In doing research for my super secret special guitar writing project, which I may or may not get around to talking about at some point (depending how it goes), I’ve been reading Crosstown Traffic, Charles Shaar Murray’s rather good book on Jimi Hendrix. Writing about guitar without spending time with Jimi makes as much sense as writing about the blues without listening to Robert Johnson.
And, of course, it’s impossible to even think about Hendrix without a certain overhanging grief, tortured by what-might-have-beens. It’s like imagining what would have happened if Dylan really had died in his post-Blonde on Blonde motorcycle accident (to some people, he did). Sure, we’d have been spared Down in the Groove or Empire Burlesque, but we’d also never have had Blood on the Tracks, The Basement Tapes, his fantastic resurgence since Time Out of Mind, or, for that matter, John Wesley Hardin and, consequently, Jimi, All Along the Watchtower.
On the other hand, we were spared watching hard living wreck Hendrix or seeing him end up playing Purple Haze at state fairs, but, assuming he’d kept it together, one can’t wonder where Hendrix would have taken us with today’s technology. Jimi Hendrix recording with a Parker Dragonfly, a Mesa Boogie Mark V, Pro Tools, and a still inquisitive mind.
Look far enough west, and you come up ’round the east again.
“Maybe creativity will become fashionable again.”