Jimi got it right the first time.
In the same version Brandford teaches us all how to phrase and play over the descending minor seventh chords.Although I give Sting huge credit for always hiring and working with great Musicians...It was Hiram Bullock who absolutely took that awesome song someplace very unique and special.
Absolutely!, Love what Marsalis did on that tune! Great lesson on soloing in that song is to listen to his note and scale choices! I've played that tune with some pretty bad-ass fusion cats, and many emulate his choices. Nice offset to Hiram's more fiery wailing....great together!In the same version Brandford teaches us all how to phrase and play over the descending minor seventh chords.
You're right, I'm using the wrong term - they're not power chords. I'm talking about the kind of big three chord repeating pattern he plays for pretty much the first 15 seconds of this "D&D" version:How do you define “power chords?” The definition I’m familiar with is root-fifth, but there are none of those in D&D’s “Little Wing.” The third is the most prominent note in that first chord.
As the OP, I wanted to say the responses overall have been great so far!
And they made me want to research this more and I found this awesome video of Eddie Kramer, Jimi's engineer and Chas Chandler, Jimi's manager/producer talking about the making of Little Wing.
It's worthwhile to hear their story of the process and Eddie himself commenting on "Take two" which he says is a "rawer version of the song", "Jimi just sort of stretching out, feeling his oats with the song" "and it's raw, in your face, it's bleeding, this one" and I can go with that, said it better than I did, I'll admit, even if he's not commenting on the final take. That's what I was hearing in my re-listen. And that glockenspiel is still too damn loud! I need less glockenspiel!
Little Wing, Behind the Scenes:
None of them played it like Jimi. Clapton and Duane didn’t try to.You're right, I'm using the wrong term - they're not power chords. I'm talking about the kind of the kind of big three chord repeating pattern he plays for pretty much the first 15 seconds of this "D&D" version:
It's kind of loud and very orchestral and mildly bombastic and really doesn't have anything to do with the delicate chord melody picking that Hendrix (and SRV) did in the intro. To me, it sets the totally wrong tone for the song. Although after about 15 seconds when he comes out of that big chord statement, it gets really pretty really fast with EC and Duane playing those interwoven lines. Interestingly, when I was looking for a YouTube of this version to insert, I found a live version he did much more recently with JJ Cale where he plays something a lot closer to the Hendrix/SRV intro and then just hits that three chord pattern once or twice to transition out of the more delicately picked part of the intro. So maybe he's seen the error of his ways
I don't dislike Clapton's version, but I like it WAAAAAY less than the way Hendrix and SRV played it live.
It's a fanfare, and I agree with you that it's out of place. It loses the intimacy that is the charm of the original.It's kind of loud and very orchestral and mildly bombastic and really doesn't have anything to do with the delicate chord melody picking that Hendrix (and SRV) did in the intro.