The Jazz Guitar Chord Dictionary
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  1. #101

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    Sco on that chord

    When I first started to play guitar-this was before Hendrix-there was a chord known as the “Hold It” chord, an E sharp 9. It was based on a break tune that came from an older generation, a Bill Doggett song from the ’50s. And then Hendrix started to play this chord and it became known as the Jimi Hendrix Chord. You can hear it on “Purple Haze.” So the “Hold It” chord became the Jimi Hendrix Chord in 1968. Now, that’s a big influence right there
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    The Jazz Guitar Chord Dictionary
     
  3. #102

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    Quote Originally Posted by Peter C
    It's known by that name to rock musicians. See Debussy and probably before him.
    The 'Hendrix chord' can also be heard at the end of Peter Warlock's 'Capriol Suite' (1926). In fact the repetitive rhythms and bass pedal notes remind me a bit of 'Purple Haze'.

  4. #103

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    "...there was a chord known as the “Hold It” chord, an E sharp 9. It was based on a break tune that came from an older generation, a Bill Doggett song from the ’50s. And then Hendrix started to play this chord and it became known as the Jimi Hendrix Chord."

    HOLD IT by Bill Doggett, -- And that's that"




  5. #104

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    Here is the chord, not uncommon in jazz, at the beginning of Jordu--performed by Barney Kessel, Ray Brown and Shelley Manne on the album "The Poll Winners" (1957), on the guitar that for sale at auction right now--see another thread on this site.


  6. #105

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    Larry Coryell:

    The unison of electric bass and guitar of the C&W-type chords in “Hey Joe” sounded not unlike Stockhausen or Stravinsky or the Jazz Composers’ Orchestra, for example. A lot of these similarities with facets of jazz were totally not consciously intended, I’m guessing. Jimi just wanted to play his thing as he saw it. He was like a Mozart surrounded by Salieri. At least when I was around him, he never stopped and let his ego assess his work and compare it favorably or unfavorably with others in a who’s better than who sense.


    But that is not going to stop us.

  7. #106

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    Larry C. was a teacher and friend. He was friends with some of these guys. Went over to his place one time and he was on the phone with Jeff Beck about a Hendrix tribute. None of these guys looked at their playing as a competition with each other.. They all admired and respected each other's individual talents talents.

  8. #107

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    I was in Monterey (lived there) when Hendrix did his thing. A novelty act, nothing more. I have never changed my first hand, direct observational opinion.

    I'll go with Beck as my choice for the better musician, and other than Hendrix, the others are OK.

    I prefer "or" to vs, as that sets up an adversarial situation.

  9. #108

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    I grew up less than an hour's drive from Haight-Ashbury. Music shaped my world as a young child, for it was everywhere. In '64 I was a 9 year old groovin' along to Dad's Wes Montgomery records while at the same time digging The Beatles. By '68 I'd developed my own musical independence and in my popular music world there was nothing bigger than MOTOWN. It wasn't until decades later that I'd learn the actual studio musicians were jazz cats, even though my ears had already told me so.

    But in '68 even I knew then that Jimmy Hendrix was a GOD. His guitar playing was equally as impressionable as the voices of Janis Joplin, and Joe Cocker!

  10. #109

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    Quote Originally Posted by archtopeddy
    In my mind there have been very few guitarist who have touched and altered as many genre of music as Jimi Hendrix. Yes, he was a rock star -- yet his impact on jazz, soul, R&B, blues, and in some ways indie, folk and reggae music cannot be denied. You can even hear his influence on acoustic artists like Jack Johnson, and while not noticed as much, I believe he even had his own way of expressing country music with his unique feel on songs like the Wind Cries Mary.

    But this is a jazz forum so in the spirit of tagging this thread with a somewhat more jazz connection, here are some excerpts about parallels between Jimi Hendrix and John Coltrane. This is from a commentary in the Free Jazz Collective by a fellow who goes by the handle “stef”.

    ---------

    "It was a coincidence, or maybe not, that in the sixties two musicians transformed their traditional music drastically, turning it inside out and upside down, turning tunes into art.

    "The first was John Coltrane, the second Jimi Hendrix.

    "What they did was comparable: unleash deepfelt emotions, re-inventing what they knew, re-think the scales, deconstruct and recreate, pushing the boundaries. Music before that time did not have the same expressive quality it has now. What we take for granted today, was unheard of before these two geniuses.

    "What has Hendrix got to do with jazz? Well, nothing with jazz per se, but surely with free jazz. He could just let go of rhythm and harmony and just do his thing on stage, exploring the unlimited potential of sound and impact, while always falling back on his feet."

    If you wish, to read the whole commentary, you can find it here: Jimi Hendrix ~ The Free Jazz Collective
    Really, REALLY well said. If I was stranded on a desert isle the situation would be less bleak with Coltrane's music. His final 10 years were ultra productive, and truly something special. So many piano players were influenced by Trane as well. How could any musician not be inspired by Trane?

  11. #110

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    Quote Originally Posted by bohemian46
    I was in Monterey (lived there) when Hendrix did his thing. A novelty act, nothing more. I have never changed my first hand, direct observational opinion.

    I'll go with Beck as my choice for the better musician, and other than Hendrix, the others are OK.

    I prefer "or" to vs, as that sets up an adversarial situation.
    What could be more adversarial than referring to Hendrix as a novelty act

    That's like saying Freddie Mercury couldn't sing

  12. #111

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    Wow, 2bop, you and I grew up in the same circumstances, I'd say. Same sort of influences--at the same time.

    Coltrane has been an almost incalculably huge influence on me--and everyone else. I firmly believe that he was a giant influence on Hendrix...with some mutual respect going back the other way, too.

    By the time I was 13, I too was enthralled by Motown and especially the Memphis version of soul music. I could really blow--like the British invaders--but I found myself editing my playing more and more, like the Detroit and Memphis guys did. It just seemed cooler, to me, to play the right notes, not ALL the notes. Yet--if the situation warranted--I was a punk kid who could whip out the big noise/big notes through the obligatory half stack.

    All the while, my friends would kid me about listening to Barney Kessel.

  13. #112

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    Quote Originally Posted by bohemian46
    I was in Monterey (lived there) when Hendrix did his thing. A novelty act, nothing more. I have never changed my first hand, direct observational opinion.

    I'll go with Beck as my choice for the better musician, and other than Hendrix, the others are OK.

    I prefer "or" to vs, as that sets up an adversarial situation.
    Novelty act? Hmmm, I don't see how in all fairness, an objectively thinking musician, or anyone, can see just that in Hendrix. Did he steal your gf or something, it seems like a personal, negative thing to say.

  14. #113

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    Tiny Tim basically died onstage singing his hit version of "Tiptoe Through the Tulips."

    With showmanship like that you can't call his 'a novelty act.'

    Say what you will about Hendrix, but don't cross me on Tiny Tim.

  15. #114

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    Quote Originally Posted by bohemian46
    Hendrix... A novelty act, nothing more.
    Bohemian, I respect your right to feel Jimi was nothing more than a novelty act, but I'm curious why you feel this way. Is it because he burned his guitar or his flamboyant mannerism or the way he dressed? None of that seems to have anything to do with his contributions as a musician or guitarist.

    It is show biz after all and if we marginalize artists for their showmanship artifacts then we'd be eliminating a lot of musicians from consideration including Miles, Sun Ra, Roland Kirk, etc. Do you consider them as novelty acts as well?

  16. #115

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    I am a few years too young to have been able to see Hendrix live, but I have a friend that did in Cleveland. He is a Hendrix fan, but he remembers the show being underwhelming. I don't think that he saw it as a novelty act, but he was in high school at the time. Kids went to shows. Then they went to school. A lot going on and it was just another show that he went to with his friends. Maybe the hype was later - I don't know.

    I related this before, but my older brother had a band in the late 60's. He is a couple of years older than me. He played a Mellotron, and they had a bassist, guitarist and drummer. I "played" the tamborine and did some back up vocals. "Light My Fire" was our brightest effort. The guitarist was a tall greasy haired kid that played left handed. Hendrix was his idol. I remember the week that Hendrix died and the guitarist quit. He said that he couldn't play anymore because he was so upset about it. I hope that he didn't give it up entirely, but I will never know.

  17. #116

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    I think there have always been "corn" or "novelty acts" out there on the circuit. There are serious musicians who know how to play their a@#es off, but stay right on the beat, stick to the melody, and ham things up. It would be unflattering to name names. Let's say that I know that _I_ have sold songs to audiences by smiling, glancing around the room at the audience, and playing with a few more slurs and finger vibrato while hanging right around the melody. Audiences--you know the ones--seem to appreciate this. Waxing boppish would give these folks "MEGO"--my eyes glaze over.

    Okay, I can't help it. I have watched Roy Clark--and I know he can play Charlie Parker stuff--ham it up and add triplets to the melody (Wow, look at those "lightning fingers!")--just to sell the song to the ample audience. Plenty of jazz artists do/have done the same thing. Eric Clapton walked off stage when Jimi Hendrix "sat in" with Cream in London and pulled out all of his tricks. Clapton, who was more of a slave to the blues, was offended by all the ham.

    Does this render Jimi Hendrix inconsequential? No more than it does Les Paul, who was about as hammy as they came. Les could and did play with Art Tatum, but he knew how to put food on the table. He was the master of reading an audience and giving them big slices of ham. Was he a novelty act. He would have affirmed this, in fact. Was he inconsequential? Hardly. He truly did revolutionize guitar--both the instrument itself, the way it was recorded, and music.

  18. #117
    [QUOTE=Greentone;909864]Eric Clapton walked off stage when Jimi Hendrix "sat in" with Cream in London and pulled out all of his tricks. Clapton, who was more of a slave to the blues, was offended by all the ham.

    That's a questionable interpretation. It is commonly believed that Clapton walked off during "Killing Floor" because he was shocked at how good Hendrix was doing a song that Clapton had not yet mastered.

  19. #118

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    There was a big mutual admiration society going on especially in London at the time. There was also Peter Green and Dave Mason among others. I think I recall that Clapton had just sent a guitar over to Jimi shortly before he died. On his recent tours Clapton has played Little Wing and Voodoo Chile as a tribute to Jimi.

    Giving guitars to other guitarists seems to be a particularly gentlemanly thing to do.

  20. #119

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    Is it just me, or does this look like a couple of fellas separated at birth...
    Attached Images Attached Images Eric Clapton vs. Jimmy Page vs. Jeff Beck vs. Jimi Hendrix-charlie-jimi-jpg 

  21. #120

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    I wrote and deleted a lot of hateful and dismissive things about the others in contention but I'll just say Jimi is by far and away my favorite of this bunch.

  22. #121

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    Nah. Clapton was doubly pissed off. (1) Jimi wasn't honoring the blues with his playing, and (2) Jimi was sitting in and hamming it up on another guy's established gig. The protocols weren't being observed. It wasn't a cutting session. Clapton had every right to be bothered.

    OTOH, I'd bet that the other guys were quite pleasantly surprised.

  23. #122

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    Quote Originally Posted by Greentone
    Nah. Clapton was doubly pissed off. (1) Jimi wasn't honoring the blues with his playing, and (2) Jimi was sitting in and hamming it up on another guy's established gig. The protocols weren't being observed. It wasn't a cutting session. Clapton had every right to be bothered.

    OTOH, I'd bet that the other guys were quite pleasantly surprised.
    Jimi didn't have to honor the blues, he was the blues!

  24. #123

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    Clapton was petulant. Big surprise.

  25. #124

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    Quote Originally Posted by Phil59
    Agree, Beck skilled player, boring.

    Hendrix entertaining, powerful.

    Page, disagree, first album (great guitar), derivative/rip-off, then moved on.

    Clapton brilliant re-inventor.
    Well said on all points. I would add “poetic” to the adjective list for Jimi.

    And regarding Jimmy Page, although his ripoff of Bert Jansch was unforgivable, most basic blues songs have always had their direct antecedents. (A boring reminder I realize, but....)

  26. #125

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    That's hilarious! Clapton, a Brit gets upset because Jimi, a descendent of slaves, wasn't honoring the blues. Some might say that Clapton didn't 'honor the blues' during his racist remarks. But I wouldn't say that.