Davis had enlisted Cosey to provide his music with sounds from the electric blues and Jimi Hendrix , whose use of distortion and the E-flat tuning was shared by Cosey . According to Charles Shaar Murray , he evoked the guitarist 's echoic , free jazz-inspired solos while Lucas performed in the manner of Hendrix 's more lyrical rhythm and blues songs ; Cosey 's guitar was separated to the left channel and Lucas ' to the right on '' Agharta '' . Jazz scholar Stuart Nicholson wrote that Davis utilized his guitarists in a way which realized the " waves of harmonic distortion " Hendrix had explored in his own music . In Murray 's view , the album invoked his influence on the trumpeter more explicitly than any other of his records ; Nicholson considered it to be the " closest approximation " to the music they could have recorded together . Davis veered from succinct and expressive solos to unsentimental wails , which suggested he was still mourning Hendrix 's 1970 death , Murray surmised . That year , Davis had started playing with a wah-wah pedal affixed to his trumpet in order to emulate the register Hendrix achieved on his guitar . The pedal created what '' The Penguin Guide to Jazz '' ( 2006 ) described as " surges and ebbs in a harmonically static line , allowing Miles to build huge melismatic variations on a single note " . Davis eventually developed what Philip Freeman called " a new tone , the wiggly , shimmering ribbons of sound that are heard on '' Agharta '' " , where his wah-wah processed solos often sounded frantic and melancholic , like " twisted streams of raw pain "
Hendrix 's 1970 death
Death of Jimi Hendrix
Agharta (album)