Jimi Meets Miles (Press Release)

Jimi Meets Miles artwork

Jimi Meets Miles

Jimi Meets Miles Video art

Jimi Meets Miles credits

Jimi Meets Miles: Season 1

One of the most interesting releases of 2022 was Jimi Meets Miles by British musician Benny Sutton.

On release it soon went viral on social media, appealing to both fans of Jimi Hendrix and Miles Davis alike.

It has already gained more plays on YouTube than any guitar based instrumental music could reasonably expect, 150K for one track. Likewise it has remained consistently in the top 20 Jazz charts on SoundCloud.

The intriguing concept of this album is what it could have sounded like had Jazz and Rock giant Jimi Hendrix and Jazz Legend Miles Davis jammed together.

It is daring challenge that takes some balls. Much effort has been made at creating some highly energy and improvised directions that Jimi and Miles might possibly have taken. This album reminds us just how good Jazz Fusion was as a genre.

Assumptions have been made, for example that both Miles and Jimi would have evolved, so don't expect the obvious. Artistic license has been exercised, the band sound is more based on the Miles Davis band of the 80's. And why not? That band featured bass legend Marcus Miller!

For Fuck's sake - it's a Pastiche - don't get judgy!

Benny Sutton attacks Jimi's guitar parts intelligently, not playing Jimi's licks note for note, rather getting in the zone and riding it. Ssometimes it hits the mark, others not so much, but when it does it feels recognisably Jimi and quite often sounds like the man himself could have played it. At times psychedelic, the blend of Miles and Jimi works perfectly to take you to a place no other concept could.

Another impressive innovation is the virtual trumpet, it's accurate in both in Miles' tone and style. Amazingly Ben Sutton wrote these parts and played them (into MIDI using a keyboard synthesiser).

You may come to this album primarily as a Jimi fan and you will not be disappointed. However, if you're not already familiar with Miles Davis, this will hopefully encourage you to explore his work. Miles was every bit the magician Jimi was. Both were so out in the stratosphere as musicians - and as forces of nature!

The two of them together would have produced fireworks and this album has high energy, improvisation, and interplay in abundance. The album is balanced in that both Jimi and Miles tracks are attempted, each getting a hint of how the other would have contributed.

Other musicians collaborating

Other musicians include...

top UK Jazz Session Bassist Steve Shone catch his explosive bass solo on track one If 6 were 9
On drums is international hired gun Graham Argent

Ben Sutton is probably the best guitarist you've never heard of. Well OK, now you have, so check out his other work on his YouTube channel at Ben's YouTube channel

Altogether a joy to listen to!

Jimi Meets Miles :: Album Critique

Right Off
The first track on the album is one you can really get your teeth into. It's jump started by some wild guitar feedback pyrotechnics that could easily be the man himself. It then launches into an eleven-minute Jam at breakneck pace.

Hendrix lovers will not be familiar with this track. Right Off is a Miles Davis track that was recorded eight months before Jimi's death, so he could have heard it. The original was a spontaneous jam between McLaughlin and Billy Cobham in a New York studio in Feb 1970. Miles walked in by chance and simply joined in. Fate could easily have placed Jimi at the heart of it too. That's kind of the whole point of the album, had the stars up above "played with laughing Sam's dice".

I love this track because it goes somewhere no one else has gone, before or since! It's a journey into a very psychedelic place. Right Off is a long track but extended improvised jams were standard in both rock and jazz back then. Characterised by a wall of cymbals and insistent bass line the rhythm section motors along creating an ideal vehicle for a virtual Miles and Jimi to improvise over.
If Six Were Nine
This is a reboot of the classic Hendrix hippy statement. It's tighter, more spacy, yet true to the vibe. Arguably Miles Davis greatest gift was that he could play on any style, any genre and his muted trumpet is completely at home here. Some classic Hendrix guitar tones, especially his over the top, swirling phased sound are faithfully recreated. Jimi never had a bass solo on record, but this track has a great one at three minutes in that really works, by ace bassist Steve Shone.
Foxy Ladies
starts with an archetypal Hendrix style riff built on the 'Hendrix chord'* but soon flies off into the stratosphere. It's basically one lengthy improvisation that ebbs and flows in intensity, slipping in and out of R&B, Jazz, and Fusion genres effortlessly.
In a Silent Way
is arguably Miles Davis's greatest chill out piece. Jimi could carry a tune, as proven by his rendition of "Star Spangled Banner". The melody to "In a Silent Way" is a lot tougher than that, mainly because it is slow and stops/starts throughout. No doubt Jimi would have nailed it.
Purple Hazed
is a very late 80's version, quite some departure from the original Purple Haze. It's laid back and funky, but then it's a safe bet that Jimi would have embraced funk (he already was funky). He'd be slapping and a snappin' like bass guitarists. Miles VST takes a back seat on this one which is altogether restrained. It conforms to the verse/chorus format rather than the outright jams of some of the other tracks.
All along the Watchtower
is the classic Dylan track Hendrix made his own. Benny Sutton puts his own stamp on it. Do you recognise the bassline it starts with? It's almost Michael Jackson's Billie Jean and it is perfect to drive it. Some artistic licence is exercised here when it dives into some very modern Daft Punk, alternates classic Jimi and Miles, ending with the only vocal on the album.
Hey Joe
is probably the most accurate Jimi style lead guitar on the album, bluesy Pentatonic runs, two and three note trills. No screaming Marshall 100W stacks, it's dialled back in intensity and volume to hit the sweet spot. The track's arrangement starts in familiar territory before slipping into some spacey jamming. Another high point of the album.
Voodoo Chilled
is a leap from the hard rock guitar classic, Voodoo Chile, into psychedelic jazz fusion and beyond. Weaving through spacey free form soundscape punctuated by mournful modal horn the track is finally ripped into a scorching Jimi style guitar solo over an old school, three-piece rock band. This track features top gun bassist Steve Shone who transitions from almost Jaco Pastorius phrased fretless jazz bass to heavy, heavy rock without blinking.
Big Time
is an 80's Miles/Marcus Miller track that stays in character. There are some awesome guitar effects on the solo. Miles and Jimi interplay with a question and answer segment that, hey we know it's not real, but it does humanise the improvisation.
Fire
features a scorching Miles horn solo before the guitar takes hold with some classic hard rock Jimi racing a breakneck speed.
Tutu
is another 80's Miles/Marcus Miller track, from the album of the same name.
Little Wing and Castles made of Sand
demonstrate the techniques perfectly. Ben's versions keep that style which comprised a multifaceted mix of open-string and thumb voicings, double-stops, and chord partials. Jimi added complexity, his right hand using plectrum and second finger, as busy as a folk music finger picker.
Third Stone From the Sun
was Jimi's psychedelic masterpiece.

Bonus Track: The Miles classic So What gets a new lease of life with a synth bass line. This is the only track with real, not virtual, trumpet on, provided by Jordy Waelauruw. There's a nice Hendrix style rhythm guitar solo but, to be honest, the lead guitar on this doesn't sound remotely Jimi - but is fun, nevertheless.

*(the dominant seventh sharp ninth) that has become so associated with Jimi's sound.

Note: There are guitar pedal sounds on this pastiche that weren't available at the time - but you must allow some artistic licence!