Discover Top Posts Tagged with #juma sultan

Juma Sultan's Aboriginal Music Society: Whispers From The Archive

Jimi Hendrix - Machine Gun

Jimi Hendrix & Friends - Tinker Street Cinema, Woodstock, New York, August 10, 1969

How did Jimi Hendrix prep for one of the biggest concerts of his career? By jamming with some NYC free jazzers at a movie theater, naturally. Just a little bit before the Woodstock festival, Jimi teamed up with Juma Sultan, Randy Kaye, Earl Cross and some assorted Santana dudes for a loose set that gives us a tantalizing glimpse of where (perhaps) Hendrix might’ve headed in the 1970s. Obviously, he could’ve done anything! But it’s easy to imagine him getting into the more freeform jazz situations that would come to the fore shortly. Loft jazz Jimi? Whatever, it’s a very fun listen, with Hendrix occasionally dominating, but also just riding the wave. Thanks to Scott McDowell for playing a bit of this on the Frow Show a little while back!

#jimi hendrix #juma sultan

Jimi Hendrix - Somewhere

#jimi hendrix #somewhere #people hell and angels #hendrix #billy cox #buddy miles #mitch mitchell #juma sultan #stephen stills #blues rock #rock #psychedelic rock #hard rock #blues #music #music is life #music is love #music is religion #raining music

Jimi Hendrix - Hear My Train A Comin’ (Lyric Video)

#Jimi Hendrix #Billy Cox #Buddy Miles #People Hell and Angels #Juma Sultan #Hendrix

Displaying an ability to explore the aural landscapes of the subconscious--with a guitar—and yet still rock the blues hooks, the Jimi Hendrix Experience stormed onto the rock scene in the spring of 1967 with the debut album Are You Experienced?--but Jimi was just getting started. On "If 6 was 9," from his second album, Axis: Bold as Love, Hendrix was able to articulate the social and cultural dichotomies he was helping to confront: White collared conservative flashing down the street, Pointing their plastic finger at me. They're hoping soon my kind will drop and die, But I'm gonna wave my freak flag high, high, Wave on, wave on, Fall mountains, just don't fall on me, Go ahead on Mr. Business man, you can't dress like me. Jimi Hendrix Experience, "If 6 was 9" (1967) The dialogue is set along a spacey, free-form groove, transcending the blues riffs that begin the jam. The spacey sounds were only the backdrop for an existentialism never experienced in rock before. As the jam expands further, Jimi can be heard whispering, "I'm the only one that's got to die when it's time for me to die/so let me live my life/the way I want to." When Jimi played Woodstock in August 1969, it was with a six-piece multiracial band, with Jimi, his old army buddy Billy Cox on bass, two Afro-Latino percussionists (Jerry Velez and Juma Sultan), a black rhythm guitarist named Larry Lee, and Mitch Mitchell, his drummer from his first hit group, the Experience. The performance, the finale of the three-day ultimate rock event to end the ultimate rock decade, actually had a distinctive African polyrhythmic energy to it. However, the engineers effectively mixed out the percussionists and much of the work of the other guitarists, leaving the sound of Jimi and Mitch Mitchell, the sound of the old Experience. Jimi's African ensemble, exposed to the world, vanished with a sweep of the mixing board. As biographer Dave Henderson wrote, "The sound the African drums made was lost, an entire acoustical realm lost in the air." This may be a small point, but careers are made at significant points in history, as James Brown's was solidified after Dr. King's death. The best-selling Woodstock soundtrack featured only "Purple Haze" and Jimi's solo performance of "The Star Spangeled Banner," the subtleties of which, the ironies of which--the knowledge of which--evaded the typical black listener, who was not even exposed to Hendrix on black radio. While the ultimate concert was a showcase for the propulsive Latin rock of the then-unknown act Santana, and Sly Stone's triumphant rendition of "Higher" is legendary, Jimi's efforts to flow musically in that same direction were sadly missed.

Rickey Vincent, Funk: The Music, The People, and The Rhythm of The One