation, which EC did.
In the US at the same time Duane Allman (el. guitar), a wild young man, whose personal interests were concerned mostly about drugs, beers, guitars and fast bikes and his brother Greg Allman (organ, keyboards) had had their teenage experiences in different groups, before they decided to form The Allman Brothers Band. Blues/Rock musicly often performed by a band with two lead guitarists or two drummers, southenors from the USA. More precisely Nashwille, Tennesee. The equater of the later different directions in music Country and Blue Grass music.
Duane Allman had the very same talent as Eric Clapton, and the two of them years later formed a group playing against one another, dueling on the guitar soloing as an artform in rock music on George Harrison´s Bangladesh album. An album, the first in the world of it´s kind - To support the hungry people of the Bangladesh. The first aid concert in the world - musically speaking.
The songs on this album that made both Eric Clapton and Duane Allman famous were Clapton´s song "Layla", (written by Eric Clapton in honor to his Lady at the time, George Harrison´s former girlfriend Patty) and George Harrisons song "While my guitar gently weeps". Some of the best f...... el. guitar I´ve been so lucky to have listened to in my life.
Unfortunately Duane Allman, intoxicated by boose and drugs died on his bike later on.
So while Jimi Hendrix, an outcast from the USA, not approved of by his own, so to speak colour, made stardom in the UK and Europe, two other el. guitarsist were leaning on Hendrix.
A third one quite unknown at the time both in the USA and England at the time i 1967 Johnny Winter from Texas, USA was headding for a huge surprice in the musical blues/rock buisness.
End of today´s lecture. Best regards,
intet-at-tabe
Last edited by intet_at_tabe; Jan-24-2008 at 17:31.
Hey! This might be a widely participated and the worst thread I've tried to read here, and I'm one of the few guitarists I know playing a '64 Fender Stratocaster through a Marshall amp with effects while Jimi was alive, trying to play and sing and sound and be like him. Please, please, see my concert review in "music reviews" that says more than anyone else here, so far. Terry Walsh, a great jazz-classical-rock guitarist from St. Catharines, was at the club Hendrix jammed at afterwards, playing bass with him. He should be here with his astute commentary.
What needs comment here:
Dylan went back into the studio to rerelease "All Along The Watchtower" using Hendrix's take on his chords. Dylan went electric. 'Nuff said.
I heard Jimi Hendrix say onstage he did not use hard drugs. A Canadian judge believed him. There were no evidences of needle marks on him when he was autopsied. Two different but identical autopsy copies I saw showed he died of suffocation of vomit after being placed upright in an ambulance in Germany. Evidence of wine and sleeping pills. His previous kidnap and "rescue" at gunpoint, and the relevance of his being days from contract expiries, one he fought hard to finalize, releasing his only live album to fulfil, are still just speculations.
Emerson, Lake and Palmer created a rotating and "hurricane" effect with quadaphonic sound systems in arenas, needing transport trucks. They started to sound live like some Jimi.
Jeff Beck, Eric Clapton, George Harrison, Pete Townsend and Jimi Page, to name a few, started using Fender Stratocasters after Jimi died. In Page's case, it was publicized he used a Telecaster in the studio to record the first two Led Zep albums, playing '58 Les Pauls, S.G.s and double neck S.G.s onstage. Facts.
In The United States, various morals motivated groups created various products to portray Jimi Hendrix as an evil man for the hold he had on his fans. From his death until the Hendrix family legally gained control of his estate, there were more fakes than real. Anyone with a Strat and stack thinking they sounded like Jimi recorded. They still sold. From the number of Hendrix imitators after his death to what is now displayed on the official website, this social phenomena may outpace Elvis imitators in industry size.
Ask Pat Methany or quote any number of old guitar mag polls, to see an incredible number of musicians say they first decided to play guitar because they saw Hendrix. I'll tell you why. He had all the publicity. He looked so good. He sounded so.... and he made it all look so.... easy.... giving it all away. You wanted to be him, because he made you feel the love, Axis; Bold as Love, that is.
Last edited by John Watt; Oct-27-2008 at 02:49.
Both were overrated, but at least one was an inovator.
i don't understand this "underrated / overrated" thing as well as is hould, i guess. i was not born at the time, but i believe and it seems obvious that jimi was not the only one who could do new, beautiful and interesting things. he wasn't the greatest technician on the instrument either, but as i was trying to say, this has nothing to do with music, as long as it is appreciated. i've always been impressed by jimi's tricks, but what i really love about his playing is the intense involvement, the concentration he gave to obtain magnificent sounds, out of simple blues composition.
stevie ray vaughan was of course a big jimi hendrix fan and had his own guitarist identity, though tainted with a very americna culture (stetson included!)
jimi hendrix - born under a bad sign
Jimi was not a blues musician. He, The Jimi Hendrix Experience while he was alive, never released a 12 bar blues. Most posthumous albums like that were fakes. He was a great technician. He just sounded "slow" because he could play six strings all the time faster than most others could single notes. Jimi said the blues were behind everything he played. If it didn't have that blues feel, he wasn't interested. All the recent global tributes for Mitch Mitchell, his Experienced drummer, and his accolades as a top three British drummer, comparing him to Elvin Jones, should steer you correctly. Jimi as blues is "The Band of Gypsys", the only live album he put out to get out of a record contract. Playing single note riffs as original songs, singing with Buddy Miles, riffing over "repetitious" bass lines, is as blues as Jimi got, and most reviews thought he played like a long sax or jazz line. This did define a new, laid back "funk" style. Jimi already invested heavily in Electric Ladyland. He said he was looking for Electric Church. Someone from England was smart enough to take Leo Fender's other invention, the electric violin, and start The Electric Light Orchestra. I'm going to have to visit the Hendrix estate and municipal sponsored Jimi Hendrix park, next to the museum, the house he lived in and the family cemetery and put my feet on new Jimi Hendrix ground. Jimi Hendrix "The night I was born the moon turned a fiery red, I'm a voodoo chile, lord knows, I'm a voodoo chile". Belly Button Window "I was up there inda womb, anda lookin' all around" with all those gurgling, chuckling wah-wah guitar sounds. Hendrix was a master musician, technician and showman. The recording studio he build in 60's New York is still successful. And those three albums are still out there, waiting... for you to come around... not to take you higher, but to make your wider. Live in Toronto: "There's a whole lot of people here that need to come on down".
John Watt*
To me Jimi symbolizes the blues, or maybe just the idea i have of the blues, and he does it in the same way John Lee Hooker, Jimmy Mcgriff, Jimmy Smith, Freddie King or Howlin' Wolf do ( i know... they did, and don't anymore since they're buried six feet deep. uhh, is Jimmy Smith dead?). It is a cliché anyway, because i really don't care about étiquettes.
It is true that Jimi, even before pairing with Buddy, had this extremely funky approach to what he played. Mitch Mitchell and Noel Redding did a wonderful job on building superfunky grooves. Here i'm thinking about one tune in particular: "little miss lover", from "axis...". The intro break is awesome, and i wonder if anyone has ever used it for a hip-hop song. Jimi's use of wah-wah is nice, you can feel how much he gets his kick out of this.
Man, i wish i had it in my walkman right at the moment i get out of my working place.
The Jimmy McGriff and Jimmy Smith I think of were hard-core B3 players. Swingy and bluesy. Playing with The Isley Brothers, The Ike Turner Review and Little Richard, to name a few, might have been Hendrix's last "funk" style bands. He went beyond that. I don't think Noel Redding had a funk bone in his fingers. If you're referring to Little Miss Strange, that was a Noel Redding song. It's the band singing vocal parts instead of lead lines that makes il strange, pour moi. If you want to hear the most purely revealing Hendrix wah-wah, please try "Belly Button Window", a post-humous release. Jimi imagines being in the womb, looking out and wondering if he has to come out into this world. It's an unfinished song with a lazy and simple three chord rhythm pattern, probably a bed track or added by posthumous producers. I might have forgotten this song if I wasn't reminded of it by a link after looking at bass-cellos on Ned Steinberger dot com, where he uses this example as the epitome of wah use, citing Hendrix as a master. Instead of this bassist's vanity piece, can I recommend for your headphone pleasure, "House Burning Down" off Electric Ladyland.
One night, invited by the club owner, a landlord of friends in my home town, I went to St. Catharines with my guitar and amp to help start Sunday night jams at The Hideaway. I was having a good time hanging out, but when it came time to be part of what could happen onstage I was confronted with a D.J. and friends who were half my age and a little hostile about my big brown box on wheels onstage. It was a Redmere Soloist, a barely legal custom creation from Scotland and England, costing $2,240 cash in '77, combining stage and studio electronics. It had three pre-amps, Marshall, Fender and Vox, with a Marshall transformer with interior effects synchronized, flanging, chorus, etc, with a three spring Hammond reverb, all in a thin nine-ply birch cabinet. I had my "home-made" Strat. Not only catching lip offstage, I was ignored by the sound crew spreading mikes. So I just turned it all on, set it all up, and before anyone else turned on, started playing the intro to "House Burning Down", an awefull searing and burning and soaring scream of ghetto pain honouring Martin Luther King and the cities in flames that summer in America. More than "The Star Spanged Banner" at Woodstock, during Hendrix's time, available only through a recording studio playing with identical tapes manually. Everyone around me stopped. I could tell, but I had to concentrate, because there are note grabs and bends that are almost superhuman, but a little easier for me with a real left-handed guitar.
Later that night, with the party crowd, invited to the home of Ralph the Cable Guy, one of the first self-produced show hosts in Ontario, no-one said how did you do that. I was given the Hendrix treatment. Timeless. The next Sunday, everyone was surprised at the professional musicians asking for stage time, having to limit guests who didn't want to jam to one or two songs. Over twenty years later, talking to my landlord friend, now renting to a pizzeria I made signs for, they said "John, if you're moving to Welland you can have one of our apartments free for a month or two".
Jimi! Jimi! I'm still trying to hear all of you!
Last edited by John Watt; Nov-22-2008 at 04:54.
the song i was refering to is entitled "little miss lover". i know "belly button window very well", this song makes me feel good, with a strange sensation of comfort. and whoever is on bass, the music moves me.
your bass-cellos thing makes me think of ramsey lewis ans the guy who recorded with him "sun godess" and "funky serenity", for example. the double-bass goes through a wah wah device and i love this sound. i will call this a "womby" sound.
Further up this thread, intet-at-tabe ends posting with The Carpenter's "Close to You", "Raindrops Keep Falling on My Head" and Paul Anka's "My Way". Firstly, Paul Anka didn't write "My Way". He just added English words to an old Italian folk song. The deal he got to make with Johnny Carson's talk show for that theme song, over $2,000 per show, is what musicians I know talk about, respectfully.
Secondly, I'm wondering about the inclusion of the other two songs, why intet-at-tabe associated them. They both start with what is an unusual treatment of a basic chord, AM, or for some here, A major. Imagine your AM triad, E, A and C#, on guitar, three notes in a row at the same fret. Take the A note up to B#, back to A and down to Ab, and return to A. That's AM to A9 to AM to AM7 back to AM. If you can remember the rhythm intro of either song, you basically have both.
I spent a lot of time sitting around gigs with other musicians, hitting notes and trying to guess, helping to get used to other sounds. But that's just pitching notes around for something to do. Being able to hear chord patterns to enable jamming tunes or carrying one song into another, spontaneously, is a special talent that only working with music develops. Of course, talent shines through, and I think intet-at-tabe has just shown hers, even if subconsciously.
"Why do birds, suddenly appear, every time, you are near, just like me, they long to be, close to you". I wasn't a Carpenter's fan, but our female singer Tracy Hoare (real name) wanted to do a Bette Midler song, "Superstar", that turned out to be written by The Carpenters. Learning the exact piano Bette used, only on guitar, helped keep Tracy happy and showed off my new acoustic tones from my first pre-amp volume and main volume Marshall 100 watt head, ordered fresh from the factory as soon as I heard about the new pre-amp volume and mains. $775 up front in '72?
Recently, being outside all day on a long distance bike-hike, when finches swarmed beside me in a shrub, one landing on my shoulders, flitting around, is a far happier and stronger memory. They were quiet when I first entered their domain, a quiet pond I happened upon. I gave them a few cheeps like my brother's finches, and that set them off. Beautiful! Almost as wonderful as that huge old gull beside Lake Erie, way out on the shore, that let me handle it to remove a lure caught in it's bill and foot webbing. Sometimes singing in a foreign tongue can create real fusion. Allahu Akbar. God is Great.
Lest we forget the great Frank Marino is also a very great guitar player and Hendrix influenced. A side note. JH was in the Army, not the Air Force. He was a paratrooper and injured his knee during a night jump. Honorable Discharge and at first supported the war in Vietnam. Check out Frank Marino and his early band Mahogony Rush.
Logman! You're saying check out Frank Marino and Mahogany Rush from the late 60's. And you're from California? How'd you hear of him? Frank made a splash touring back then, but I haven't heard anything new.
He was originally from Quebec and I saw Mahogany Rush at the Welland Fair as a concert act. Playing with a Marshall stack and effects, he used a Gibson S.G. and wore faded jeans and a t-shirt. He was okay in a raunchy hard rock kind of way, I liked him, but then I heard his album. He wrote a song about Jimi, now passed away, saying he would sing and play for him, amongst other less than Hendrixian sentiments. This spooked me a bit, not as a Hendrix wannabe, but as a musician who saw Jimi everywhere on the musical horizon and heard his albums as innovative and deeply mastered. Even scanners today, taking beat per minute and notes per frame counts can administer a new appreciation of Jimi Hendrix by cataloging, if you can, the amount of stereo juxtapositions he used, still surpassing anything since.
All Jimi asked of you was the price of stereo headphones and your listening attention.
Last edited by John Watt; Dec-27-2008 at 14:34.
Both great Guitar masters but i'd say Hendrix just shades Stevie Ray
Posting Permissions
LinkBack URL
About LinkBacks
Reply With Quote