Mitch Mitchell Modern Drummer article

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OFF THE RECORD

Mitch Mitchell Style & Analysis by Ed Breckenfeld

egend has it that when The Jimi Hendrix Experience was formed, the guitarist entrusted the results of a coin flip to pick Mitch Mitchell over Aynsley Dunbar for the drum chair. This amazing quirk of fate paved the way for one of the great guitarist-drummer collaborations in rock music. While Jimi was revolutionizing the sound and style of modern guitar playing, Mitchell was driving the band, playing off every Hendrix innovation with his own improvisational approach. MUSIC KEY

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“Hey Joe” Jimi gave Mitch plenty of room to stretch out in many of his tunes. In this song, Hendrix plays a low rhythm riff while Mitchell solos over the changes. Mitch displays his lightning-fast single-stroke prowess on these 32nd-note fills. The R-L-foot triplet lick in the second measure is another of Mitch’s favorite moves. (2:03)

Mitch, who was influenced by the groundbreaking styles of Elvin Jones and Max Roach, brought a jazz drummer’s mentality to Hendrix’s hybrid of rock, funk, and jazz. His playing could be as explosive as Keith Moon’s, but it was more controlled. It could be as dynamic as Ginger Baker’s, but it was more unpredictable. Anchored by the solid timekeeping of Noel Redding’s bass, Hendrix and Mitchell pushed the boundaries of what guitar and drums could accomplish together. The results were captured on three great albums from 1967 and 1968. Here we take a look at Mitch’s drumming on these historically important recordings, as well as a couple that appeared on posthumous Hendrix releases.

Are You Experienced (1967) “Purple Haze” The first Jimi Hendrix Experience album hit like a bombshell in early 1967. It contained many songs that went on to become rock-radio classics. This opening track remains the band’s most famous hit. Right out of the gate it established the strength of Hendrix’s guitar playing and Mitchell’s drumming. Here’s Mitch’s fill and groove from the song’s last chorus. His sticking in the two 16th note–triplet ruffs is most likely R-R-L-R, which enables the last two strokes of each ruff to be strongly accented. (2:08)

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“Fire” Few rock artists have created as many memorable song intros as Hendrix did. This song has one of his best, with enough holes in the riff to provide Mitchell the space to weave in his exciting fills. After four measures of fills, Mitch settles into a groove that includes a rhythmic setup for the song’s first verse. (0:00)

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“Third Stone From The Sun”

“One Rainy Wish”

In the up-tempo intro to this track, Mitchell demonstrates his strong straight-ahead jazz technique. Note the sophisticated snare work and feather-light bass drum touch, which were unusual for a rock player in this era. (0:04)

This song features some nimble jazz work in 6/8. The sequence here spotlights Mitchell’s signature rumbling fills. (3:02)

Axis: Bold As Love (1967) “Wait Until Tomorrow” On The Experience’s second album, Hendrix began to expand his sonic experiments while diversifying stylistically. Mitchell hung with him every step of the way by finding new ways to employ his prodigious chops. Mitch’s R-L-foot three-note pattern is used in this song as a straight 16th-note fill rather than in its more typical triplet form. (2:39)

Electric Ladyland (1968) “Crosstown Traffic” Hendrix’s third album was produced by the guitarist himself, which gave him complete control over his creative vision. Although many of the tracks are longer and more innovative than what came before, this double album also contains one of Jimi’s best two-minute pop singles, “Crosstown Traffic.” Mitchell’s choice of a quarter-note hi-hat pattern for his groove helps to maintain the open space under Hendrix’s vocal in the verse. (0:25)

“If 6 Was 9” Here’s an excerpt from Mitchell’s solo in the middle of the tune; it features a paradiddle sticking pattern. Mitch accelerates the repeating measure to create a smooth rolling effect. (3:02)

“Voodoo Chile”

“You Got Me Floatin’” On this track, Mitchell uses tom accents at the end of each measure of his groove to “answer” Hendrix’s guitar riff. (0:47)

“Voodoo Chile” is a classic slow blues number. In this excerpt, taken from the intro, Mitchell’s active bass drum work is reminiscent of John Bonham’s style, which would debut on the first Led Zeppelin album less than a year later. Mitch loosens his hi-hat at the end of each measure to create a crescendo effect. (0:42)

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First Rays Of The New Rising Sun (1997) “Angel” Hendrix died before he could put together a definitive collection of the material he recorded in the few years after Electric Ladyland. Most of these songs appeared on dozens of scattershot releases over the years following Jimi’s death, but in 1997 the Hendrix family oversaw the release of a remastered collection of the best of the tracks. Based on notes Jimi had left, First Rays Of The New Rising Sun contains some fine songs and performances from both Hendrix and Mitchell. “Angel” is one of Jimi’s most beautiful ballads. Open and closed hi-hat work, ghost notes, and a great little triplet fill at the end of the fourth bar are highlights from the drum pattern for the song’s verse. (0:19)

“Come On (Let The Good Times Roll)” Here’s Mitch’s paradiddle cymbal pattern, which Neil Peart would use to great effect years later. (1:17)

“Burning Of The Midnight Lamp” This slow, syncopated groove contains an interesting 16th-note snare-kick trade-off on the fourth beat of each measure. (0:43)

“Beginnings” This song features several cool Mitchell grooves. Here’s his take on a Latin naningo rhythm from early in the track. The pattern is based on a double paradiddle with a slightly altered sticking in the second grouping. (0:13)

“House Burning Down” Mitchell’s open hi-hat accents, double snare hits, and 16th-note bass drum flourishes make this more than just another driving quarter-note snare groove. (0:34)

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You can contact Ed Breckenfeld through his Web site, www.edbreckenfeld.com.