Mitch Mitchell

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Affiliation: The Jimi Hendrix Experience, Gypsy Sun and Rainbows, Gypsy Sun Experience. Mitch played drumming styles such as Acid/Psychedelic Rock, Jazz, and a Classic Rock sound. Mitch’s critical asset was his explosive, intuitive responsiveness to Jimi. He could lay down a strong, light groove but then instantly react as Hendrix shifted gears or moved off in another direction. His style is in stark contrast to Buddy Miles who lays down a relentless groove which, when combined with the solid groove bass playing of Noel Redding, stultified Hendrix.
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What instrument are you?

Drums
You are the Drums. You set the tempo for how things are. You have to stay consistant though because you do not want to through everyone off and then the bass player will have get you in the right place again.

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Movies
Rainbow Bridge (1972). Jimi Hendrix: Live at Woodstock (2005).
Television
Live It Up (1963), "Dee Time" (1967), "Beat! Beat! Beat!" (1967), "Beat-Club" (1967-1970).
Heroes
Jimi Hendrix, Noel Redding. Keith Moon, John Bonham. Mitch's greatest moments: "Manic Depression", "Fire", "Crosstown Traffic" (the groove), "Hey Baby (New Rising Sun)"and the BBC sessions.

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About me:

Mitch plays in the Elvin Jones explosive style with fast snare and cymbal riding coupled with more basic rock triplet bass patterns and big bombs. In line with jazz drumming he played within the snare/hi-hat/ride cymbal/bass drum arc with the toms as variations. His hi-hat and cymbal work is of the highest order and he used brushes on occasions. He is criticised as a busy drummer which is grossly overstating the case. More restrained drumming may have been more appropriate on a few tracks (that’s Mitch’s opinion). I really can’t describe them as flawed, just that it could have been done differently and that doesn’t mean better! The thing that Mitch had was incredible stamina especially in the studio as Hendrix endlessly worked though songs. He always responded to Hendrix’s variations and worked from his arrangement. Mitch never defined his arrangement within the song. Live was the same, as it was need to follow Hendrix’s improvisations and also fill in those gaps, especially when Hendrix did his stage act. It was behind these that Mitch took his solo over a droning bass line, usually at an exciting high tempo. He was a fast drummer - lightning at times and surprisingly loud for his diminutive stature.