“Jimi was reaching back to old friends, including Lonnie Youngblood, and he had this idea to take what they used to do, when Jimi was a sideman for Lonnie, and bring it into the future. He was able to be free not only with his guitar part but with the tone and the attack, as well. None of that stuff had to be muted like it was going to be a little R&B recording; instead, it was a Jimi Hendrix recording.
“Given that, I think everybody stepped up. It’s a very exciting, energetic cut. Jimi put everything he had into it. If you compare it to some of the things he had done with Lonnie three years earlier, it’s like night and day.
“Guitar players should take note of him comping the changes. He really understood the value of rhythm guitar; that you really have to connect to an arrangement and bring something to it, not just for a 16-bar solo but throughout the song. He’s all over it.
“It’s really cool to hear Jimi play off Lonnie’s saxophone, and what’s especially interesting is to hear how he can add but not trample.”