Guitar World's resident Jimi Hendrix authority, Andy Aledort, demonstrates how the legendary, groundbreaking guitarist still influences the modern rock, blues and R&B styles some most admired players.
In this lesson, we’ll explore how Hendrix’s music has inspired the distinct, signature styles of Melanie Faye, Christone “Kingfish” Ingram, Marcus Machado, Ayla Tesler-Mabé, Joanne Shaw Taylor and Ayron Jones.
In this lesson, we’ll explore how Hendrix’s music has inspired the distinct, signature styles of Melanie Faye, Christone “Kingfish” Ingram, Marcus Machado, Ayla Tesler-Mabé, Joanne Shaw Taylor and Ayron Jones.
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MusicTranscript
00:00Hey, I'm Andy Allidore, and in this video lesson, we're going to take a look at six
00:18young guitar players who show a distinct influence from the great Jimi Hendrix and carry on the
00:24tradition of Jimi Hendrix's guitar playing through their own very distinct styles.
00:30We're going to start off with a phenomenal woman guitar player named Melanie Fay, who's
00:36so unique, and we're going to take a look at her twists, the things she likes to do
00:42when she plays Jimi Hendrix's Little Wing.
01:42Melanie Fay uses a lot of interesting chord voicings and open strings.
01:50In this example, I begin with this, this E add 9, really nice voicing, and do a reverse
01:58rake, and then this F sharp 7 sus 4, and that just moves up, so F sharp, and then this
02:14is like G minor 7, which you could also think of as like an E 9 chord, A major 7, sus 2
02:25with the open B, and Hendrix does voicings like this in One Rainy Wish, and May This
02:34Be Love, a variety of songs, Angel, so after that beginning, and then it's this nice switch
02:47to A minor 9, and she loves these fast slide pull-ups, and then I just play this ascending
02:59lick to get back to A major, and then I'm going to kick off this Little Wing sort of
03:09emulation, and then, so that's the other thing she likes, is these fast hammer pulls,
03:26and then this is a really nice A flat diminished into A minor 7 sus 4, and then this is very
03:44interesting, sort of this E flat, and then here, E flat, minor 7 flat 5, and another
04:01one of those fast slide pull-offs, so you got, and then, this is another thing she likes,
04:11these quick hammers, using those open strings again, and this voicing is a little tough
04:25because you have to get your fingers in there, and then it just moves down, so this is a
04:36minor 9 sus 2, B, goes down to B flat, A, and then kind of your typical Jimmy, so Jimmy
04:58does stuff like that, or, another one of those, and then some more open strings, that
05:16open G stays in there for the D. Typical Jimmy, but then this, this is a diminished
05:33lick, and you can think of that as over the 5 chord, like this brief reference to 5, 7
05:44raised 5, so B7 raised 5, sharp 5 I was going to say, so, that's how it closes out. Next
06:01up is one of the best blues guitar players on the scene today, Chris Stone, Kingfish
06:05Ingram, he likes to play Jimmy Hendrix's Hey Joe in his sets, and like Melanie, he has
06:11very unique things that he adds to the tune, really cool distinct twists, we're going to get
06:16into that right now.
06:41Not unlike Melanie Faye, he likes to change the chord voicings a little bit, make them a little
06:57more interesting, so instead of a straight C chord, he plays, it's like a C6 sus 2, or add 9,
07:07C6 add 9, and then the same thing, like a G6 9, so you're going to have that there, and then D sus,
07:23resolves to D, and then A sus, resolves to A, and then E minor, unlike E major, which is what Jimmy
07:41plays, one more time.
08:41Alright, for this guitar solo, I got a wah-wah pedal here, start it off like that,
09:12so it's very Jimmy Hendrix like, blues, typical blues rock style, and that's how Chris Stone likes
09:25to play, and then this, instead of 16th notes, that kind of thing, that kind of thing, and then
09:53second, so it's all firmly just right up here in E minor pentatonic, with the blues scale,
10:17and then those high bends, a combination of Albert King, B.B. King, and Jimmy Hendrix.
10:33Another great and very distinct player is Marcus Machado, who's more rooted in a classic R&B,
10:40contemporary R&B and soul style, but there's definitely a Hendrix vibe happening,
10:46in his soloing, mixed with that Curtis Mayfield rhythm part, so let's take a look at that right now.
11:16Okay, so this Marcus Machado example is sort of rooted in very classic R&B soul,
11:26we're in the key of E, but we're starting on three minor, so G sharp minor, to C sharp minor,
11:36seven, and then what would be the two chord, F sharp minor seven, back to G sharp minor,
11:44to A major seven, and then A nine with a B bass, or A add nine with a B bass,
11:52and you can do your classic Jimmy Hendrix, Curtis Mayfield, little single string embellishments
12:02within the chords. So when you're holding the chord, you can play these, Hendrix does it all
12:26the time. And then for the solo over that, you really just play E major, which I'll demonstrate now.
13:26The solo begins over G sharp minor, and as I said, most of the licks are based on the E major
13:42scale, so I start right on that G sharp note, and then get to a C sharp, when the C sharp
13:54minor seven chord comes in. And then, and then with my melody, I'm just going to follow that
14:05chord progression of F sharp minor, G sharp minor, A major seven, by going, and just straight up,
14:24pretty much the E major scale, to get to this bend, up to C sharp, and then this fast descending.
14:33Marcus likes playing things like that, and Hendrix does that on Here Am I Trying to Come,
14:43and on It's Beloved, all kinds of songs you'll hear him do that. And then over, when we get back
15:02over C sharp minor, I take advantage of C sharp minor, pentatonic minor. And then another thing
15:21he likes is this octave thing. We know Jimmy loved using octaves for all kinds of solos. You
15:34hear it, of course, a third stone from the sun, that sliding. And I kind of wrapped it up with
15:52E major pentatonic. Which will work over all the chords. Another terrific young player is Ayla
16:11Tesler-Mabe. She has such a cool style, very unique. Again, it's in this contemporary R&B
16:18style, her music. But the soloing has a heavy blues, a lot of feeling in it. So I'll play
16:26some examples that are along the lines of her style right now.
16:47Alright, for this Ayla Tesler-Mabe example, we're in C sharp major 7 at the beginning here.
17:00And then it switches to what's really like C sharp minor 9, even though there's no third in
17:10the chord, but it's implied. So major 7, then 9. Then F sharp minor 7, or minor 9. And then to B
17:269, which is major. So one more time, like. And then for soloing, most of the soloing is C sharp
17:52major pentatonic and major scale. And there are definitely Hendrix-isms and also just sort of
17:58blues, BB King. So I'll show you what I mean.
18:22So as I said, the soloing over this is mostly C major pentatonic. Very bluesy.
18:52But then she does this cool thing over that F sharp minor 9. So that's right on F sharp minor 9.
19:07And you can see it is A major 7 too. And then I went more to like C sharp major scale. And that's
19:24where that sort of BB King thing comes in. So very bluesy, very melodic, a lot of feeling,
19:46and a heavy attack. And then this jazzy. And then into that BB King style stuff.
20:03One of the top blues guitar players on the scene today is Joanne Shaw Taylor. She recorded a video
20:09recently from Jimi Hendrix's flat, his apartment in London, and she did this blues thing,
20:14this shuffle, kind of with a canned heat, Charlie Hooker vibe. And this example, this next example,
20:22is going to be in that style and show, demonstrate some of the soloing things that she likes to do.
20:28And you can hear the connection to Jimi Hendrix.
20:44So this rhythm part is just this little vamp in A.
21:02The shuffle 1 and 2 and 3 and 4 and 1. It's kind of a very much John Lee Hooker boogie kind of a
21:12thing, canned heat going up the country. And it kind of emulates an open tuning like John Lee
21:24Hooker would do because it's all A. So you're going between the A string and that A note,
21:37and you pull up, and then a. So those are the pieces.
21:56And then the solo over that Joanne plays is just this very bluesy thing that shows the influence
22:03of T-Bone Walker and Chuck Berry and the things that influenced Jimi Hendrix. So it's Hendrixian
22:08in a way, and it has the same influences, but you'll see what I mean.
22:33As I said for the solo, it's really this sort of straight blues thing. You get over this.
22:49And Joanne likes to start with this. This Chuck Berry T-Bone Walker that you bar and
23:07band two strings at a time. So it's a very Billy Gibbons. If I take this shape and move it up.
23:37And then that quick. And she likes doing that quick slide down. Hendrix did that. Stevie Ray
23:46and Joanne love to do that. And then back to that rhythm part.
24:15Last up is a great guitar player named Aaron Jones. This is a very Hendrix groove on a song called Emily.
24:22This is along the lines of that song and what he plays. Let's get into that right now.
24:45This is a very Hendrix-y rhythm part off E.
25:14It's almost kind of voodoo child-y, but the groove. It's not like voodoo child.
25:24But you know, a heavy riff off that open low E, that's something Hendrix did all the time.
25:36So that's what I'm playing. It's along the lines of Aaron Jones' lick.
25:58And then when he's singing on the verse. So playing these little two-note chords on the A and the D string with the open G in there.
26:12Something Hendrix did all the time. You know, he did it in Hey Joe and Here Am I Tryin' to Come and in Voodoo Child.
26:23All kinds of songs. It's something that Hendrix did often. So it's pretty simple. You just have that.
26:37Into the other part.
26:51And back to the first lick. So here is some soloing in Aaron Jones' style.
26:57And that is also very Hendrix-y in terms of sort of heavy blues moving around.
27:04You know, that Jimmy ramped up blues rock style.
27:34Alright, let's go over this solo. You have the lick.
27:56And Aaron likes these oblique bends. Very Hendrix-y.
28:11So that very dramatic slide down and then back up the one string thing. Something Hendrix did on Voodoo Child.
28:17Here Am I Tryin' to Come.
28:35Those slides and pull-offs moving quickly.
28:42And then back to the fifth.
28:49So that type of soloing.
28:55A quick hammer pull.
29:02Demonstrates this blues.
29:11That type of thing.
29:14But if I try to do it slow, sometimes it's hard to do it slowly.
29:44So there you have it.