- From: Tony Done <tonydone@xxxxxxxxxxx>
- Date: Tue, 26 Jul 2011 13:56:18 -0700 (PDT)
What would you think Jimi did on all those studio gigs?
Did they hire him just to "play around with whatever
you think sounds good"? Or do you think that SOMEHOW
they gave him a chart and asked him to interpret
what was written?
That example reminded me of Duane Allman, who was also in demand as a
studio player at about the same time. Listening to Duane, you can tell
he was a position player, as are many blues players; key wouldn't have
mattered much, he would just have shifted up or down the neck to get
whatever it was the main artist wanted. I *can* imagine someone like
him just rocking up at the studio and listening for a bit, then
working in his piece, or maybe listening to a tape beforehand. In a
similar vein I have heard a recording of Eric Clapton trying to play
with Howling Wolf (Chester Burnett) in a studio outtake. Chester is
plinking around on an acoustic to explain the dynamics of the song and
Eric is trying to persuade him to include tn in the recording. It then
segues into the final version, which is very electric and absolutely
nothing like what Chester was playing. That looked like a case of a
group of artists just going to the studio and working on it until they
got a version with which they were satisfied.
That approach is clearly different from say Tommy Tedesco and other
mainstream (for want of a better word) studio musicians, who
apparently could play straight off from a written SN score. Could he
have also done it as improv if asked? My guess is that he could.
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