The hey-joe jimi hendrix faq (part 1) Extracts from hey-joe mail up to 15-Feb-95

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- 21 Jan 94]
The sad stories of Jimi's demise:
The current JIMI has an interview with the two ambulance men who picked

Jimi up to take him to the hospital the day he died. They claim that when

they arrived at the flat, the place was deserted except for Jimi. They had to

get an OK from a policeman before they could move the body (they were fairly

sure Jimi was dead). Fortunately, one was soon found, and Jimi got to the

hospital in good time. They did what they could to revive Jimi, but he showed

no signs of life at any time. They claim they did not position Jimi sitting

up. Monika was never seen by these guys as far as they can remember...they're

sure she didn't ride with them in their ambulance. On arrival at the hospital,

Jimi quickly had a few medical doctors work on him (two or three), but after

just a few minutes they gave up as it was clear he was dead and there was

no chance of reviving him. At no time was he revived. No one remembers Monika

at the one remembers speaking to anyone about Jimi's condition.

All the ambulance/hospital people strongly remember the amount of vomit (lots

of red wine, and all over Jimi) and Jimi's lifelessness. They figure he

choked on his vomit (and died) while lying on his back in bed.

Those who read the JHEG book will notice that this is an extremely

different version of events than Monika told. Her story goes something like:

She wakes up, sees Jimi is asleep, and goes off to buy some cigarettes. She

returns and sees Jimi is ill, and tries to wake him. She can't. Very worried

and unsure what to do, she calls friend Eric Burdon for advice (Eric confirms

this, although the details differ a bit). Monika looks for drugs/pills/etc

and sees Jimi has taken a bunch (7?) of her strong sleeping pills. She may/

may-not have called Eric again. She calls for an ambulance. They arrive and

take Jimi, Monika riding in the ambulance with them. They have Jimi sitting

up, which she finds odd as she wonders if Jimi might not choke, but she

figures they know what they're doing. The ambulance arrives...Jimi gets

worked on. Monika waits. A doctor comes out and tells her Jimi will probably

pull through. A while later (an hour or so), she is told Jimi just died after

a long battle for life.

So what story is true? A recent request to reopen the case was turned down

because there is much evidence to support the ambulance/hospital version of

events, and little for Monikas version (all the paper-work supports their

claims). Mitch Mitchell, in his book, hints he doesn't think Monika was one

of the big loves in Jimi's life (unlike Kathy and Devon). Again, this

contradicts the story told in JHEG, where it is hinted Jimi intended to marry

Monika. Not being a fan of conspiracy theories, I'm more inclinded to believe

the ambulance/hospital workers version.

As for whether it was a suicide or not, I'm unsure. The poem-or-suicide

note that Jimi wrote the night before he died may be interpreted either way

(ending: "the Story of Life is hello and then good-bye. Until we meet again").

The suicide-or-accident itself may be seen either way: Jimi was high and took

too many sleeping pills on accident (not being used to the stronger European

pills), or: Jimi was drunk and suicidal and took all the sleeping pills he

could (he emptied the bottle, but it only contained about 7 pills). Jimi's

emotional state at the time makes it hard to say accident-or-suicide as well:

he had just been through some hard times (legal, personal, musical) and had

some more ahead, even though the worst of it was probably over. IMO, it was

more likely an accident than suicide, but I don't rule out suicide as a


What ever, it was a great loss.
[Mr. Scott Hannon - 18 Sep 92]
Scotland yard is reopening an inquiry into the death of Jimi Hendrix.

Apparently a Conservative MP Sir Nicholas Lyell (finally the Tories do

something good!) have requested that the enquiry be reopened. Apparently

they are looking into the allegation that possibly Hendrix's life might have

been saved if an ambulance had teken less time to reach his appartment. The

detectives are seeking to see if there was any delay in raising the alarm and

whether there was any delay in raising the alarm or any items were removed

from the flat at Notting Hill.

The implication seems to be that the girfriend he was with (Monika Danneman)

may be complicit in facilitating his death.

[Matt Trebelhorn - 11 Dec 93]
From the Sueddeutcher Zeitung last Monday (17-Jan-94):
...Kathy Etchingham, an ex-girlfriend of Hendrix, has now pursueded Scotland

Yard to take up the investigations again into his death, so as to clear this

up once and for all. Insiders interpret this as a late act of revenge against

the German Monika Dannemann. The now 46 years old Monika brought Jimi in a

clinic, after he returned from a party and became unconcious, but was still

alive. On arrival at the clinic hw was found to be already dead. Offical

cause was: Overdose of sleeping tablets and suffercation on vomit. Monika

accused the doctors of being incapable - she reconed that Jimi could have

been saved by making an opening in his throat to help him beath. Kathy

however accuses Monika of hindering the arrival of help. Monika only fetched

an ambulance hours after Jimi was already dead.

This will be a long and complicated process, that Mrs. Etchingham with her

30-page report has started rolling because the last few hours of Jimi's life

was, up to now, a confused scenario of contradictory evidence and accusations.

Everyone who earlier have accused each other will be called to witness. It is

questionable whether this will lead to a happy end. Despite this process it

is certain that the capitalising on the product 'Hendrix' will continue. Chas

Chandler, his first producer, alone has 64 unreleased tapes of Jimi that it

not yet allowed to use. And while all this is helping to build up the cult

status and mythos that surrounds Jimi, the wish of the biographer Harry

Shapiro will not be forfilled, namely, that the storm over Jimi's inheritance

dies down and everyone recognises that "Jimi was a genius of 20th century

popular music".
[Paul Hosken - 19 Jan 94]
|This was in yesterday's Globe & Mail (March 9/94):



|(London) -- Attorney General Sir Nicholas Lyell yesterday ruled out a new

|inquest into the death of Jimi Hendrix, the rock guitarist who died in 1970.

|Kathy Etchingham, Hendrix's former girlfriend, has been campaigning for a new

|inquest. She claims Hendrix died earlier than officially recorded. "The death

|was all very dodgy," said Etchingham. "I don't think it should have happened.

|He was in the wrong place at the wrong time. He was with the wrong people."

| In December, Scotland Yard announced it had reopened its investigation of

|Hendrix's death. But the attorney-general "has concluded in the light of all

|the evidence that this is not an appropriate case for the granting of consent"

|for a new inquest, his office said.

| Hendrix died in London on Sept. 18, 1970, after leaving the message "I need

|help bad, man" on his manager Chas Chandler's answering machine. He was 27.

|The original inquest recorded an open verdict, meaning there was insufficient

|evidence to determine the cause of death. A pathologist concluded that

|Hendrix choked to death after drinking wine and taking an overdose of

|barbituates. (AP)


|[Colin Hartridge - 10 Mar 94]

I feel maybe 50/50 on the suicide issue. "The Story of Life", his last poem,

can easily be read as a suicide note (Eric Burden thought so). His legal

troubles with Chalpin, financial troubles (frozen royalties, EL studio, etc.)

and possible split from Jeffreys, plus difficulty getting the music going as

he wanted (due to Jeffreys) probably left him feeling a lot of stress. Then

again, the Chalpin legal/financial difficulties were just about over. And I

don't know, but suspect suicide with another person IN THE ROOM is unusual

(at least without the "I'm going to kill my self now"...1) "try and stop me",

or 2) "and its all your fault" type declarations). Either way, the death

scenarios don't make much sense. Maybe if we knew which (if any) of the

versions of his last day was correct, we could make some sort of conclusion.
Yes, some folks don't realize that Curtis Knight wrote the FIRST(*) book

about Hendrix. A quasi-biography/personal memoir called (ready for this?)...

"Jimi". Not likely in print anymore. Not very good either. But not much was

expected from it. The truth about the song where Hendrix "foretold" his own

death was pure b%!!$=;+, of course. It was really a very bad song that Knight

had written and recorded with Hendrix during the earlier '66-'67 sessions

(some twisted ballad about a friend who had stolen his girlfriend, then died

later, or some convoluted nonsense). Knight and some other guys later added

some overdubs, then Knight changed the title of it to "Ballad of Jimi" AFTER

Hendrix died. Very cheap. It actually comes off sounding like a grade B teen

tragedy song, like something you'd hear from the likes of Jan & Dean. Some of

those recordings are actually so bad that they're fun to listen to. Others

are just simply boring. The live ones by the Squires are at least REAL. They

sound just like what they really were, which was a good amateur r&b bar band.

(*) - I don't think this is correct. I have a first Eeition copy of Curtis

Knight's book dated 1974. And my copy of the Chris Welch (or Walsh) Hendrix

book was published in 1972.
[Eric C. Shoaf - 9 Nov 94]


|>Has anyone on this list ever seen Jimi's grave in Seattle?


|Funny you should ask. I visited Seattle last week and was at Jimi's grave on

|Sunday the 17th. I would like to thank everyone for the directions, and take

|this oppotunity to post the directions with a couple of modifications.


|From downtown Seattle, take Rte. 5 South to Rte. 90 east. This will bring you

|accross lake Washington via the "floating bridge". Take Rte. 405 South and

|get off at the Sunset Blvd. (in Renton) exit. At the end of the offramp, turn

|right (you are now headed back northward). At the first set of lights is NE

|3rd St. Turn right onto NE 3rd St. and follow it up a steep hill. After

|levelling out at the top of the hill, follow the road for about 1 mile.

|Greenwood Cemetary is on the right. Jimi's grave is in the back left located

|near a sundial and couple of marble benches.


|We did get a little lost ourselves trying to find the place. The roads of

|Seattle are confusing. In looking for NE 3rd Street, we found NE 3rd Drive,

|NE 3rd Way, NE 3rd Court, etc. We stopped into a gas station/convieniance

|store nearby and asked for directions. The woman behind the counter said to

|us "Just go down here, it's on the right. You can't miss it, there are a

|bunch of tombstones". I said, "Really! In a cemetary? No kidding."


|There was about half a dozen teenagers hanging out, drinking beer, smoking

|dope and discussing Jimi and (ugh) Kurt. The grounds are very well kept, but

|there are signs of very heavy foot traffic around Jimi's grave.


|[Glen - 26 Apr 94]


|About Greenwood Cemetary: I've been there a couple of times. This was a

|number of years ago and I was able to pay my respects alone, no one else

|showed at the same time as me. There were also no cups, shoes, litter, and

|such, just a LOT of roaches left for Jimi *:) Al Hendrix told me a number of

|people often party at the site, but that he had a friend who lived within eye

|contact of the cemetary, so he kinda looked out for Jimi. For those that have

|never been there, the headstone lies flat in the ground, not standing up

|(it's also my understanding that this is a replacement, that someone once

|STOLE Jimi's headstone - how could you call yourself a fan and do something

|so callous? The Hendrix family often visits the site, how do you think they

|feel about that?) The stone reads "James M. 'Jimi' Hendrix, 1942 - 1970,

|'Forever In Our Hearts'" and has a carving of a guitar on it.


|[ - 12 Nov 94]

Here is the dope on Jimi Hendrix memorials in Seattle, Washington:
One is a plaque at Woodland Park Zoo in the African Savannah exhibit. It is

on a rock, known as the "Hot Rock", and it is the highest rock in the exhibit.

It was placed there in cooperation with the city by KZOK FM. Woodland Park

Zoo is in North Seattle, a couple of miles west of the University of

Washington, right next to Aurora Ave/Hwy 99 at N. 50th St. Woodland Park is

well worth visiting even without the Hendrix plaque. The African Savannah is

an amazing exhibit. There is a nominal charge for entrance to the zoo, but I

think tuesdays are free.

The other Hendrix memorial is in the library at Garfield High School (where

Jimi went to school). This is a public school in Seattle's central area at

400 23rd Ave. The memorial is a bust of Jimi. You will need to go there

during normal school hours and check in at the front desk for permission.

Jimi is buried at Greenwood Cemetary in Renton, which is southeast of Seattle.
Taken from lexington herald-leader, nov 22, 1991:
Hendrix Star Unveiled
Rock innovator Jimi Hendrix was honored Thursday for his 1960s psychedelic

guitar pyrotechnics with a posthumous star in the Hollywood Walk of Fame.

His father, Al Hendrix, and brother, Leon Hendrix, joined more than 200

fans on Hollywood Boulevard for the unveiling of the star outside Book

| City Collectables (north side of the street, a short distance east of

| Cherokee Ave), which has a shrine to Hendrix along an entire wall...The

Hendrix star was the 1943rd. unveiled along the Walk of Fame.
The Jimi Hendrix Seance was commissioned by Guitar World Magazine, and its

purpose, of course, was to "communicate" with the spirit of Mr Hendrix. An

exclusive interview, if you will. I watched a fairly atrocious videotape

recording of it that my girlfriend made. She wanted it back after I saw it so

she could record something else over it, which was fine with me. The video

quality was pretty bad. But not as bad as the show itself.

The news personalities, never mind who they were, set up the footage by saying

that Jimi Hendrix and his music have stood the test of time (to support this,

one of them said "Has anyone heard from Vanilla Ice lately?" Bad analogy.)

They said his death was "drug-induced". I hate it when they do that. They

went on to say that he's as popular today as when he was while alive (not

true - he's more popular today.) They said he sold 3,000,000(!) albums last

year, and that corporate America now has him selling Chevy Camaros...blah

blah woof woof indeed.

Anyway, the seance was held at Electric Ladyland Studios on 8th & Greene

Streets in New York City's Greenwich Village. The Guitar World Magazine staff

were there, because, you know, they wanted to talk to Hendrix. They sat at a

long table, set upon which was Jimi's Gibson Flying V guitar from the Hard

Rock Cafe along with some of his other possessions, like bandanas and

medallions he used to wear. At the head of the table was a medium named Zena

(Xena? Zina? Xina?), who asked the participants to join hands, clear their

minds and think only of Hendrix. At that, one Guitar World editor rolled his

eyes in abject skepticism. Perhaps he thought this was the Zakk Wylde seance,

and he'd entered the wrong room.

The lights are dimmed. There are about eight people at the table plus the

medium. There are murals of Hendrix' image all over the walls. The Flying V

is black, the bandana is light green, the medallion looks more like love beads

than any of the medallions we've seen him most often wear. Zena has her eyes

closed and is smiling. You'll see why after you read the following. This is

a full transcript of the seance sequence that ABC aired on the morning of

September 19, 1993:
ZENA: Everyone can hold hands just focus on Jimi Hendrix.
ABC VOICEOVER: Welcome to the Jimi Hendrix seance!
ZENA: ...He seems to be a little reluctant to speak with us today

...he seems to be reluctant...he's thinking about it...but I

see that he's coming closer now...He says that he's at peace

...he's very happy...and he's also happy to say to the people

who thought that he was from the...from the devil, or dark

side, that they were wrong. He's glad that everyone still

remembers him and thinks about him. He didn't expect it to

carry on this long...but he's happy for this. But he just

wants everyone to know he's at peace.
GUITAR WORLD: Ummm...there's, there's alot of mystery surrounding his...his

death and what was going on at that time. Can you respond to

ZENA: He doesn't want to talk about that. (ED NOTE: Hmmm. I see.)
GUITAR WORLD: What advise would he give guitar players or musicians?
ZENA: Don't give up, it'll happen...He also wants to tell Eric

Clapton that he thinks what he's doing is very good -- good

Thus endeth the seance. I presume they cut away at that point so that they

could ask Zena collectively "We paid you ten grand for THAT?!!???"

It wasn't a complete waste of Patty's tape. What followed was the usual

Hendrix love-in that occurs whenever he gets a TV special (the MTV

rockumentary being a case in point) which sadly is not often. They showed a

50 plus-year-old Billy Cox on bass and a 40 plus-year-old Buddy Miles on drums

(wearing a T-shirt version of the Ultimate Experience album cover) in a

snippet of their session work for the upcoming and eagerly-awaited tribute

album. They were playing "I Don't Live Today" (I thought that was a tacky

selection to air on September 19th) for some off-camera vocalist. I don't

know who it was, but he was not in good voice.
Buddy Miles, seated behind his traps and looking like he spent some time in

jail (because he did) spake thusly: "Musicians and guitarists all over the

world are still finding out so many new vivid ideas and imaginations of the

man's playing and his gift and his contributions to the world of pop music."

Thank you for your insights (and your run-on sentence), Buddy. It sounded

like he was basically giving Jimi's memory the stiff-arm, as in "Yeah, yeah,

yeah, it pays the bills. Now leave me alone." Buddy put out a Christmas

album last year on an independent label. Anyone heard it? I have not.

Also, there was a very good black & white clip of Jimi doing "The Wind Cries

Mary" during a television appearance that I've never seen before. Of course

the newscasters talked all over that. It can't be from here -- as a kid I

think I saw all of Jimi's TV nationally-televised US appearances (Dick Cavett

[where for his "will you play something else for us?" he played "Izabella", as

was not reported in JHEG] and the incredibly awkward "Tonight Show" hosted by

Flip Wilson [where Flip expected to find in Jimi a sympathetic guest, since

they were both "brothers" and whatnot -- and didn't get one]) as well as a

local interview on WABC television in New York in the year before he died.
It occurs to me that Jimi wasn't especially TV-friendly. I remember he walked

off the Cavett show and didn't show up at another one for which he was

scheduled (Janis Joplin appeared on that one). I remember as Jimi walked out

on Cavett, he screamed after him "Wait a minute! Hendrix! Hendrix!" on the

air. I think he told too many jokes about his clothes or his hair, which was

a large but neatly-cut 'fro at the time. The peaceful footage was on "(A Film

About) Jimi Hendrix". His network TV-Q would have shot through the roof if

Hendrix behaved anything near the way he did on stage, but he did not.

[Darryl - 8 Oct 93]
>Do you feel the quality of Jimi's work deteriorated as he approached his

>death? If so, any theories why?

Not at all. Just the opposite in fact (getting better). It's certainly true

his live shows became more erratic after Noel left, but thats probably due to

Jimi being more adventurous (sometimes too much so). Also, he was obviously

bored playing some of the old songs like Wild Thing, Fire, etc. Don't

undervalue the contributions of Noel...if he thought Jimi was screwing around,

he let Jimi know (this seems to be the main reason for Jimi's dislike of

working constantly with Noel).
For me, the jury is still out on this one. On the one hand, his playing at

the BOG Fillmore run was never better. Ditto some of the stuff from the

Berkeley gigs in May 70. But unfortunately they seem to be the exception

rather than the rule. The Isle of Wight was a terrible performance, and the

Atlanta Pop (what I've heard of it) wasn't much better. I need to hear more.

This was obviously a period of change for Jimi, it's a shame we never got to

see what the results would've been.
Yes, substance abuse distanced Jimi from his formerly intimate relationship

with his instrument. :-(

>What most annoys you when you discuss Hendrix with people who don't know

>much about him?

The constant and persistent belief that Jimi "was just on drugs all the time

and/or "the old routine" all he did was stand there with the guitar feeding

back through the amps, anyone can do that, so why do you like him?"
The "Oh, you mean that drugged out gimmicky guitarist?" type attitude. The

idea that the music is all based on guitar effects, and the songs and playing

all drug related. Or the opposite attitude, that Jimi was a martyr for drug

use...rather than just another (IMO dumb) abuser whose death is probably not

even related to his "recreational"-type drug abuse (ACCIDENTAL or SUICIDAL OD

of slipping pills...not heroin, LSD, etc...).

Too much emphasis on drug abuse, and theatrics, and not enough appreciation

of his artistry.

>Do you think Jimi's excessive drug use interfered with or improved his music?
Yes. Obviously they were involved in his death (or maybe suicide). (I'm

considering pills, drinks, and illegal drugs as drug use). He also seems to

have missed a few shows - couldn't play due to drugs. I think Jimi was more

just being an average 60's musician in terms of his drug use. I suspect the

musical insights from his drug use are few and rather unimportant. I would

guess he took them more to relax and have fun, rather than him thinking he

needed them to develope his music.
Let's face it, while it undoubtedly led him to many inspired places musically,

it eventually would`ve taken it's toll on his playing, if in fact that wasn't

already in evidence toward the end of his life. For the record, I don't think

Jimi's music would've been as interesting and inspired if he had lead a drug-

free existence.
A little of both. Inspired his creative and self-destructive sides at once.
>Do you feel Jimi's stage antics added to intensity of the show or distracted

>from his playing?

Obviously they limited his playing, and after a few (many?) viewings they get

stale, but I bet for the average concert goer they were a BIG boost! WILD

THING from the Monterey concert film is how I originally got blown away by

Jimi. Out of tune, sloppy playing, with a stupid guitar smashing/burning

ending. And yet it still looks and sounds cool!
I think they added to the show, although sometimes they were a good excuse

for him not to put his all into his playing.

>Do you think Jimi was the greatest guitarist who ever lived? If he's not,

>then who do you think is?

No. Jimi was a GOOD guitarist, but not a great one (and I'm talking in terms

of GUITAR PLAYING...a technican, athletic ability). What made Jimi so special

was that he was a GREAT MUSICIAN AND SHOWMAN, and a good (but probably not

great) songwritter! Who's the best guitar player...who cares! Probably a

machine anyway (if not yet, soon will be). Its like drum machines...a $1000

drum machine can play better than any human alive...but they almost always

sound awful! Thats because its the PROGRAMING (which drums to hit and when)

that matters, and its the lack of this ability that leads to the usual dreck

we associate with these drum machines. Who cares how many notes a second a

guitarist can play, or difficult chord changes they can do, if the

application is bad? I like Jimi's playing not because he's fast and could

play difficult chord changes and solos (which he could), but because the

MUSIC he created is original/innovative/exciting/enjoyable/etc...BTW, check

out Gary Moore's "Over the Hills" from his WILD FRONTIERS album to hear what

a drum machine can sound like with a lot of work...quite impressive (the best

I've heard from a drum machine).

For such a question to be fairly evaluated in any sort of objective manner,

one should look at the the genre before him and after him. Whereas it has

never been proven to me that Jimi was the very first guitarist to utilize

feedback (Jeff Beck may have done it earlier -- anyone know?), he clearly

redefined the instrument in a way that hadn't been done since Les Paul

invented the thing and hasn't been done since. The electric guitar will

forevermore have this other dimension, that the actual electronic properties

of the amplified instrument should be used as part of the instrument's voice,

rather than as an unpleasent side effect that should be avoided at all costs.

For this reason alone he is entitled to be considered the greatest rock

guitarist of all time, but I personally feel that this doesn't cover the rest

of his genius. When he was riffing, the sounds came from someplace deep

inside, there hardly seemed to be any filtering. It seemed that the guitar

was a biological extension of the man and his mind. Take for example the

Machine Gun solo. That solo is a complete story. From that opening sustain,

through all its moods, it is just an incredible piece of improvisation.

Greatest guitarist who ever lived? The question should be restated "greatest

rock and/or blues guitarist...". Is he better than Segovia, Joe Pass?

>Jimi Hendrix was on the Tonight Show one time in the late 60s. Johnny Carson

>turned and asked him how it felt to be the greatest guitarist ever. Hendrix

>quickly responded: "I don't know. You'd have to ask Phil Keaggy."
Sorry, but this never happened--it is merely a myth that has been around for

many years. For those who don't know, Phil Keaggy was the blazing guitar

player for the late 60s/early 70s Cleveland-based Glass Harp which recorded a

few albums on the Decca label. Phil is indeed a guitar virtuoso, but Glass

Harp was a relatively obscure band which Jimi Hendrix had probably never

heard of...You have to watch out for those urban legends!

[Pete - 15 Jan 94]
>Which guitarists around today do you feel are the most heavily Hendrix-


Almost ALL the current rock guitarists are influenced by him. As for who is

MOST influenced (and is still around AND performing) I'd say...Yngie

Malmsteen (bet you weren't expecting that!). Not counting Randy Hansen of

course. Why Yngwie?...the influences are: be wild, be loud :-), and play well

(all at the same time!). And DO YOUR OWN THING. He's not very similar to

Jimi of course, but then that wasn't the question...I recommend "Trial by

Fire - Live in Leningrad" CD/video. If Uli Roth were still playing (still

making records, anyway), I'd say he was the most sucessful of those

influenced by Jimi's playing style. He sounds unique AND like Jimi, sometimes

at the same time! Done in by a poor voice, average stage presence, and

average song writting...still, I recommend some of his easily available

Scorpions works to all Hendrix fans: "Fly To The Rainbow", "Virgin Killer",

and "In Trance". If you dislike the current Scorpions, then you should know

Uli decided to leave the band in 1979 because he didn't like what they were

becoming (pop metal).
Stevie Ray Vaughan, Prince, Steve Vai, just about everybody!
|The answer is a matter of opinion...There have not been any artists, except

|for Stevie and Robin Trower, who have carried on Jimi's musical spirit

|without coming off as imitators. There are others whose styles bear some

|traces of Jimi's style around the edges; Ernie Isley comes to mind and the

|late Eddie Hazel (from Parliament-Funkadelic) is another. Eric Gales seems to

|be coming in to his own, but has some musical growing to do to reach the

|level of SRV. Another artist whose catlogue you might get into is Buddy Guy,

|one of the many great players that inspired Jimi. Principally a blues player,

|Buddy has crossover moments that will stand your hair up. With the many

|generations of Jimi fans, we can only hope that his music will inpsire some

|kid with a Strat in a basement to take it up a notch....


|[Rob - 4 Sep 94]


|Jimi influenced many rock players but he also influenced jazz players and

|there is a unifying trend which developed during the late sixties of which he

|was very influentual. With the advent of electrical instruments we see the

|birth of rock and roll in the form of Chuck Berry or Elvis Presley. While

|this is not the only ingrediant in the mix (blues, country, R&B, etc deserve

|more than a glancing mention but distort the point I'm heading toward) it is

|certainly a prime element...for without it this new form would simply cease

|to be. The advent of electrical instruments also had a huge effect on jazz

|and it's development. Where before we see that jazz music used orchestras to

|fill up the sonic spectrum and create this overall largeness in sound, they

|now could achieve the same effect by using electrified instruments and still

|maintain a small working group. This is adventagous for more than one reason.

|It gave them more mobility as a group for travelling, less financial

|constraint, and a closer knit unit for group improvisation. In the 60's we

|see players such as Coltrane, Coleman, Ayler, Sanders, Hendrix, start using

|these instruments to bring to music something that has been dealt with thru

|the musical ages...increasing the range, dynamics, and tonal characteristics

|of the voices. It also meant that we were entering into a new arena of

|possibilities sonically...that we could use 'pure sound' as a musical device

|for expression. This is a common thread that links all these players together

|even though the forms are different...this use of sonics. Miles Davis

|certainly recognized it, and the things that he and Ornette Coleman were

|doing in the early seventies which definately were influenced by Jimi beget a

|whole new was called fusion. The bringing of rock rhythms (along

|with others) together with the electronic instruments. Some of these things

|didn't work but when it did it created some very good music. Bands like Miles,

|Weather Report, Mahavishnu Orch., Tony Williams Lifetime, Return to Forever,

|Colemans _Prime Time_, etc. were direct descendants of all these previously

|mentioned players. So, Jimi didn't just influence players, he influenced a

|whole new form and for a good example listen to what Miles does on his album

|_Agharta_ (along with _Pangea_ were his last recordings before hiatus) where

|they settle into a deep rhythmic groove thing invoked by Sly Stone and James

|Brown and then Miles starts invoking Hendrix through his two guitar players

|(Cosey and Lucas) along with his own wah-way drenched trumpet. One guitar

|player invokes Jimi's R&B, blues, funk leanings while the other gets into

|that ornamental, ethereal thing...the influence is unmistakable.


|In summary what I'm saying is that Jimi wasn't just influenced by players and

|doesn't just influence players...that there is a larger picture. He was

|influenced by many forms (he arrived in England with a copy of Roland Kirks

|music...or find him listening to Handel back in his room) and influenced a

|form. For an example of a what I consider a darn good guitar player that was

|influenced by Hendrix (and maybe the best...whose to say ) dig around

|and find yourself some of the late great Sonny Sharrocks works. On a

|different front check out Ronnald Shannon Jackson's works and see how they

|tie these forms together. In both their works (guitar and drums respectively)

|that same common thread can be found.


|[Bill - 02 Sep 94]

OK. Let's see (from memory):

1. Little Wing

2. Voodoo Child (Slight Return)

3. Manic Depression

4. Drivin' South

5. Testify (though he said he learned it from the George Clinton original,

hearing Jimi's version only years later)

6. Third Stone From the Sun

7. Come On (Part III)

8. excerpts in various performances of other JH songs:

A. Machine Gun (in Voodoo Child, Tokyo, 1/24/85)

B. Message to Love/ Power of Soul (in Come On, Passaic, NJ 9/85)

There are probably a couple others I've forgotten. BTW, the best Voodoo Child

I've EVER heard, INCLUDING from Jimi himself (excuse the heresy) was SRV's

last performance with Double Trouble at Alpine Valley. People who spoke to

him afterwards say that even he was blown away by it and didn't know where it

came from - maybe the channeling that someone else suggested Randy Hansen

[Michael S Heidenberg - 8 Jul 93]

>Who do you think was the better drummer for Jimi: Mitch Mitchell or Buddy

Miles << Mitch. ANYONE (Buddy even!) disagreeing? You didn't ask, but

Billy < Noel, although not by much. I just think Noel forced Jimi to control

his playing more, which is not always a good thing, but does lead to less

erratic shows.
Mitch is the more accomplished drummer, largely because Buddy isn't very

accomplished at all (an aside: I've always found it ironic that Buddy, one of

the weakest of the rock drummers of the era, got to play with the very cream

of the crop of the rock/blues guitarists of the era: Jimi, Mike Bloomfield,

John McLaughlin and Santana -- did I miss anyone?). However, Buddy's strength

ironically happened to be Mitch's weakness -- Buddy kept a strong solid beat.

Unfortunately Mitch is often all over the place. Nonetheless, take Mitch on a

good session and there's no comparison (Manic Depression from Experience?).

>Why did Mitch and Noel quit the band, were they country boys who didn't like

>to live in America?

Redding was dissatisfied because JH told him every note to play. Plus,

Jimi preferred his old army buddy, bassist Billy Cox. Mitchell stuck around

longer. Both were nudged a bit by Hendrix, though, as he became bored with

playing his "hits" and moved more toward R&B and jazz (against his manager's

wishes). According to "Crosstown Traffic", Hendrix was very bored playing his

standard material and hated the fact that his guitar acrobatics got bigger

cheers than the notes he played.


|>It was my understanding that both Noel & Mitch signed their rights away for

|>a lump sum payment some time ago.


|Yes and no. Mitch agreed to the deal (100 thouand dollars?), but Noel did

|not. Noel turned it down and instead took legal action to try and get what he

|thought he was due. He was convinced he was a 1/4 member of the band the

|Experience, Mitch was the other 1/4, and Jimi 1/2. This seems to have at

|least been true for the live shows, but no solid proof exists to show it was

|true of other band revenues (albums, merchandise, etc). Noel goes into this

|in his book (the last half is quite a depressing read). Noel ended up

|spending all his money on a losing battle (when Mike Jefferys died and the

|old Hendrix laywers started treating him as a leper, he didn't have a chance).

|So he ended up recieving no money at all. He's also been dropped from some

|writing credits (My Friend, Midnight, Ezy Ryder, and some others were all

|partially written by Noel).


|But the movie (RAH '69) and album (Chas's) I refered to are different. Noel

|and Mitch re-did their parts in 1989/90 for Chas's album and almost surely

|signed on as more than session musicians and would see some profits from the

|sale of that album. And Noel mentions in his book the deal on the RAH '69

|film was according to the 1/4, 1/4, 1/2 split. Both projects have been

|blocked by the estate management people.


|[Mr. Scott Hannon

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