C/C obviously just a C major chord, redundant
C/C# This is a diminished-type voicing, can be used as C# dim (also
E, G, Bb) and as a C dominant b9 (also Eb7, Gb7, A7)
C/D used a lot as is, also can be thought of as D9sus4
C/Eb Eb13b9, but there is no 7th in the structure
C/E inversion of C major, redundant
C/F Fmaj9 sonority, without a 3rd. can also be used as an F minor/maj9
in context of minor harmony
C/F# F#7b5b9
C/G inversion of C major, redundant
C/Ab Abmaj7#5
C/A Am7
C/Bb Bb6/9#11, a lydian sound. also C7 with 7th in bass, good for bass
movement
C/B Cmaj7 with 7th in bass, also B phrygian-type chord
Although the triads are, technically speaking, above the bass note, I
was coming up with some very cool sounding chords last night by putting
the triad on the 1st, 3rd, and 5th strings and the supposed bass note on
the 4th string. These are helpful tools for getting away from the
standard "jazz guitar" voicings we all learned out of Mickey Baker books
(or wherever). One last tip- since these are often spread I find it
useful to try plucking them or arpegiating them with fingers instead of
a pick. Give it a try.
Clay