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little wing has some great parts, starting with the double octave at the 12th fret. 
Jimi had big strong hands and used barres sparingly on this track. He would hook his thumb over the top of the neck and fret the 6th string root note to play the G, AM, Bb, and Bm. This left his pinky free to embellish throughout the backing track.

what phrase/chord in the intro is giving you trouble?

thx you read my mind well

maybe this from the unplugged album.
http://www.youtube.com/watch?v=-74Q8ujhU5w

little wing - great rhythm track

exactly jerome...
Lesson 2:  the Hendrix or JB 9 is actually a C7#9, or C E G Bb D#
   C9  C7#9   
E  3        X
B  3        4
G  3        3
D  2        2
A  3        3
E  X        X

There is also a more difficult barre form Jimi used in Spanish Castle Magic and Foxey Lady.
Purple Haze is in E major, so move that form up and root it at the 7th fret.
This is my favorite chord, if you can have such a thing. I think SRV liked it too.

It IS hard to syncopate the vocal, especially for bad singers like me.  When I'm hanging out with friends and getting drunk, I'll struggle through the verse and then get everyone to sing along and I can usually get them into the chorus.  Usually pretty good fun because everyone one wants to sing the toking part and if they really get going, I'll circle round back again so they can sing the "pompitous of love" and "shake your tree" part.   

After all, that's why they call it alcohol.

My niece had one for a while but was not happy with it. She eventually moved up to a Gibson SG.

add some finger picking.

John was pretty much to the point and right on, but since I never know when to shut up, here's some more technical stuff...

flangers have a more of a rotation or sweeping effect than phase shifters, a little like an old leslie.  Like John said, it can be used to create the jet sound. Phasers modulate less but produce a similar effect.  the old hendrix uni-vibe is really the 1st phase shifter and created a modulating effect. Check out his Star Spangled Banner in the movie Woodstock. You might be struggling with the difference because they are so related as to be nearly the same. 

both create a "wet" sound by shifting a portion of the signal a little out of phase with the rest (Phaser or Phase shifter).  The idea is to use a delay circuit (usually an RC) to move parts of the main signal sine wave out of phase with the original. The length of the delay and filter adjustment will determine how often and how much of the signal will cross and cancel, or sync and reinforce. This is usually applied in a series of stages to create the sweep sound. 
flangers create more delay points than phase shifters and can be a smoother effect at smaller delay rates because the signal can acquire more harmonic frequencies. However many flanger devices will allow the user to greatly vary the delay times creating a greater rotating or sweeping effect which can become a little overdone. The slowest sweep and largest amplitude creates the jet sound. 

The sound can get annoying as John mentioned.  Frampton uses one on just about the entire live album which makes his guitar kinda muddy, but tends to smooth the tone to get to that "I just ate 2 qualudes" effect. 
I used an EH Smallstone in the 70's and tried to graduate to a flanger in the 80's, but hated it and sold the flanger to a keys player and still have the smallstone.

highly technical brief if you want to build one.
http://www.geofex.com/Article_Folders/p … phase.html

I started taking sax lessons at 9 and I remember soloing with the school band on Midnight Cowboy at 11 years old. They wouldn't let me see the movie, but I could play the song I did learn lots of scales and how to improvise.

I started going to the Capital Theater in Passaic NJ in 1971-2 where I used to hang out by the back door and beg the stage hands to let me sneak in.   I saw a great string of players up close and personal: Leslie West w/ Mountain, Johnny Winter, Ronnie Montrose, Steve Hunter, Billy Gibbons, Dave Mason,  Robin Trower,  Carlos Santana, Lenny Kaye, Mick Ralphs with Mott the Hoople.   I saw the Who on the Quadrephenia tour at MSG before an English final exam and still got an A.  Steve Howe and Yes 5 or 6 times. Stones in '75, Eagles, CSNY and Zepplin in '75 and '77.  Living in mass transit distance of NYC was great.  I saw the Ramones at CBGB's (and a dozen other joints),  Blondie at Max's Kansas City and the Clash at Roseland? and Lou Reed at the the Palladium.

My main inspiration through all this was: "These guys probably get l**d a lot". 
I was a horny teenager that beat it like it owed me money.

ditto...

Yes it does make sense auralvisage.

guitar and keys share tremendous diversity in purpose and enjoyment.  It is not just about the level of playing, but also about purpose, and subseqently can be a much more personal expression. 
Not many sax players are really singers or writing any more than some melodies on the sax.  Sax players may be wedding players, but nearly all aspire to be 'Trane (I don't think any want to be Kenny G).  Some guitarists want to be buckethead, others want to be James Taylor, and others want to be Dime-bag Darrel, Dylan or Pat Metheny.   
Bass and drums are mainly about playing and rhythm.  Horn players are soloists and improvisational players.  String players (violin or cello) are about technique, accuracy and recreating sound and emotion. I'm generalizing, but you get the point.

Not too many instruments offer the versatility of the guitar, which is why there are so many players in the world.