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James Marshall Hendrix , more known under the name of Jimi Hendrix (born Johnny Allen Hendrix the November 27th 1942 with Seattle and deceased the September 18th 1970 with London) was a guitarist, singer and American type-setter . He is regarded as one of the most innovative musicians of the 20th century, in particular because of his revolutionary approach of the Electric guitar and the techniques of recording in studio. Outgoing improviser of the beaten paths, it releases his instrument of his constraints by using the resources born of amplification and gives to the modern electric guitar his noble letters. Its influence largely exceeds the framework of the music rock'n'roll: the majority of the musical styles which developed in years 1970 will take again certain elements of its music. Miles Davis will thus play an electric jazz very marked by the guitarist.

Its youth

James Marshall Hendrix is born on November 27th, 1942 with Seattle (State of Washington). He is the first wire of Al Hendrix and Lucille Hendrix, born Jeter. Al Hendrix will know his/her son later only three years because it must face its military obligations. Incompetent to assume the education of his son, his mother does not occupy himself any. Demobilized, Al Hendrix recovers Johnny Allen, which it renames James Marshall (perhaps because the lover of Lucille was called John Williams) and proposes in Lucille to settle together. Lucille gives rise to Leon Hendrix in 1948. The couple gets along very badly, does not cease disputing and ends up divorcing on December 17th, 1951.

It is deeply affected by the conditions of poverty and the negligence in which it grew, but also family disorders that it lived in its childhood, divorce of his/her parents when it was 9 years old, and especially the death of his/her mother, alcoholic, in February 1958. Hendrix is beaten on several occasions by his/her father, Al Hendrix, which also suffered him from serious alcohol problems.

Perhaps the fact that James Marshall Hendrix lived his childhood in Seattle explains the facility with which it succeeded in transgressing the various racial or cultural barriers. Indeed, he lived in a district where the exchanges between communities were constant. Admittedly there was segregation, but in proportions infinitely less than in the south.

It acquires its first guitar at 15 years (acoustics of occasion with 5 $), advantageously replacing the Ukulélé with only one cord which his/her father had given him after it to have surprised playing with a brush! Consequently, he learns the guitar in Autodidacte by devoting all his spare time to it. Its school results feel some quickly, but Hendrix has from now on an obsession: to become musician. Enough quickly, the young person Jimmy (not yet Jimi) joined its first group, The Velvetones. It gets its first electric guitar, Supro Ozark 1560S, which it will use with its group according to The Rocking Kings.

In 1961, mingled with a history with stolen car, Hendrix prefers to enlist in the American army rather than to risk the prison. In November 1962, it obtains the right to carry the escutcheon of the Screaming Eagles , division parachutist of the 101ère airborne troop. Affected in Fort Campbell, Kentucky, Hendrix The King Casuals with Billy Cox with low forms. Hendrix will tell thereafter that it was reformed because of a consecutive wound to a jump in parachute, but there is controversy on this point.

Its career

First years

Hendrix works as guitarist under the name of Jimmy James in various groups of Rhythm and blues which turn in what is called then the Chitlin' Circuit (the circuit of the clubs attended by the Afro-américain S). It records on the occasion as a musician of session.

At the end of 1965, Hendrix played with certain musicians of reputation such as Sam Cooke, Ike and Tina Turner, the Isley Brothers and especially Little Richard. This last estimates that Jimmy is put too ahead and decides to do without its services.

In 1965, Hendrix joined Curtis Knight & The Squires, a group New York board without much scale. October 15th, 1965, Hendrix signs a contract of three years recording with a producer named ED Chalpin, for only 1 $ and 1% of royalties of the sales of the recordings carried out with Curtis Knight. Without incidence on the blow, this contract will have disastrous consequences thereafter.

Installed with Greenwich Village, Hendrix decides to play its own music and becomes the leader of Jimmy James & The Blue Flames. Randy California, future member of Spirit, will be guitarist within this group. There does not exist any recording amateur of this group. The testimony of Mike Bloomfield makes it possible however to have an idea in the way in which Hendrix plays in 1966: the first time that I saw Jimi playing, it was with Jimmy James & The Blue Flames. I played with Paul Butterfield and I thought of being the best guitarist of the corner! I had never heard of Hendrix. Then somebody said to me: " You should go to listen to the guitarist of John Hammond." I was with the " Coffee in Go Go" and it was with the " Nite Owl" or with the " Wha" coffee; , I crossed the street and I saw it. Hendrix knew which I was, and this day there, opposite me, it disintegrated me. H-bombs tumbled down, of the radio-controlled missiles flew in all the corners - I do not tell myself the sounds which left its guitar. All the sounds which I was to intend it to reproduce later, it did them, in this part, with Strat, Twin, Maestro Fuzz-Ton, and it is all - it played very thorough volume.

Located with the Wha Coffee by Eye Chandler, this one proposes in Jimi to come to make known itself and to record its individual first in the United Kingdom, then in full effervescence musical with groups like the Beatles and the Rolling Stones. Jimi Hendrix would have accepted on the condition of meeting that which seems the British guitaristic reference of the time: Eric Clapton. On the way, it will then adopt definitively the name of Jimi Hendrix (instead of Jimmy ) on the councils of its manager.

It meets for the first Clapton time at the time of a concert of Cream (the trio which it had just created with Ginger Baker and Jack Bruce) the first October 1966 with the Exchange London Polytechnic. Regarded as the best guitarist of English blues since his passage at John Mayall, Eric Clapton accepts that Jimi Hendrix joins them on scene (in spite of the reserve of Ginger Baker). In its autobiography, Clapton tells how Jimi Hendrix then interpreted the Killing Floor of Howlin' Wolf: It played of the guitar with the teeth, behind the head, lengthened by ground, by making the wide variation and other figures. It was amazing, and brilliant musicalement, not only one true fireworks to be contemplated. (...) I taken fear, because, just at the moment when one started to find our cruising speed, here which a true genius arrived.

The Jimi Hendrix Experiment

Little time after its arrival in London, of hearings is organized to find the musicians who will accompany it. It initially recruits No5el Redding which however postulated as guitarist (it did not play yet basic then) within Animals, the old group of Chandler Eye. Perhaps inspired by Cream, Hendrix decides to choose a trio, and associates the services of Mitch Mitchell. According to John Hiseman (the future beater of Colosseum), Mitchell was at this unknown stage of the circle of the jazzmen of London. Amateur of Elvin Jones & max Roach, it officiated before in a group where it did not have any freedom: October 13rd, 1966 with Évreux, the 14 in Nancy, the 15 in Villerupt and especially 18 with the Olympia (Paris). This last date is important: Europe 1 then proposed an emission called Musicorama whose team professionally recorded the short performance of Jimi Hendrix Experience.

December 16th, 1966: Hey Joe mark the discographics beginnings of Jimi Hendrix Experiment. The individual one will enter the English charts on January 5th, 1967, and will go up even until the 6ère place. The majority of the biographers agree on the interest that Chas Chandler, the manager of the Experiment, expressed for this title before even discovering Jimi Hendrix. It is thus without surprise that the choice was made on the composition of Billy Roberts, that Jimi played Wha Coffee already with Blue Flames Hendrix however has neither the melody inventiveness of the Beatles, nor the harmonic control of John Coltrane, but as of its second individual, it creates a musical universe exceeding its influences, universe whose singularity is reinforced by its control of the studio and the effects. Purple Haze does not resemble nothing of what was made before: the Experiment can truly start.

The third individual one of Jimi Hendrix Experiment, The Wind Shout Mary , was recorded the same day as the BASIC track of Purple Haze . In only 20 minutes according to Chandler Eye: reality is undoubtedly a little different (to record the BASIC track , the solo and the song in also little time would concern the exploit…), but it does not remain about it less than this individual is typical production of Chandler Eye, and its procedure: to work quickly and well). Success is not the same one as in England: one speaks about his group like orchestra of animation.

The first album of the group, Are You Experienced , leaves the May 5th 1967. Genuine angular stone of the electric guitar, it divides the instrumentalists between old and modern. Regarded as one of the best discs of rock'n'roll by criticism, it will constitute not only the base of the repertory of the Experiment, but also of the Hendrix/Cox/Mitchell trio. A new catch of I Don' T Live Today watch that the guitarist still moved towards a more daring music, which the production of Chandler undoubtedly limited, conscious that the too free beaches were differently less saleswomen.

June 4th, 1967, Hendrix interprets in Saville Theater of London a version of the piece titrates Sgt Pepper' S Lonely Hearts Club Band , the new album of Beatles only published three days before. Paul McCartney and George Harrison, present in the assistance, are impressed by the performance, even if the remainder in the concert is sullied with problems of technical order.

Their performance of June 18th, 1967 is historical: of virtually unknown in the United States, the group quickly became worship in the circles rock'n'roll, in the absence of being truly known general public), but also with respect to the public which will more often await from him a show than a strictly musical performance. A particular image remains in the memories: moment when it sacrifices its Stratocaster by immolant it by front light to crash to pieces it on the ground.

The group records then The Burning Of The Midnight Lamp , its next individual, before ensuring the first part of Monkeys at the time of its American round of the summer 1967.

After a series in concerts, the group records with London new compositions which will give the matter of the second album of the group, Axis: Bold ace Coils , published in December 1967. It is an album very different from their precedent opus: Hendrix concentrates here on its talents of rhythmic guitarist and composer-songwriter. The influence of the production of Chandler Eye is still very present: the majority of the titles do not exceed the three minutes, they are from now on the theater of long improvisations often exceeding the 10 minutes. The reports/ratios within the group continue to worsen and the following sessions of recording will rather give nothing any more but long jams abstract than of the publishable compositions completed on a disc of rock'n'roll

Gypsy Sun & Rainbows

At the beginning of July 1969, Jimi Hendrix is invited to two important emissions: the " Dick Cavett Show" then the " Tonight Show". It is accompanied by Billy Cox during the second emission. In fact, that made already several weeks that he repeats and records with his former friend of the army. From the point of view of a new album studio, Hendrix settles in Shokan House, the variation of the agitation met in New York, in order to concentrate on its new project), Juma Sultan and Jerry Velez with the percussions. Hendrix was obviously interested by the idea to play with Percussionniste S: the percussionnists of Santana thus took part in the jam of Tinker Street Cinema at the beginning of August 1969. The music produced by the group dissociates Rock psychedelic of the Experiment, in particular by the musical forms freer than the group tests. Mitch Mitchell finds Hendrix during the summer and becomes the beater of the group.

In August 1969, Jimi Hendrix is the head of poster of the Festival of Woodstock. It is thus with him that it returns in theory to enclose it. In spite of the delay taken by the festival, the management of Jimi Hendrix refuses to change the order of appearance on stage of the groups. Without film, the performance of Jimi Hendrix would certainly not have become legendary: Gypsy Sun & Rainbows enter in scene only the morning of the Monday, August 18, 1969, which explains a sparse public when it occurs.

It is paramount to stress that the mixings of the various audio versions and videos put the Hendrix/Cox/Mitchell trio almost systematically ahead. Larry Lee is slightly audible. As for the two percussionnists, they are quasi inaudible from one end to another. Juma Sultan will bitterly regret the mixing power trio of Gypsy Sun & Rainbows, finding damage to have removed the expansion of percussions which accompanies Star Spangled Banner … Conversely, John McDermott defends that the plentiful play of Mitch Mitchell Marie not well with that of the two percussionnists. Larry Lee returned then from Vietnam, and was certainly not ready with such an event: only its song operates suitably. The two titles which he sings at the time of this concert however ever had the honors of an official publication.

If the pirate recordings of the performance of Gypsy Sun & Rainbows show that the group was not always places from there, nevertheless the second part of the concert, range with end of arm by Hendrix however exhausted, remains one of the more great moments of improvisation of the music rock'n'roll. The interpretation of the American anthem by the guitarist, true Guernica musical is the point of organ of the festival. Nearer here to the Free jazz than of the music rock'n'roll, its approach of the guitar is there completely revolutionist. Hendrix becomes the first sculptor of the history of the music, cutting literally in the sound unit. Other guitarists had used the Vibrato or the Feedback (like Jeff Beck within the Yardbirds) before him. But it is the first to have built a new language taking again all these techniques like vocabulary. The central passage shows a musical vision going largely beyond kinds established like the blues or the rock'n'roll: cries, bombs, Hendrix plunges with its music in the universe of its contemporaries. Its control of the feedback on the ultimate notes shows its capacity to be worked in real-time on the sound unit (diversity of the choices and instantaneous reactivity). With Star Spangled Banner , Hendrix crystallizes all the ambiguity of the military intervention of the United States in Vietnam.

The group separates after some meetings in studio not very productive (no album will be drawn from these meetings) and two other concerts at the beginning of September. Mitch Mitchell and Billy Cox The album indeed was born from legal problems and not from volontée initial from the musician.

Conversely, much see in Band Of Gypsys a founder group providing the foundations of many musical currents of the years 1970: rock'n'roll funk (Parliament/Funkadelic), jazz rock'n'roll (Miles Davis, Mahavishnu Orchestrated of John McLaughlin) etc… Besides Miles Davis notes in her autobiobraphy that it is its preferred group of Jimi Hendrix.

January 28th, 1970, at the time of a concert given to the Madison Square Garden, within the framework of the Winter Festival For Peace , Band Of Gypsys must occur free, in order to support opponents with the war of the Vietnam. The group goes up on scene around 3 hours of the morning, in what proves to be their last performance, and perhaps the largest fiasco of all the career of Jimi Hendrix. After having introduced the members of its group, whereas an young woman claims Foxy Lady , Hendrix answers him that Foxy Lady sat by there, out of yellow undergarment, dirty and stained blood. The group launches out then in a version particularly little inspired of Who Knows . According to all the witnesses present this evening, Hendrix was not in a position to go up on scene. Johnny Winter will entrust thereafter that, for him, it was as if he had already died. Obviously, Hendrix is not in its normal state: on Who Knows , contrary to its practice, it does not mix guitar and song. The version which follows Earth Blues is even less convincing, Hendrix challenging the public thus whereas it stops playing: It is what arrives when the Earth kisses with Space, never forget that. Here what arrives! Buddy Miles tried to calm the play, facing the amazement of the audience by promising a return to the stage which will not arrive: Hendrix disconnects its Stratocaster and leaves the scene definitively, leaving in Buddy Miles the care to manage crowd…

Today still, the historical controversy remains whole on what is truly last this night in Madison Square Garden. Mike Jeffery benefitted from the occasion to transfer on the field Buddy Miles… this last showing the manager to have given to Hendrix an amount of LSD returning it in the incapacity to play. Others blame Devon Wilson, one of the boyfriends of Hendrix. To it fine word of the history will probably never be known.

During its interview of February 4th, 1970, carried out by John Burks for Rolling Stone (on the initiative of Mike Jeffery), Hendrix will reconsider the performance of Madison Square Garden: It is like the end of the beginning or something like that, I think that Madison Square Garden east like the end a great length fairy tale. What is large. (...). In what relates to me, Band Of Gypsys was formidable. (...) I was very tired. (...) It specified then that it had faced more the interior Great War of all its life, and that it was not the place to do it.

Hendrix/Cox/Mitchell

The concert given on April 25th, 1970 to the Forum marks the return of Jimi Hendrix on the front of the scene: it is the first of what proves to be its ultimate American round (the Cry Of Coils Turn ). All the more important first as it is with a new group that Jimi Hendrix is presented: if Billy Cox is always with low, Mitch Mitchell is of return behind the barrels. As opposed to what the interview given in February 1970 to John Burks could have made accept, Hendrix did not reform the Experiment with its line up original. The name of this formation is always subject to deposit besides: " Jimi Hendrix Experience" according to Billy Cox, " Cry Of Coils Band" for others, Jimi Hendrix never seems not to have truly clarified this point.

This round marks also a resumption in hand of its career: Hendrix records in week its new album studio and occurs in concert the week end, in order to finance the building work of Electric Lady, her own studio (with equal shares with Mike Jeffery). The rate/rhythm of this round, otherwise more reasonable than that of the US round the preceding ones, is not foreign as well with quality sessions studio as concerts. The critics, biographers and journalists tend to describe this round in at the very least mitigated terms… and it is extremely regrettable, because, as John McDermott underlines it in Setting The Record Straight , the US round 70 mark the return of a great creativity, which the pirates do not fail to underline with those which try hard to listen to them.

According to Billy Cox, Hendrix did not stop precise setlists: it was satisfied to specify only the first titles which they were going to play. The repertory of the group is stereotyped definitely less besides than that of the Experiment.

Jimi Hendrix inaugurates on June 15th, 1970 its own studio of recording in New York, Electric Lady . According to the majority of testimonys, Hendrix approaches the meetings with more the serious one than in the past, even if its sudden changes of mood and its relation with Devon Wilson complicated sometimes their good progress.

After months of personal chaos and doubts artistic, Hendrix finds its inspiration and progresses in the creation of its fourth album studio. The sessions as those of the first July 1970 show its artistic revival. Its music is definitely more rhythmic, made up. Hendrix the architect takes to the step on Hendrix the instrumentalist. The guitar serves the speech… and not the reverse.

Hendrix will not have however time to finish this fourth album, whose material will be published initially on The Cry Of Coils , Rainbow Bridge - Original Motion Picture Sound Track (1971), War Heroes (1972) and Loose Ends (1973). Voodoo Soup (1995) and First Rays Of The New Rising Sun (1997) will present the vision which the later producers of Hendrix had of this ultimate album.

In order to finance the studio that it has just inaugurated officially, Hendrix unwillingly agrees to launch out in what proves to be its ultimate European round. Its trio occurs in particular the August 30th with the Festival of the island of Wight, in the south of England. to be frank, it was a bad concert. I cannot say if the heart of Jimi were there. A thing is certain, retrospectively, it is that we should really have repeated once. It is strange because the group played so much well, it was regulated like a clock. This stage, we all were trustful with respect to our respective plays. There was no reason which the concert is not very amusing. But the feeling was not with go. in Mitch Mitchell will say.

The performance of September 2nd, 1970 (Arhus) is worse still: Hendrix leaves the scene after only some titles. Hendrix seems very depressed, and consumes many drugs. He declares in a maintenance that I am not sure that I will reach 28 years. I want to say that at the moment when musicalement, I will feel that I do not have anything any more to give, I will not be more this world.

The round is not however as bad as these two events could let it think: the concerts of the first (Gothenburg) and September 3rd, 1970 (Copenhagen) are indeed remarkable.

The health of Billy Cox obliges however the management of the group to cancel the remainder of the round: the concert given to Fehmarn within the framework of the Love And Peace Festival on September 6th, 1970 will be the last of the trio.

Hendrix regains London, and gives its last maintenance on September 11th, 1970.

September 16th, 1970: Hendrix joined War, the new group of Eric Burdon, Ronnie Scott' S and plays on two titles, which constitute the ultimate recordings amateurs of the guitarist.

September 18th, 1970, Hendrix is found died in Samarkand Hotel (London). The exact circumstances of its death are always the object of controversies, even if the principal thesis according to which he would have died choked by his own vomit following an abuse Barbiturique (Vesparax) related to an alcohol catch seems to be most probable.

It is buried with Seattle, its birthplace, on October 1st 1970.

Influences

To play Rhythm & Blues, Hendrix was by far the largest expert whom I could hear in the style of music developed by Bobby Womack, Curtis Mayfield and Eric Gale inter alia. I have impression that there was no style of guitar which it either did not hear, or studied, including steel-guitar, guitar hawaïenne and Dobro. In his play one could clearly hear Curtis Mayfield, Wes Montgomery, Albert King, B.B. King and Muddy Toilets. Jimi was more black guitarists. Its music emanated from the musical forms oldest, pre-blues, as what one sings during the work of the ground or the melodies Gospel. According to what I could collect, there was no kind of negro music which it did not listen to or studied, but he liked especially the old forms of the negro music, and that perspired of its play. One often spoke about His House and old man bluesman, but what impressed it, they was the old discs of Muddy Waters and John Lee Hooker where the guitar is enormously amplified and boostée by the studio to give him a presence whom it actually did not have. He knew that: one can hear all the tricks of John Lee Hooker and Muddy Waters on the long version of Voodoo Chile (" Electric Ladyland"). I never heard it play anything which resembles jazz, but I heard it play like Mahavishnu (John McLaughlin). He sought to play of the melodies with a permanent sustain; he was plunged in the Feedback since English Yardbirds and other groups. I believe even to have heard it of " Beck' S Bolero". |Mike Bloomfield|Except Series Guitar & Keyboards 1990

The Blues constitutes the guitaristic base of the vocabulary used by Jimi Hendrix. It takes again the techniques of large the bluesmen which make it possible to develop an expressive play, but also their harmonic language where ambiguity major/minor plays a big role. It is difficult to draw up an exhaustive list of the guitarists of blues having influenced Hendrix. One can however have a rather precise idea as of his principal influences via the recoveries which he played in concert or club, but also of the talks that he granted: Albert King ( Born Under has Bad Sign ), B.B. King ( Rock'n'roll Me Baby ), Elmore James ( Bleeding Heart ), Hubert Sumlin, the guitarist of Howlin' Wolf ( Killing Floor ), Freddie King ( San-Ho-Zay ), Muddy Toilets ( Hoochie Koochie Man & Catfish Blues ), Albert Collins ( Drivin' South ), but also Buddy Guy, John Lee Hooker or Robert Johnson. October 9th, 1967 (in Olympia), it challenges the public thus: " did you hear of Muddy Waters? And of John Lee Hooker? "

Its style of rhythmic guitar such as one can hear it on Little Wing or Bold As Coils is inspired, in more complex, of the style developed by Curtis Mayfield, recognized by Hendrix like one of its major influences in concert. The title Are You Experienced takes again this type of process, in a more thorough way still. Hendrix on several occasions took again Sunshine Of Your Love of Cream (quoting the solo of Clapton regularly) and perhaps took as a starting point the feedback such as Jeff Beck used it within the Yardbirds. Besides it uses the front of the Rice Pudding of Jeff Beck Group to conclude one from its compositions ( In From The Storm ). Lastly, it is not excluded that Jimi Hendrix was influenced by the scenic services of Who, of which Pete Townshend, the guitarist, used Marshall amplifiers before him.

Lastly, the last years of its life, Hendrix is interested more and more in the Jazz, playing with Roland Kirk, recording with Larry Young, John McLaughlin and Dave Holland, which took part in the first electric recordings of Miles Davis, with which Hendrix started to maintain certain reports/ratios. At the end of its life, it had envisaged to record with Gil Evans of Jimi Hendrix is particularly complex, and very unequal: certain albums were published in spite of any artistic consideration.

In addition to the albums published of alive sound, one can recommend the following albums, greeted mainly by the critic and the amateurs: The Cry Of Coils (which one finds the entirety of the material on First Rays Of The New Rising Sun ), Rainbow Bridge - Original Motion Picture Sound Track and Jimi Hendrix: Blues for the albums studio, Live At Monterey , recordings devoted to the concert of the Royal Albert Hall of February 24th, 1969, Live At Woodstock and Live At Berkeley for the albums in concert.

A step of giant for the electric guitar

I am re-examined anxiously waiting to see Jimi playing closely because, to have seen it in concert, I thought that it was to have a mysterious trick built in its guitar in order to obtain all these incredible sounds. I quickly discovered that makes some, it used only one Strat old woman and of the Marshall amplifiers. It had some gadgets like Univibe, Fuzz Face and Cry Baby, but all these articles were available for all in the trade. The magic, to tell the truth, came only from its fingers|Harvey Mandel|Except Series Guitar & Keyboards 1990

Hendrix revolutionized the approach of the electric guitar, in particular by its use of the pedals of effect and the resources of amplification. With the beginning of the Experiment, it combines the saturation of the valve amplifiers (while playing high sound volume) with Fuzz Face, a pedal of saturation. That enabled him to generate Feedback (due to the Larsen of its amplifiers) which it could control in real-time thanks to its lever of Vibrato or its technique of right hand. Roger Mayer will build for him Octavia (a pedal of distortion exploiting the frequencies) which it will use as of the recording of Purple Haze , then with Band Of Gypsys. Hendrix is one of the first to use the pedal Wah-wah (in 1967). It is according to Larry Coryell the first to have approached it seriously and to have spent the hours of practice there. In concert, Hendrix used however only one reduced number of effects, including in 1970: a wah wah Vox, Octavia of Roger Mayer, Fuzz Face To arbitrate and the Plainone. In studio, Hendrix will widen its pallet of stamps with the assistance of its usual sound engineer, the British Eddie Kramer, who contributed to the development of the phasing, but also with the fact of passing the bands to back.

Impact on its contemporaries

  • Jimi influenced me, as it has, I think, influenced all the guitarists. He was revolutionist. And, while we experienced all in the Sixties with the feedback and these large amplifiers, seeking new manners of playing of the electric guitar, with Stratocaster and Marshall, Jimi very set up. I want to say, it has… that it put everyone on its way. It had the effect major, and durable, because the effect Jimi Hendrix on the guitarists is always there today. (John McLaughlin)
  • Why Jimi Hendrix is it always present? It was so good. It did only one with its instrument. Nobody of other brought the electric guitar to this level, and especially since. It with was bent above all. It had completely left. If watery, developing these beautiful things starting from the feedback. For the nutcase of guitar that I am, it represented the maximum. (Neil Young)
  • Very few people play quickly and intensely. The majority play quickly and vacuum. But Coltrane played quickly and deep, just like Charlie Parker, and just like Jimi. (Carlos Santana)
  • I always return to the music of Jimi and I do not finish discovering new possibilities there. Each time I listen to his discs, I find something there again. It is with that a large type-setter is recognized. (Gil Evans)
  • It is the largest musician whom I knew (BB King)
  • All the times that I saw Jimi playing, it was the concretization of what I will have had to be and who I was not. (Mike Bloomfield)
  • If there remains only one name in all the history of the rock' roll in hundred years, do not seek, it will be inevitably Jimi Hendrix. (Pete Townshend)
  • What I found stimulating at his place, it was its attitude intensely self-criticism towards its music. It had an enormous gift and an extraordinary technique, as somebody who spent his whole days to play and to involve himself, and yet it did not seem conscious about it. (Eric Clapton)
  • The disappearance of Jimi upset me. It was so young and had such a future. (Miles Davis)
  • Hendrix is one of the most revolutionary characters of the pop culture, musicalement and sociologiquement speaking. The women finds Hendrix beautiful (perhaps a little terrible), but in any case sexy. The male public thinks that he is a guitarist and a phenomenal singer. The types seem to like the fact that their boyfriends are sexually attracted by Hendrix. Very little is ruffled by its charm or envy it. They give up or then they treat to Fender Stratocaster, a pedal wah wah and four Marshall amplifiers. (Frank Zappa)

The posterity of the musician

September 9th, 1970, Eric Clapton records with Duane Allman a version of Little Wing , which will be published only after the death of Jimi Hendrix, on Layla And Other Assorted Love Songs , the album studio of Derek and the Dominos .

Thereafter, Hendrix will be taken again by many musicians in very different musical styles:

  • Jazz by Jean Paul Bourelly, Gil Evans, World Saxophone Four-bit byte of David Murray, Jaco Pastorius, Marc Ribot, Marcus Miller, Larry Coryell, Hiram Bullock, Tuck & Patti;
  • Blues by John Lee Hooker, Albert King, Buddy Guy, Roy Buchanan, Stevie Ray Vaughan, Taj Mahal, Popa Chubby, Alvine " Youngblood" Binder, Roben Ford, Lucky Peterson;
  • Rock'n'roll by Eric Clapton, Jeff Beck, Carlos Santana, Mick Taylor, Stevie Winwood, Gov' T Mule, Allman Brothers Band, Frank Zappa, Red Hot Chili Peppers, The Cleans, Ben Harper, Living Color, Rod Stewart, Mick Jagger, Sting, Spirit;
  • Hard rock by Gary Moore, Frank Marino, Steve Vai, Joe Satriani, Deep Purple, Yngwie J. Malmsteen, Coroner;
  • Funk by George Clinton, Bootsy Hakes, Larry Graham, Prince;
  • Rap by Body Count, Chuck D;
  • Musics of the world by Mad Sheer Khan, Band off Gnawa;
  • Traditional by Kronos Four-bit byte, Nigel Kennedy…

It is important however not to be limited to the only resumptions of the guitarist. Indeed, the impact of Hendrix was immediate and easy to measure: it is enough to listen to the albums published before its arrival in London to include/understand its influence on the electric guitar. The pirates of Cream show for example a Eric Clapton being tested without success with the techniques developed by Hendrix.

It is the principal influence of guitarists like Tommy Bolin and Robin Trower, which will be inspired even by its style of composition.

Certain musicians took again on their account the musical contributions of Jimi Hendrix while producing a very personal music. Frank Zappa will take again on its account the techniques worked out by Hendrix without never losing its musical personality. Lastly, its influence over the first electric period of Miles Davis is obvious on certain of its albums, where shade of the plane guitarist per moments: has Tribute to Jack Johnson , and more still Agharta or Pangaea .

The author

Freedom is a topic which crosses the majority of the first texts that it signs ( Stone Free , 51st Anniversary , Highway Chile ): the Every day of the week, I am in various cities. If I remain too a long time, people try to lower me.

The Science fiction is very present, that it is in a humorous way: I am in orbit around third planet of a star known under the name of Sun, finished. Could that be the Earth? Finished. Affirmative. It is known to lodge certain forms of intelligent species, finished. , or in a way definitely more alarming: It is the reason of my anguish, to see chamboulées stars, and this odor of carbonized world.

One meets mainly two types of women in his songs. On the one hand, preys of a sexual predator ( Foxy Lady , Little Miss To coil , Desired Burning ): Yeah I will take you along at home, I will not have evil, not! You must be entirely mienne, entirely mienne. In addition éthérées, pure and inaccessible women ( May This Be Coils , Little Wing , Angel , Drifting ): With the drift, on a sea of forgotten tears, a lifeboat, sailing in the search of your love.

Some of its texts reflect the concerns of its contemporaries, concerning the man-woman ratios for example: You would make better prove with the man, that you are as strong as him, Because in comparison with God, you are both his/her children.

Or dopes it: the initial ones of the title The Stars That Play With Laughing Sam' S Dice are indeed hardly doubt as for their origin (STP with LSD) whereas Spanish Castle Magic refers to the drawing printed on the blotters of acids. Thereafter, it will evoke however the dangers of the syringe on Freedom , a title inspired by his boyfriend Devon Wilson, and more largely by the dependence: is not smashed too much, remember that you are a man.

They can also be autobiographical. Castles Made Of Sand thus puts in scene the principal members of its family: In bottom of the street, you can hear it shout " You make me shame! " , whereas it snap the door with its face of drunkard, and now it remains outside, and all the neighbors start with commérer by fixing it.

Or to evoke the report/ratio which it maintains with its talent: the pumas found me there, and they put to me on the wing of an eagle. It took me along beyond the periphery of the infinite one, and when it brought back for me, it gave me the ring of the Venus witch.

The open-minded: I lived in a part full of mirrors, where I saw only me anything else. Then my spirit broke my mirrors, maintaining the whole world opens with me.

The condition of the Amerindian S, which he considered miserable: I do not live today, tomorrow perhaps, I cannot you really say, baby. But, I do not live today, it is really a shame to spend time thus.

With the months, the topics become more serious. It thus reconsiders the racial riots of the middle of the years 1960: Upright on the back of my horse, I shouted without weakening: Oh baby, why fires you the house of your brother?

The war of Vietnam, an oneiric way: Let us decide to go for an ultimate walk in the middle of din to the sea, not to die there, but to reappear there, far from the ravaged and torn grounds.

Or definitely more direct: In the same way of which you cut down me baby, you will disappear in the same way, tripling the pain, and you will be able to be caught some with yourself, baby. Machine-gun!

Loneliness ( Hear My Train has Comin' , Burning Of The Midnight Lamp ): All my loneliness that I felt today, is more than it of is not necessary so that a man foute in the air.

The abortion: Because if you do not want that I come this time, I will be happy to join the ground of the Spirits.

And even death: But if I am not re-examined any more in this world, then I will find you in the next one.

Discography

Albums left alive sound

The era Michael Jeffery

    • The Cry Of Coils (1971)
    • Rainbow Bridge - Original Motion Picture Sound Track (1971)
    • Isle Of Wight (1971): concert of August 30th, 1970
    • Hendrix In The West (1972): constituted in various concerts
    • War Heroes (1972)
    • Loose Ends (1973)

Douglas the Alan era

The era Experiment Hendrix LLC

Dagger Records (pirate official)

The case of the Royal Albert Hall

Catalog of films

  • Experiment (1968, republished in 2001)
  • Jimi Plays Berkeley (1971, republished in 2003)
  • Rainbow Bridge (1972): A first and long strange part where young people babas-cools try to philosophize (not subtitled!) and then some extracts in the two concerts with a very average sound.
  • has Film Butt Jimi Hendrix (1973)
  • Jimi Plays Monterey (1987, republished in 2006)
  • Atlanta (1992)
  • Live At Woodstock (1992, republished in 1999)
  • The Making Of Electric Ladyland (1997)
  • Band Of Gypsys (1999)
  • The Dick Cavett Show (2002)
  • Blue Wild Angel: Jimi Hendrix Live At The Isle Off Wight (2002)
  • The Uncut Story (2004)
  • Live At Woodstock [Deluxe 2 DVD Edition] (2005)
  • Live At Monterey (2007)

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