Jimi Hendrix
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| - | {{Infobox Musique (artiste) | + | {{pp-semi-protected|small=yes}} |
| - | |charte couleur = vocal | + | {{redirect|Hendrix}} |
| - | |NomArtiste=Jimi Hendrix | + | {{Infobox musical artist <!-- See Wikipedia:WikiProject_Musicians --> |
| - | |Image=[[Image:Jimi Hendrix Statue.jpg|200px]] | + | | Name = Jimi Hendrix |
| - | |image légende = Statue de Jimi Hendrix à [[Seattle]]. | + | | Img = JimiHendrix2.jpg |
| - | |NomNaissance=James Marshall Hendrix | + | | Img_capt = |
| - | |Date=[[27 novembre]] [[1942]] | + | | Img_size = |
| - | |Lieu&Pays=[[Seattle]], [[États-Unis]] | + | | Landscape = |
| - | |Date2=[[18 septembre]] [[1970]] | + | | Background = solo_singer |
| - | |Lieu&Pays2=[[Londres]], [[Grande-Bretagne]] | + | | Birth_name = Johnny Allen Hendrix |
| - | |Activité=[[1966 en musique|1966]]-[[1970 en musique|1970]] | + | | Alias = |
| - | |GenreMusical=[[Blues rock]], [[Rock psychédélique]] | + | | Born = {{birth date|1942|11|27|mf=y}}<br>[[Seattle, Washington|Seattle]], [[Washington]], [[United States|USA]] |
| - | |Label= | + | | Died = {{death date and age|1970|9|18|1942|11|27}}<br>[[London]], [[England]] |
| - | |SiteOfficiel=[http://www.jimihendrix.com/ jimihendrix.com] | + | | Instrument = |
| + | | Voice_type = | ||
| + | | Genre = [[Hard rock]], [[blues-rock]], [[acid rock]], [[psychedelic rock]] | ||
| + | | Occupation = [[Vocalist]], [[guitarist]], [[songwriter]] | ||
| + | | Years_active = 1966 – 1970 | ||
| + | | Label = [[MCA Records|MCA]]<br />[[Reprise Records|Reprise]]<br />[[Track Records|Track]]<br />[[Polydor Records|Polydor]]<br />[[Capitol Records|Capitol]] | ||
| + | | Associated_acts = [[The Jimi Hendrix Experience]]<br>[[Gypsy Sun and Rainbows]]<br>[[Band of Gypsys]] | ||
| + | | URL = [http://www.jimihendrix.com JimiHendrix.com] | ||
| + | | Notable_instruments = [[Fender Stratocaster]]<br> [[Gibson Flying V]]<br>[[Zemaitis Guitars|12-string Zemaitis acoustic]] | ||
| }} | }} | ||
| - | '''James Marshall Hendrix''', plus connu sous le nom de '''Jimi Hendrix''' (né '''Johnny Allen Hendrix''' le [[27 novembre]] [[1942]] à [[Seattle]] et décédé le [[18 septembre]] [[1970]] à [[Londres]]) était un guitariste, chanteur et compositeur [[États-Unis|américain]]. Il est considéré comme l'un des musiciens les plus novateurs du {{s-|XX|e}}, notamment en raison de son approche révolutionnaire de la [[guitare électrique]] et des techniques d'enregistrement en studio. | ||
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| - | Improvisateur sortant des sentiers battus, il libère son instrument de ses contraintes en utilisant les ressources nées de l'amplification et donne à la guitare électrique moderne ses lettres de noblesse. Son influence dépasse largement le cadre de la musique rock : la plupart des styles musicaux qui se développèrent dans les années 1970 reprendront certains éléments de sa musique. [[Miles Davis]] jouera ainsi un jazz électrique très marqué par le guitariste.<ref>''Miles - l'autobiographie'' par Miles Davis avec Quincy Troupe p.312 et p.339 ; mais aussi ''Electrique Miles Davis 1968-1975'' de Laurent Cugny p.90, p.117</ref> | ||
| - | == Sa jeunesse == | + | '''Jimi Hendrix''' ([[November 27]], [[1942]] – [[September 18]], [[1970]]) was an [[United States|American]] [[guitarist]], [[singer]] and [[songwriter]]. Hendrix is considered one of the greatest and most influential guitarists in [[rock music]] history.<ref>{{cite web|url=http://www.rockhall.com/hof/inductee.asp?id=130|title=The Jimi Hendrix Experience. Induction Year: 1992|publisher=The Rock and Roll Hall of Fame and Museum, Inc.|accessdate=2007-09-19}}</ref> After initial success in England, he achieved worldwide fame following his 1967 performance at the [[Monterey Pop Festival]]. Later, Hendrix headlined the iconic 1969 [[Woodstock Festival]]. |
| - | James Marshall Hendrix naît le 27 novembre 1942 à [[Seattle]] ([[État de Washington]]). Il est le premier fils de Al Hendrix et de Lucille Hendrix, née Jeter. Al Hendrix ne connaîtra son fils que trois ans plus tard car il doit faire face à ses obligations militaires. Incapable d'assumer l'éducation de son fils, sa mère ne s'en occupe pas. Démobilisé, Al Hendrix récupère Johnny Allen, qu'il rebaptise James Marshall (peut-être parce que l'amant de Lucille s'appelait John Williams) et propose à Lucille de s'installer ensemble. | + | |
| - | Lucille donne naissance à Leon Hendrix en 1948.<ref>Steven Roby, dans ''Black Gold: The Lost Archives of Jimi Hendrix'' parle de Leon comme étant le demi-frère de Jimi</ref> | + | Jimi Hendrix helped pioneer the technique of guitar [[audio feedback|feedback]] with overdriven amplifiers, incorporating into his music what was previously an undesirable sound. He built upon the innovations and influences of blues stylists such as [[B.B. King]], [[Muddy Waters]], [[Albert King]], and [[T-Bone Walker]], and derived style from rhythm and blues and soul guitarists [[Curtis Mayfield]], [[Steve Cropper]], and [[Cornell Dupree]], as well as from traditional jazz. Part of Hendrix's flamboyant stage persona may have been inspired by rock pioneer [[Little Richard]], with whom he toured as part of Richard's back-up band, "The Upsetters." Hendrix is also widely thought to be influenced by [[Pete Townshend]] of [[The Who]], who performed in London when Hendrix started his career there in 1966. [[Carlos Santana]] has also suggested that Hendrix's music may have been influenced by his Native American heritage.<ref>{{cite web |
| - | Le couple s'entend très mal, ne cesse de se disputer et finit par divorcer le 17 décembre 1951.<ref>''Jimi Hendrix - L'expérience des limites'' de Charles R. Cross. Selon l'auteur, le divorce des parents de Jimi n'aurait pas mis fin à leur relation, mais les biographes ne s'accordent pas tous sur ce point. Concernant les frères et sœurs de Jimi, seul Cross est aussi affirmatif quant à la paternité de Joe (né en 1949), Kathy Ira (orthographiée Cathy par Shapiro & Glebbeek, née le 27/09/1950), Pamela Marguerite (née le 27/10/1951). Pour lui, c'est bien Al le père. Les deux sœurs furent rapidement adoptées. Le cas d'Alfred, né en 1952 (donc après le divorce) est plus compliqué encore... | + | |url=http://www.djnoble.demon.co.uk/ints/CARLOSS.ANT.html |
| - | http://seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref> | + | |title=Carlos Santana on Jimi Hendrix |
| + | |publisher=''UniVibes'' | ||
| + | |date=February 1995 | ||
| + | |accessdate=2007-09-18 | ||
| + | }}</ref> | ||
| + | |||
| + | Hendrix strove to combine what he called ''"earth"'', a [[blues]], [[jazz]], or [[funk]] driven rhythm accompaniment, with ''"space"'', the high-pitched [[psychedelic music|psychedelic]] sounds created by his guitar improvisations. As a [[record producer]], Hendrix also broke new ground in using the recording studio as an extension of his musical ideas; he was one of the first to experiment with [[stereophonic sound|stereophonic]] and [[phasing]] effects during recording. | ||
| - | Il est profondément affecté par les conditions de pauvreté et la négligence dans lesquelles il a grandi, mais aussi les troubles familiaux qu'il a vécus dans son enfance, le divorce de ses parents lorsqu'il avait 9 ans, et surtout le décès de sa mère, alcoolique, en février 1958. Hendrix est battu à maintes reprises par son père, Al Hendrix, qui souffrait lui aussi de graves problèmes d'alcool. | + | Hendrix was inducted into the [[Rock and Roll Hall of Fame]] in 1992 and the [[UK Music Hall of Fame]] in 2005. His star on the [[Hollywood Walk of Fame]] (at 6627 Hollywood Blvd.) was dedicated in 1994. In 2006, his debut album, ''[[Are You Experienced (album)|Are You Experienced]]'', was inducted into the [[United States]] National Recording Preservation Board's [[National Recording Registry]]. ''[[Rolling Stone (magazine)|Rolling Stone]]'' named Hendrix number 1 on their list of [[Rolling Stone's 100 Greatest Guitarists of All Time|the 100 Greatest Guitarists of All Time]] in 2003.<ref>{{cite web |
| + | |url=http://www.rollingstone.com/news/story/5937559/the_100_greatest_guitarists_of_all_time | ||
| + | |title=The 100 Greatest Guitarists of All Time | ||
| + | |date=[[August 27]] [[2003]] | ||
| + | |publisher=[[Rolling Stone (magazine)|Rolling Stone]] | ||
| + | }}</ref> | ||
| - | Le fait que James Marshall Hendrix ait vécu son enfance à Seattle explique peut-être la facilité avec laquelle il a réussi à transgresser les diverses barrières raciales ou culturelles. En effet, il a vécu dans un quartier où les échanges entre communautés étaient constants. Certes il y avait de la ségrégation, mais dans des proportions infiniment moindres que dans le sud.<ref>''Jimi Hendrix - L'expérience des limites'' de Charles R. Cross</ref> | + | == Biography == |
| + | ===Early life=== | ||
| + | {{Merge|Early life of Jimi Hendrix|date=July 2007}} | ||
| + | {{main|Early life of Jimi Hendrix}} | ||
| + | Hendrix was born on [[November 27]], [[1942]], in [[Seattle, Washington]], [[United States|U.S.]]. He was originally named ''Johnny Allen Hendrix'', but later re-named ''James Marshall Hendrix''. Hendrix's parents ([[James Al Hendrix|James "Al" Hendrix]] and Lucille Jeter) divorced when he was nine years old, and in 1958 his mother died. He went to live with his [[Cherokee]] grandmother because of his unstable household. At age 15, he received his first guitar, an electric to replace the broom stick he would strum like one.<ref name="liner">{{cite album-notes | ||
| + | |title=The Essential Jimi Hendrix | ||
| + | |albumlink=The Essential Jimi Hendrix | ||
| + | |year=1978 | ||
| + | |bandname=[[The Jimi Hendrix Experience]] | ||
| + | |format=LP liner notes | ||
| + | |publisher=[[Warner Bros. Records]] | ||
| + | |location= | ||
| + | |publisherid=2RS 2245 | ||
| + | |mbid= | ||
| + | }}</ref> Learning quickly, he played in many local bands, playing as far away as Vancouver.<ref name="liner" /> Hendrix did not graduate from high school. Hendrix later claimed that he was expelled for holding hands with his white girlfriend, but when questioned later, his principal insisted that it was due to poor grades and frequent absences. | ||
| - | Il acquiert sa première guitare à 15 ans (une acoustique d'occasion à 5 $), remplaçant avantageusement l'[[ukulélé]] à une seule corde que son père lui avait donné après l'avoir surpris en train de jouer avec un balai !<ref>Interview de son père In ''A Film About Jimi Hendrix'' (1973)</ref> Dès lors, il apprend la guitare en [[autodidacte]] en y consacrant tout son temps libre. Ses résultats scolaires s'en ressentent rapidement, mais Hendrix a désormais une obsession : devenir musicien.<ref>''Jimi Hendrix - Electric Gypsy'' de Harry Shapiro & Caesar Glebbeek</ref> Assez rapidement, le jeune Jimmy (pas encore Jimi) rejoint son premier groupe, The Velvetones. Il se procure sa première guitare électrique, une Supro Ozark 1560S, qu'il utilisera avec son groupe suivant The Rocking Kings.<ref>http://www.jimihendrix.com/new_biography.html</ref> | + | Hendrix got into trouble with the law twice for riding in a stolen car. He was given a choice between spending two years in prison or joining the [[United States Army|army]]. Hendrix chose the latter and enlisted on [[May 31]], [[1961]]. After completing boot camp, he was assigned to the [[101st Airborne Division]] and stationed in [[Fort Campbell, Kentucky]]. His commanding officers considered him to be a sub-par soldier: he slept while on duty, had little regard for regulations, required constant supervision, and showed no skill as a marksman. For these reasons, his commanding officers submitted a request that Hendrix be discharged from the military after he had served only one year.<ref>{{cite web |
| + | |url=http://www.thesmokinggun.com/archive/0803051jimi1.html | ||
| + | |title=Jimi's Private Parts | ||
| + | |publisher=The Smoking Gun | ||
| + | }}</ref> | ||
| - | En 1961, mêlé à une histoire de voiture volée<ref>''Jimi Hendrix - Electric Gypsy'' de Harry Shapiro & Caesar Glebbeek</ref>, Hendrix préfère s'enrôler dans l'armée américaine plutôt que de risquer la prison. En novembre 1962, il obtient le droit de porter l'écusson des ''Screaming Eagles'', la division parachutiste de la 101{{ème}} troupe aéroportée. Affecté à Fort Campbell, Kentucky, Hendrix forme The King Casuals avec Billy Cox à la basse.<ref>http://www.jimihendrix.com/new_biography.html</ref> Hendrix racontera par la suite qu'il a été réformé en raison d'une blessure consécutive à un saut en parachute, mais il y a controverse sur ce point.<ref>Hendrix aurait essayé de quitter l'armée en se faisant passer pour homosexuel selon ''Jimi Hendrix - L'expérience des limites'' de Charles R. Cross</ref> | + | === Early career === |
| + | After his release, Hendrix and army friend Billy Cox moved to nearby [[Clarksville, Tennessee]], where they formed a band called "The King Kasuals". Playing in low-paying gigs at obscure venues, the band eventually moved to [[Nashville]]. Playing and sometimes living in the clubs along Jefferson Street, the traditional heart of Nashville's black community and home to a lively [[rhythm and blues]] scene, offered a bare sort of existence.<ref name="Nashville">{{cite web | ||
| + | |year=2004 | ||
| + | |url=http://www.cmt.com/artists/news/1485999/03262004/hendrix_jimi.jhtml | ||
| + | |title=Climbing Aboard 'Night Train to Nashville' | ||
| + | |publisher=[[Country Music Television]] | ||
| + | }}</ref> In November 1962, Hendrix participated in his first studio session, where his wild but still undeveloped playing found him cut from the soundboard. | ||
| - | == Sa carrière == | + | For the next three years, Hendrix made a precarious living on the [[Chitlin Circuit]], performing in black-oriented venues throughout the South with both the King Kasuals and in backing bands for various soul, R&B, and blues musicians, including [[Chuck Jackson]], [[Slim Harpo]], [[Tommy Tucker]], [[Sam Cooke]], and [[Jackie Wilson]]. The Chitlin Circuit was an important phase of Jimi's career, since the refinement of his style and blues roots occurred there. His work garnered him little fame or profit, and the extremes of racism and poverty that he endured left an indelible mark on his memories of this era. |
| - | {{musique Rock}} | + | |
| - | === Les premières années === | + | |
| - | Hendrix travaille comme guitariste sous le nom de Jimmy James dans divers groupes de [[rhythm and blues]] qui tournent dans ce qu'on appelle alors le ''Chitlin' Circuit'' (le circuit des clubs fréquentés par les [[afro-américain]]s). Il enregistre à l'occasion en tant que musicien de session.<ref>http://www.earlyhendrix.com/ est un site est particulièrement bien documenté sur cette partie de la carrière de Hendrix</ref> | + | |
| - | Fin 1965, Hendrix a joué avec certains musiciens de renom tels que [[Sam Cooke]], [[Ike & Tina Turner]]<ref>{{en}} ''[http://www.iketurner.com A primordial Jimi Hendrix played in the Kings of Rhythm for a time]'', site officiel d'Ike Turner</ref>, les [[Isley Brothers]] et surtout [[Little Richard]]. Ce dernier estime que Jimmy se met trop en avant et décide de se passer de ses services.<ref>Interview de Little Richard In ''A Film About Jimi Hendrix'' (1973)</ref> | + | Frustrated by his experiences in the South, Hendrix decided to try his luck in [[New York City]]. Jimi was always inspired by a saying he once heard from his grandmother: "I want to need to have you. First I have to need to want you." In January 1964, he moved to [[Harlem]], where he quickly befriended Lithofayne "Fayne" Pridgeon (who later became his girlfriend) and the Allen twins, Arthur and Albert (now known as Taharqa and Tunde-Ra Aleem). The Allen twins quickly became loyal friends who kept Hendrix out of trouble in New York. The twins also performed as backup singers (under the name Ghetto Fighters) on some of his recordings, most notably the funk anthem "Freedom". Pridgeon, a beautiful Harlem native with connections throughout the area's music scene, provided Hendrix with shelter, support, and encouragement during the poorest and most desperate years of his life. In February 1964, Hendrix won first prize in the [[Apollo Theater]] amateur contest. The win was encouraging, but in general he found breaking into the New York scene difficult. |
| - | En 1965, Hendrix rejoint Curtis Knight & The Squires, un groupe [[new-york]]ais sans grande envergure. Le 15 octobre 1965, Hendrix signe un contrat d'enregistrement de trois ans avec un producteur nommé Ed Chalpin, pour seulement 1 $ et 1% de royalties des ventes des enregistrements effectués avec Curtis Knight. Sans incidence sur le coup, ce contrat aura des conséquences désastreuses par la suite.<ref>''Hendrix: Setting The Record Straight'' de John McDermott avec Eddie Kramer revient dans le détail sur ces problèmes contractuels et leurs conséquences</ref> | + | In 1965, guitar pioneer and producer [[Les Paul]] watched Hendrix audition for a nightclub gig in [[Greenwich Village]], [[NYC]], and was awestruck by his performance. An errand forced Les Paul to leave the club before he had the chance to speak with Hendrix. When he returned later to contact and sign Hendrix, Les Paul found that the club owner had turned Hendrix down for being too loud and crazy and that Hendrix had disappeared.{{Fact|date=June 2007}} That year, Hendrix earned a spot as the new guitarist for the [[The Isley Brothers|Isley Brothers]]' band and joined their national tour, which included the southern [[Chitlin' circuit]]. Hendrix played his first successful studio session on the two-part Isley Brothers hit "Testify". In [[Nashville]], he left the Isleys to tour with Gorgeous George Odell. In [[Atlanta]], he earned a spot in the backing band of [[Little Richard]], ''[[The Upsetters]]''. Although Hendrix idolized Richard, he clashed frequently with the star over tardiness, wardrobe, and, above all, Hendrix's flashy stage antics. For a short while, Hendrix quit and toured with [[Ike and Tina Turner]], but was quickly fired for playing wild guitar solos and returned to Little Richard's band. Months later, he was banished from The Upsetters after missing the tour bus in [[Washington, D.C.]]. Around this time he refined his flamboyant guitar stage style, much of which was influenced by [[Johnny "Guitar" Watson]]. |
| - | Installé à [[Greenwich Village]], Hendrix décide de jouer sa propre musique et devient le leader de Jimmy James & The Blue Flames. Randy California, futur membre de [[Spirit (groupe)|Spirit]], sera guitariste au sein de ce groupe. Il n'existe aucun enregistrement amateur de ce groupe. Le témoignage de [[Mike Bloomfield]] permet toutefois de se faire une idée de la façon dont Hendrix joue en 1966 : {{citation|''La première fois que j'ai vu Jimi jouer, c'était avec Jimmy James & The Blue Flames. Je jouais avec Paul Butterfield et je pensais être le meilleur guitariste du coin ! Je n'avais jamais entendu parler d'Hendrix. Alors quelqu'un m'a dit : "Tu devrais aller écouter le guitariste de John Hammond." J'étais au "Cafe au Go Go" et il était au "Nite Owl" ou au "Cafe Wha", j'ai traversé la rue et je l'ai vu. Hendrix savait qui j'étais, et ce jour là, en face de moi, il m'a désintégré. Des bombes H dégringolaient, des missiles téléguidés volaient dans tous les coins - je ne te raconte pas les sons qui sortaient de sa guitare. Tous les sons que je devais l'entendre reproduire plus tard, il les a faits, dans cette piece, avec une Strat, un Twin, une Maestro Fuzz-Tone, et c'est tout - il jouait à un volume très poussé.''}}<ref>Interview de Mike Bloomfield in ''Hors Série Guitare & Claviers 1990''</ref> | + | In 1965, Hendrix joined a New York-based band, [[Curtis Knight|Curtis Knight and the Squires]], after meeting Knight in the lobby of a seedy midtown hotel where both men were living at the time. Hendrix then toured for two months with [[Joey Dee and the Starliters]] before rejoining the Squires in New York. On [[October 15]], [[1965]], Hendrix signed a three-year recording contract with entrepreneur Ed Chalpin, receiving $1 and 1% royalty on records with Curtis Knight. While the relationship with Chalpin was short-lived, his contract remained in force, which caused considerable problems for Hendrix later on in his career. The legal dispute was eventually settled. During a brief excursion to [[Vancouver]] in 1965, it was reported that Hendrix played in [[Motown]] band [[Bobby Taylor & the Vancouvers]] with Taylor and [[Tommy Chong]] (of [[Cheech and Chong]] fame). Chong, however, disputes this ever happened and that any such appearance is a product of Taylor's imagination".<ref name="Tommy Chong">{{cite web |
| + | |year=2007 | ||
| + | |url=http://www.harpmagazine.com/articles/detail.cfm?article_id=6162 | ||
| + | |last=Kayce | ||
| + | |first=Aaron | ||
| + | |title=Tommy Chong: From Guitar to Bong | ||
| + | |work=Harp | ||
| + | |publisher=HarpMagazine.com | ||
| + | |accessdate=2007-09-24 | ||
| + | }}</ref> | ||
| - | Repéré au Cafe Wha par [[Chas Chandler]]<ref>Dans le film ''Jimi Hendrix'' de Joe Boyd et John Head, Linda Keith, petite amie de [[Keith Richards]] à cette époque, raconte qu'elle appelle son ami producteur et bassiste des [[The Animals|Animals]] [[Chas Chandler]] dès qu'elle voit Jimi Hendrix sur scène ; ce film est aussi connu pour y contenir la seule performance de Jimi Hendrix sur une [[guitare acoustique]] (excepté le bootleg ''Cheerokee Mist'').</ref>, celui-ci propose à Hendrix de venir se faire connaître et d'enregistrer son premier [[Single (musique)|single]] au Royaume-Uni, alors en pleine effervescence musical avec des groupes comme les [[Beatles]] et les [[Rolling Stones]]. Jimi Hendrix aurait accepté à condition de rencontrer celui qui apparaît comme la référence guitaristique britannique de l'époque : [[Eric Clapton]]. Sur le chemin, il adoptera alors définitivement le nom de ''Jimi Hendrix'' (au lieu de ''Jimmy'') sur les conseils de son manager.<ref name = Shadwick>''Jimi Hendrix : Musician'' de Keith Shadwick</ref> | + | In 1966, Hendrix formed his own band, Jimmy James and The Blue Flames, composed of various friends he would casually meet at Manny's Music Shop, including a 15-year old runaway from California named Randy Wolfe. Since there were two musicians named "Randy" in the group, Hendrix dubbed Wolfe "Randy California" and the other "Randy Texas". [[Randy California]] would later co-found the band [[Spirit (band)|Spirit]] with [[Ed Cassidy]]. |
| - | Il rencontre pour la première fois Clapton lors d'un concert de [[Cream]] (le trio qu'il venait de créer avec [[Ginger Baker]] et [[Jack Bruce]]) le premier octobre 1966 au Central London Polytechnic. Considéré comme le meilleur guitariste de blues anglais depuis son passage chez [[John Mayall]], Eric Clapton accepte que Jimi Hendrix les rejoigne sur scène (malgré la réticence de Ginger Baker). Dans son autobiographie, Clapton raconte comment Jimi Hendrix a alors interprété le ''Killing Floor'' de [[Howlin' Wolf]] : {{citation|''Il a joué de la guitare avec les dents, derrière la tête, allongé par terre, en faisant le grand écart et d'autres figures. C'était stupéfiant, et génial musicalement, pas uniquement un vrai feu d'artifice à contempler. (...) Je pris peur, car, juste au moment où on commençait à trouver notre vitesse de croisière, voilà qu'arrivait un vrai génie.''}}<ref>''Clapton par Eric Clapton'' Autobiographie du guitariste</ref> | + | Hendrix and his new band quickly gained local attention and played throughout New York City, but their primary spot was a residency at the [[Cafe Wha?]] on MacDougal Street in Greenwich Village. During this period, Hendrix met and worked with singer-guitarist [[Ellen McIlwaine]] and guitarist [[Jeff "Skunk" Baxter]], who was an employee at Manny's. Hendrix also met [[Frank Zappa]] during this time, who is credited as having introduced Hendrix to the newly-invented [[wah-wah]]. |
| === The Jimi Hendrix Experience === | === The Jimi Hendrix Experience === | ||
| - | Peu de temps après son arrivée à Londres, des auditions sont organisées pour trouver les musiciens qui l'accompagneront. Il recrute dans un premier temps [[Noel Redding]] qui postulait pourtant comme guitariste (il ne jouait pas encore de basse alors) au sein des Animals, l'ancien groupe de Chas Chandler. | + | {{mainarticle|The Jimi Hendrix Experience}} |
| - | Peut-être inspiré par Cream, Hendrix décide d'opter pour un trio, et s'adjoint les services de [[Mitch Mitchell]]. Selon John Hiseman (le futur batteur de [[Colosseum (groupe)|Colosseum]]), Mitchell était à ce stade inconnu du cercle des jazzmen de Londres. Amateur d'[[Elvin Jones]] & [[Max Roach]], il officiait auparavant dans un groupe où il n'avait aucune liberté.<ref name = Shadwick/> | + | Early in 1966 at the Cheetah Club on West 21st Street, Linda Keith, the girlfriend of [[The Rolling Stones|Rolling Stones]] guitarist [[Keith Richards]], befriended Hendrix and recommended him to Stones manager [[Andrew Loog Oldham]] and producer [[Seymour Stein]]. Neither man took a liking to Hendrix's music, however, and they both passed. She then referred him to [[Chas Chandler]], who was ending his tenure as bassist in [[The Animals]] and looking for talent to manage and produce. Chandler was enamored with the song "[[Hey Joe]]" and was convinced that he could create a hit single by remaking it into a rock song. |
| - | Impressionné par Hendrix, qu'il rencontre dans un club londonien, [[Johnny Hallyday]] lui propose de roder son nouveau groupe en faisant sa première partie lors des 4 dates suivantes<ref>Just ask the axis : http://www.digitalhighway.co.uk/axis/index.asp</ref> : le 13 octobre 1966 à Évreux<ref>Une plaque commémorative se trouve rue Chartraine au Novelty à [[Evreux]] pour évoquer le tout premier concert de la toute première tournée de Jimi Hendrix avec ce groupe le 13 octobre 1966. Johnny a raconté à maintes reprises, à ''[[Taratata]]'' entre autre, que lui-même et son guitariste de l'époque, Micky Jones, futur fondateur de [[Foreigner]], les avaient vus à Londres dans un club et avaient décidé de les emmener en France.</ref>, le 14 à Nancy, le 15 à Villerupt et surtout le 18 à l'[[Olympia (Paris)|Olympia]] (Paris). | + | Impressed with Hendrix's version, Chandler brought him to London and signed him to a management and production contract with himself and ex-[[The Animals|Animals]] manager [[Michael Jeffery (manager)|Michael Jeffery]]. Chandler then helped Hendrix form a new band, [[The Jimi Hendrix Experience]], with guitarist-turned-[[bass guitar|bassist]] [[Noel Redding]] and drummer [[Mitch Mitchell]], both British musicians. Shortly before the Experience was formed, Chandler introduced Hendrix to [[Pete Townshend]] and to [[Eric Clapton]], who had only recently formed [[Cream (band)|Cream]]. At Chandler's request, Cream let Hendrix join them on stage for a gig. Hendrix and Clapton remained friends up until Hendrix's death. |
| - | Cette dernière date est importante : [[Europe 1]] proposait alors une émission appelée Musicorama dont l'équipe a enregistré professionnellement la courte performance du Jimi Hendrix Experience.<ref>''Killing Floor'' et ''Hey Joe'' sont disponibles sur ''[[The Jimi Hendrix Experience Box Set]]'', publié en 2000</ref> | + | |
| - | 16 décembre 1966 : ''Hey Joe'' marque les débuts discographiques du Jimi Hendrix Experience. Le single entrera dans les charts anglais le 5 janvier 1967<ref name =Dermott>''Jimi Hendrix : Sessions'' de John McDermott avec Billy Cox & Eddie Kramer</ref>, et montera même jusqu'à la 6{{ème}} place. | + | ==== UK success ==== |
| - | La plupart des biographes s'accordent sur l'intérêt que Chas Chandler, le manager de l'Experience, manifestait pour ce titre avant même de découvrir Jimi Hendrix. C'est donc sans surprise que le choix s'est porté sur la composition de Billy Roberts, que Jimi jouait déjà au Cafe Wha avec les Blue Flames.<ref name = Shadwick/> | + | After a number of European club appearances, word of Hendrix spread through the London music community. His showmanship and virtuosity made instant fans of reigning guitar heroes [[Eric Clapton]] and [[Jeff Beck]], as well as members of [[The Beatles]] and [[The Who]], whose managers signed Hendrix to The Who's record label, [[Track Records]]. |
| - | Le 26 décembre, Hendrix compose ''[[Purple Haze]]'' dans les coulisses d'un club<ref name =Dermott/>, Chas Chandler comprend aussitôt que l'Experience tient là un tube en puissance. Et les faits lui donnent rapidement raison : publié le 17 mars 1967 en Angleterre, le titre rentre dans les charts dès le 23 mars et culmine même à la troisième place. Au-delà du succès commercial, ''Purple Haze'' est avant tout une réussite artistique majeure : Hendrix n'est pas seulement le meilleur instrumentiste de la musique rock, il est aussi un compositeur original dont les conceptions sont révolutionnaires.<ref>Reconnaissance officielle surprenante en France : le titre figure en effet parmi les œuvres étudiées pour la session 2007 du baccalauréat (Cf. Bulletin officiel n°47 du 21 décembre 2006)</ref> | + | Hendrix's first single was a cover of "[[Hey Joe]]", crafted after folk-singer [[Tim Rose]]'s slower revision of the song and adapted to Hendrix's emerging style. Backing the first single was Jimi's first songwriting effort, "[[Stone Free]]". Further success came with "[[Purple Haze]]" and "[[The Wind Cries Mary]]". The three singles were all UK Top 10 hits. Onstage, Hendrix was also making a huge impression with fiery renditions of the [[B.B. King]] hit "[[Rock Me Baby (Song)|Rock Me Baby]]" and an ultra-fast revision of [[Howlin Wolf]]'s blues classic, "[[Killing Floor (song)|Killing Floor]]". |
| - | Hendrix n'a pourtant ni l'inventivité mélodique des [[Beatles]], ni la maîtrise harmonique de [[John Coltrane]], mais dès son deuxième single, il crée un univers musical dépassant ses influences, univers dont la singularité est renforcée par sa maîtrise du studio et des effets. ''Purple Haze'' ne ressemble à rien de ce qui a été fait auparavant : l'Experience peut véritablement commencer. | + | |
| - | Le troisième single du Jimi Hendrix Experience, ''The Wind Cries Mary'', a été enregistré le même jour que le basic track de ''Purple Haze''. En seulement 20 minutes selon Chas Chandler<ref>South Bank Show du 1{{er}} octobre 1989</ref> : la réalité est sans doute un peu différente (enregistrer le ''basic track'', le solo et le chant en aussi peu de temps relèverait de l'exploit...), mais il n'en demeure pas moins que ce single est typique de la production de Chas Chandler, et de son mode opératoire : travailler vite et bien.<ref name = Shadwick/> Musicalement, ''The Wind Cries Mary'' tranche singulièrement avec les deux premiers singles : c'est une ballade minimaliste, où se fondent les influences de [[Bob Dylan]] et de [[Curtis Mayfield]]. | + | ==== ''Are You Experienced?'' ==== |
| + | {{main|Are You Experienced (album)}} | ||
| + | [[Image:AreyouexpUK.jpg|thumb|right|Cover of ''Are You Experienced?'']] | ||
| + | The first Jimi Hendrix Experience album, ''[[Are You Experienced (album)|Are You Experienced]]'', was released in the United Kingdom on [[May 12]], [[1967]]. It contained no previous UK singles or any B sides ("[[Hey Joe]]/[[Stone Free]]", "[[Purple Haze]]/[[51st Anniversary]]" and "The Wind Cries Mary/Highway Chile"). Only [[The Beatles]]' ''[[Sgt. Pepper's Lonely Hearts Club Band]]'' prevented ''Are You Experienced'' from reaching No. 1 on the UK charts. | ||
| - | Le premier album du groupe, ''[[Are You Experienced]]'', sort le [[5 mai]] [[1967 en musique|1967]]. Véritable pierre angulaire de la guitare électrique, il partage les instrumentistes entre anciens et modernes. Considéré comme l'un des meilleurs disques de rock par la critique, il constituera non seulement la base du répertoire de l’Experience, mais aussi du trio Hendrix/Cox/Mitchell. Une prise inédite de ''I Don't Live Today''<ref>''The Making Of Are You Experienced'' (enregistrements non officiels)</ref> montre que le guitariste se dirigeait vers une musique plus audacieuse encore, que la production de Chandler a sans doute limité, conscient que les plages trop libres étaient autrement moins vendeuses. | + | At this time, the Experience extensively toured the United Kingdom and parts of Europe. This allowed Hendrix to develop his stage presence, which reached a high point on [[March 31]], [[1967]], when he set his guitar on fire. Later, after causing damage to amplifiers and other stage equipment at his shows, Rank Theatre management warned him to "tone down" his stage act. On [[June 4]] 1967, the Experience played their last show in England, at London's [[Saville Theatre]], before heading off to America. The ''Sgt. Pepper's'' album had just been released on June 1st and two Beatles (Paul McCartney and George Harrison) were in attendance, along with a roll call of other UK rock stardom: [[Brian Epstein]], [[Eric Clapton]], [[Spencer Davis]], [[Jack Bruce]], and pop singer [[Lulu (singer)|Lulu]]. Jimi chose to open the show with his own rendition of "[[Sgt. Pepper's Lonely Hearts Club Band (song)|Sgt. Pepper's Lonely Hearts Club Band]]", crafted minutes before taking the stage, much to McCartney's astonishment and delight. |
| - | Le 4 juin 1967, Hendrix interprète au Saville Theatre de Londres une version du morceau titre de ''Sgt Pepper's Lonely Hearts Club Band'', le nouvel album des Beatles publié seulement trois jours auparavant. [[Paul McCartney]] et [[George Harrison]], présents dans l'assistance, sont impressionnés par la performance, même si le reste du concert est entaché de problèmes d'ordre technique.<ref name = Shadwick/> | + | Months later, [[Reprise Records]] released the US version of ''Are You Experienced'' with a new cover by [[Karl Ferris]], removing "Red House," "Remember" and "Can You See Me" to make room for the first three UK single A-sides. Where the UK album kicked off with "[[Foxey Lady]]", the American one started with "Purple Haze". The UK and US versions both offered a startling introduction to the Jimi Hendrix Experience, and the album was a blueprint for what had become possible on the electric guitar. |
| - | C'est sur les bons conseils de Paul McCartney que les organisateurs du [[Monterey International Pop Festival]] ont invité le Jimi Hendrix Experience, alors au sommet de sa popularité en Angleterre.<ref>DVD The Jimi Hendrix Experience Live At Monterey (2007)</ref> | + | ==== US success ==== |
| + | Although quite popular in Europe at this time, the Experience had yet to crack America. Their chance came when [[Paul McCartney]] recommended the group to the organizers of the [[Monterey International Pop Festival]]. This proved to be a great opportunity for Hendrix, not only because of the large audience present at the event, but also because the performances were filmed by [[D. A. Pennebaker]] and later shown in movie theaters throughout the country as the concert documentary ''[[Monterey Pop]]'', which immortalized Hendrix's iconic burning and smashing of his guitar at the finale of his performance. | ||
| - | Leur performance du 18 juin 1967 est historique : de virtuellement inconnu aux États-Unis, le groupe est rapidement devenu culte dans les cercles rock, à défaut d'être véritablement connu du grand public.<ref name = Shadwick/> | + | Following the festival, the Experience played a short-lived gig as the opening act for pop group [[The Monkees]] on their first American tour. The Monkees asked for Hendrix because they were fans, but their mostly teenage audience did not warm to his outlandish stage act and he abruptly quit the tour after a few dates. Chas Chandler later admitted that being "thrown" from The Monkees tour was engineered to gain maximum media impact and publicity for Hendrix. At the time, a story circulated claiming that Hendrix was removed from the tour because of complaints made by the [[Daughters of the American Revolution]] that his stage conduct was "lewd and indecent". Australian journalist [[Lillian Roxon]], accompanying the tour, concocted the story. The claim was repeated in Roxon's 1969 Rock Encyclopedia but she later admitted it was fabricated. |
| - | Immortalisée par le film de [[D. A. Pennebaker]], la réputation de showman de Jimi Hendrix était faite pour les années à venir. Pour le meilleur et pour le pire. | + | |
| - | Car si Monterey est certainement l'un des meilleurs concerts de rock de tous les temps, Jimi Hendrix se tire une balle dans le pied vis-à-vis des musiciens sérieux qui le prendront pour un frimeur (même si un Miles Davis ne s’arrêtera pas à ça<ref>''Miles - l'autobiographie'' par Miles Davis avec Quincy Troupe</ref>), mais aussi vis-à-vis du public qui attendra de lui plus souvent un show qu’une performance strictement musicale. Une image particulière reste dans les mémoires : le moment où il sacrifie sa [[Stratocaster]] en l'immolant par le feu avant de la fracasser sur le sol. | + | |
| - | Le groupe enregistre ensuite ''The Burning Of The Midnight Lamp'', son prochain single, avant d'assurer la première partie des Monkeys lors de sa tournée américaine de l'été 1967, suite à une très mauvaise appréciation des publics respectifs des deux groupes par Mike Jeffery, l'autre manager de l'Experience. Le groupe ne remplira toutefois pas ses obligations contractuelles et quittera la tournée avant son terme en prétextant la plainte des ''Daughters of the American Revolution'', une ligne de morale, selon laquelle Hendrix serait trop érotique pour les jeunes fans des Monkeys.<ref>http://www.experiencehendrix.com/magazine/601/601,features,monkees.html</ref> | + | Meanwhile in England, Hendrix's wild-man image and musical gimmickry (such as playing the guitar with his teeth and behind his back) continued to bring publicity, but Hendrix was already advancing musically and becoming frustrated by media and audience concentration on his stage tricks and hit singles. |
| - | Après une série de concerts, le groupe enregistre à [[Londres]] de nouvelles compositions qui donneront la matière du deuxième album du groupe, ''[[Axis: Bold as Love]]'', publié en décembre 1967. C'est un album très différent de leur précédent opus : Hendrix se concentre ici sur ses talents de guitariste rythmique et d'auteur-compositeur. L'influence de la production de Chas Chandler est encore très présente : la plupart des titres ne dépassent pas les trois minutes.<ref name =Dermott/> | + | Hendrix adapted the [[Howlin' Wolf]] blues classic "Killing Floor" into this wild and fast paced revision, and throughout the first year of his fame these became the first notes concertgoers would hear when witnessing a live Hendrix show. The Monterey performance included an equally lively rendition of the [[BB King]] hit "Rock Me Baby", Billy Roberts' [[Hey Joe|"Hey Joe"]] and the [[Bob Dylan]] hit "[[Like a Rolling Stone]]". The set ended with Hendrix burning his guitar on stage, then [[Smashing guitars|smashing]] it to bits and tossing pieces out to the audience. The show instantly catapulted Hendrix into US stardom. Today, the charred remnants of Hendrix's psychedelically painted Stratocaster can now be found at the [[Experience Music Project]] in Seattle. |
| - | Dans la foulée, Hendrix enregistre à Londres une reprise du ''[[All Along the Watchtower]]'' de [[Bob Dylan]]. Après une tournée américaine, Hendrix décide de continuer l'enregistrement de son troisième album au Record Plant, à [[New York]]. Hendrix tire au maximum profit des progrès technologiques de l’époque : ''[[Electric Ladyland]]'' est enregitré sur un 16 pistes, laissant à son créateur une liberté orchestrale alors inespérée.<ref name =Dermott/> | + | ==== ''Axis: Bold as Love'' ==== |
| + | {{main|Axis: Bold as Love}} | ||
| + | The Jimi Hendrix Experience's second 1967 album, ''[[Axis: Bold as Love]]'' continued the style established by ''Are You Experienced'', but showcased a profound sense of melody along with his well-known technical virtuosity with tracks such as "[[Little Wing]]" and "[[If 6 Was 9]]". The opening track "EXP" featured a stereo effect in which a ruckus of sound emanating from Jimi's guitar appeared to revolve around the listener, fading out into the distance from the right channel, then returning in on the left. It should also be noted that this album marked the first time Jimi recorded the whole album with his guitar tuned down one half-tone, to Eb, which he used exclusively thereafter. | ||
| - | Hendrix, peu conventionnel dans sa manière de travailler, convie qui veut bien venir en studio… où les ingénieurs du son doivent presque s’excuser de prendre leur place.<ref name =Dermott/> Lors de l'enregistrement de ''Gypsy Eyes'', Chas Chandler jette l’éponge : Hendrix est désormais son propre [[Producteur de musique|producteur]].<ref name =Dermott/> Cet enregistrement marque aussi une nette détérioration des rapports qu'il entretient avec Noel Redding, son bassiste. Ce dernier se plaint du peu de place que son leader lui laisse au sein du groupe, mais aussi de la tournure que prennent les sessions, où Hendrix ne semble jamais satisfait des prises qu'il enregistre. Noel Redding ne joue d'ailleurs que sur quelques titres du dernier album de l'Experience.<ref name = Shadwick/> | + | A mishap almost prevented the album's release: Hendrix lost the master tape of side 1 of the LP, leaving it in the back seat of a London taxi. Chas Chandler and engineer Eddie Kramer tried re-mixing it, but couldn't match the lost mix. It was only saved by the discovery that bassist Noel Redding had a copy on tape, which had to be ironed flat as his machine had chewed it up.<ref>Liner notes to the 1997 cd reissue of ''Axis: Bold as Love''</ref> With the release deadline looming, Hendrix, Chandler, and engineer [[Eddie Kramer]] remixed the missing side from the multitracks in an all-night session. Kramer and Hendrix later admitted that they were never entirely happy with the results. |
| - | Hendrix ne se limite pas aux seuls membres de l'Experience et multiplie les rencontres avec des musiciens réputés ([[Steve Winwood]], Chris Wood, [[Buddy Miles]], [[Jack Casady]] et [[Al Kooper]]) qui se joignent à lui sur des compositions variées et d'une rare richesse : ''Voodoo Chile'' et ''1983 ... (A Merman I Should Turn To Be)'' figurent parmi les œuvres les plus ambitieuses de sa carrière.<ref name =Dermott/> ''[[Electric Ladyland]]'' est généralement considéré comme son chef d'œuvre. | + | Hendrix was also somewhat disappointed with the album's cover art. Although he appreciated the symbolic design, he had requested cover art that showcased his "Indian" heritage. The British art designers who created the cover assumed that he meant the culture of [[India]], not of [[Native Americans in the United States|Native Americans]], and thus created cover art that depicts Hendrix and his Experience bandmates as the [[Historical Vedic religion|Vedic]] deities [[Durga]] and [[Vishnu]], illustrating a photo portrait of their heads by Karl Ferris. |
| - | Les concerts de l'Experience évoluent au fil des mois : centrés sur les chansons aux débuts du groupe<ref>''Stages - Stockholm 67'' (1991 : concert du 5 septembre 1967)</ref>, ils sont désormais le théâtre de longues improvisations dépassant souvent les 10 minutes.<ref>''Lifelines - The Jimi Hendrix Story'' (1990 - CD 4 concert du 26 avril 1969)</ref> Les rapports au sein du groupe continuent de se détériorer et les sessions d'enregistrement suivantes ne donneront plus que de longues jams informelles plutôt que des compositions achevées publiables sur un disque de rock.<ref name =Dermott/> Après une ultime tournée américaine au printemps 1969, le groupe se sépare après sa performance de Denver, le 29 juin 1969.<ref>http://www.jimi-hendrix.com/encyclopedia/document,19690629,1.html</ref> | + | Upon the album's release, the Jimi Hendrix Experience continued to pursue an extremely demanding touring schedule, which involved performing in front of ever-larger audiences. This, combined with the influence of drugs, alcohol, and fatigue, led to a trouble-plagued tour of Scandinavia that culminated with the arrest of Hendrix in Stockholm after trashing his hotel room in a drunken rage. |
| - | === Gypsy Sun & Rainbows === | + | ==== ''Electric Ladyland'' ==== |
| - | Début juillet 1969, Jimi Hendrix est invité à deux émissions importantes : le "Dick Cavett Show" puis le "Tonight Show". Il est accompagné par [[Billy Cox]] lors de la seconde émission. En fait, cela fait déjà plusieurs semaines qu'il répète et enregistre avec son ancien ami de l'armée. Dans la perspective d'un nouvel album studio, Hendrix s'installe à la Shokan House, à l'écart de l'agitation rencontrée à New York, afin de se concentrer sur son nouveau projet<ref name = Shadwick/> : le Gypsy Sun & Rainbows. En plus de Billy Cox, il rassemble autour de lui Larry Lee à la guitare (qu'il connaît depuis 1963<ref>''Jimi Hendrix - Electric Gypsy'' de Harry Shapiro & Caesar Glebbeek</ref>), Juma Sultan et Jerry Velez aux percussions. Hendrix était manifestement intéressé par l'idée de jouer avec des [[percussionniste]]s : les percussionnistes de [[Carlos Santana|Santana]] ont ainsi participé à la jam du Tinker Street Cinema début août 1969.<ref>''Shokan Sunrise'' Enregistrements non officiels</ref> | + | {{main|Electric Ladyland}} |
| - | + | Hendrix's third recording, a double album cover by [[Karl Ferris]], ''[[Electric Ladyland]]'' (1968), was a departure from previous efforts. | |
| - | La musique produite par le groupe se démarque du [[rock psychédélique]] de l'Experience, notamment par les formes musicales plus libres que le groupe expérimente. Mitch Mitchell retrouve Hendrix durant l'été et devient le batteur du groupe. | + | |
| - | Au mois d'août [[1969 en musique|1969]], Jimi Hendrix est la tête d'affiche du [[Festival de Woodstock (1969)|Festival de Woodstock]]. C'est donc à lui qu'il revient en principe de le clôturer. Malgré le retard pris par le festival, le management de Jimi Hendrix refuse de changer l'ordre d'entrée en scène des groupes. Sans le film, la performance de Jimi Hendrix ne serait certainement pas devenue légendaire : le Gypsy Sun & Rainbows n'entre en scène que le matin du lundi 18 août 1969, ce qui explique un public clairsemé lorsqu'il se produit. | + | As the album's recording progressed, Chas Chandler became so frustrated with Hendrix's perfectionism and with various friends and hangers-on milling about the studio that he decided to sever his professional relationship with Hendrix. Chandler's professional and musical education was very business-oriented, and it taught him that songs should be recorded in a matter of hours, and written with a view to releasing them as singles. His influence over the Experience's first two albums is clear in light of the facts that very few of the tracks are more than four minutes long, that both albums were recorded in short times, and that most of the songs on both albums conformed to the structure of a typical pop song. However, as Hendrix began developing his own vision and started to assert more control over the artistic process in the studio, Chandler decided to move to other opportunities and ceded overall control to Hendrix. Chandler's departure had a clear impact on the artistic direction that the recording took. |
| - | Il est primordial de souligner que les mixages des différentes versions audio et vidéo<ref>''[[Jimi Hendrix :Woodstock]]'' (1994), ''[[Live At Woodstock]]'' (1999) et ''Live At Woodstock [Deluxe 2 DVD Edition]'' (2005)</ref> mettent quasiment systématiquement le trio Hendrix/Cox/Mitchell en avant. Larry Lee est légèrement audible. Quant aux deux percussionnistes, ils sont quasi inaudibles d’un bout à l’autre. Juma Sultan regrettera amèrement le mixage ''power trio'' du Gypsy Sun & Rainbows, trouvant dommage d'avoir supprimé le foisonnement de percussions qui accompagne ''Star Spangled Banner''...<ref>''Black Gold'' de Steven Roby</ref> | + | [[Image:Jimi Hendrix - Electric Ladyland.jpg|thumb|left|Cover of ''Electric Ladyland'']] |
| - | Inversement, John McDermott défend que le jeu foisonnant de Mitch Mitchell ne se marie pas bien avec celui des deux percussionnistes. | + | |
| - | Larry Lee revenait alors du Viêt Nam, et n'était certainement pas prêt à un tel évènement : seul son chant opère convenablement. Les deux titres qu'il chante lors de ce concert n'ont toutefois jamais eu les honneurs d'une publication officielle. | + | |
| - | Si les enregistrements pirates<ref>''Looking Back - Woodstock'' Enregistrements non officiels</ref> de la performance du Gypsy Sun & Rainbows montrent que le groupe n'était pas toujours en place, il n'empêche que la seconde partie du concert, portée à bout de bras par un Hendrix pourtant épuisé<ref>DVD ''The Dick Cavett Show'' (2002)</ref>, reste l'un des plus grands moments d'improvisation de la musique rock. L'interprétation de l'[[The Star-Spangled Banner|hymne américain]] par le guitariste, véritable [[Guernica]] musical est le point d'orgue du festival. Plus proche ici du [[free jazz]] que de la musique rock, son approche de la guitare y est totalement révolutionnaire. Hendrix devient le premier sculpteur de l'histoire de la musique, taillant littéralement dans le bloc sonore. D'autres guitaristes avaient utilisé le [[vibrato]] ou le [[feedback]] (comme [[Jeff Beck]] au sein des [[Yardbirds]]) avant lui. Mais il est le premier à avoir construit un langage inédit reprenant toutes ces techniques comme vocabulaire. Le passage central montre une vision musicale allant largement au-delà de genres établis comme le blues ou le rock : cris, bombes, Hendrix plonge avec sa musique dans l'univers de ses contemporains. Sa maîtrise du feedback sur les ultimes notes montre sa capacité à travailler en temps réel sur le bloc sonore (diversité des choix et réactivité instantanée). Avec ''Star Spangled Banner'', Hendrix cristallise toute l'ambiguïté de l'[[Guerre du Viêt Nam|intervention militaire des États-Unis au Vietnam]]. | + | Hendrix began experimenting with different combinations of musicians and instruments, and modern electronic effects. For example, [[Dave Mason]], [[Chris Wood (rock musician)|Chris Wood]], and [[Steve Winwood]] from the band [[Traffic (band)|Traffic]], drummer [[Buddy Miles]] and former [[Bob Dylan]] organist [[Al Kooper]], among others, were all involved in the recording sessions. This was one of the other reasons that Chandler cited as precipitating his departure. He described how Hendrix went from a disciplined recording regimen to an erratic schedule, which often saw him beginning recording sessions in the middle of the night and with any number of hangers-on. |
| - | Le groupe se sépare après quelques séances en studio peu productives (aucun album ne sera tiré de ces séances) et deux autres concerts début septembre. Mitch Mitchell<ref>''Live At Woodstock [Deluxe 2 DVD Edition]'' (2005)</ref> et Billy Cox<ref name =Dermott/> s'accordent sur le fait que le groupe ne progressait pas musicalement. | + | Chandler also expressed exasperation at the number of times Hendrix would insist on re-recording particular tracks; the song "Gypsy Eyes" was reportedly recorded 43 times. This was also frustrating for bassist Noel Redding, who would often leave the studio to calm himself, only to return and find that Hendrix had recorded the bass parts himself during Redding's absence. The effects of these events can clearly be identified in the album's musical style. On a purely superficial level, the tracks no longer conformed to the standard pop song format, often lacked easily identifiable patterns or sections, and would sometimes lack even a recognizable melody. More particularly, however, the themes that the songs addressed, and the music that Hendrix set out to record, went far beyond anything that he had attempted to achieve before. |
| - | === Band Of Gypsys === | + | ''Electric Ladyland'' includes a number of compositions and arrangements for which Hendrix is still remembered. These include "[[Voodoo Child (Slight Return)]]" as well as Hendrix's rendition of Bob Dylan's "[[All Along the Watchtower]]". Hendrix's version was a complete departure from the original, and includes one of the most highly praised guitar arrangements in modern music. It was around this time that Hendrix lived with his girlfriend Kathy Etchingham at her Brook Street home, now the [[Handel House Museum]], in the West End of London. |
| - | Pour la [[Réveillon de la Saint-Sylvestre|Saint-Sylvestre]] [[1969]], au Fillmore East de New York, c'est avec une nouvelle formation que Jimi Hendrix se produit. Le ''Band of Gypsys'' est un trio entièrement afro-américain composé de [[Billy Cox]] et du batteur [[Buddy Miles]]. Jimi Hendrix y dévoile une sensibilité plus [[funk]] et, en l'espace de deux journées, (le 31 décembre 1969 et le 1{{er}} janvier [[1970 en musique|1970]]), livre quatre concerts. Un album [[Live]], ''[[Band of Gypsys]]'', en est tiré : ce sera le dernier publié de son vivant. | + | |
| - | Peu d'albums ont fait l'objet d'autant de controverses que ce dernier. En effet, mis à part ''Machine Gun'', unanimement saluée comme étant l'une des œuvres majeures du guitariste, le reste de l'album (et par extension les quatre concerts qui ont donné lieu à ce Live) continue de partager amateurs, critiques et musiciens. | + | Throughout the four years of his fame, Hendrix often appeared in impromptu jams with various musicians. A recording exists of Hendrix playing in March 1968 at Steve Paul's Scene Club, in which a rendition of [[the Beatles]]' 1966 ''[[Revolver (album)|Revolver]]'' album's closing track "[[Tomorrow Never Knows]]" is played. The band members remain largely unknown but singer [[Jim Morrison]] clearly can be heard contributing a growling, obscenity-laced vocal accompaniment. The band continued to play behind him, and Hendrix can be heard on the tape announcing Morrison's presence and offering him a better microphone. The recording, circulated among Hendrix and [[The Doors|Doors]] collectors, is titled ''Morrison's Lament''. Albums of the recording were sold under various titles (originally ''Sky High'', then ''Woke Up this Morning and Found Myself Dead''), some falsely claiming the presence of Johnny Winter's band. [[Johnny Winter]] has denied, several times, being a participant at that jam session. |
| - | La presse rock a été globalement déçue par une œuvre qui marquait, selon elle, un recul créatif vis-à-vis du troisième album de l'Experience (via un retour au rhythm and blues), et qui n'aurait pas dû sortir, de l'avis de Jimi Hendrix lui-même : {{citation|''Je n’étais pas trop satisfait de l’album Band Of Gypsys. Si ça n’avait tenu qu’à moi, je ne l’aurais jamais sorti.''}}<ref>Extrait d’une interview conduite par Keith Altham précédant le Cry Of Love Tour, In ''Electric Gypsy'', p.470.</ref> | + | ==== Breakup of Jimi Hendrix Experience ==== |
| - | L'album est en effet né de problèmes juridiques et non de la volontée initiale du musicien. | + | The Jimi Hendrix Experience performed at London's Royal Albert Hall [[February 18]] and [[February 24]] [[1969]], two sold-out concerts which became the last British appearance of the band. A [[Gold and Goldstein]]-produced film titled "Experience" was also recorded at these two shows, but remains to this day unreleased. |
| - | Inversement, beaucoup voient dans le Band Of Gypsys un groupe fondateur jetant les bases de nombreux courants musicaux des années 1970 : rock funk ([[Parliament]]/[[Funkadelic]]), jazz rock (Miles Davis, [[Mahavishnu Orchestra]] de John McLaughlin) etc... Miles Davis note d'ailleurs dans son autobiobraphie<ref>''Miles - L'autobiographie'' par Miles Davis avec Quincy Troupe</ref> que c'est son groupe préféré de Jimi Hendrix. | + | Noel Redding felt increasingly frustrated by the fact that he was not playing his original and favored instrument, the guitar. In 1968, he decided to form his own band "Fat Mattress", which would sometimes open for the Experience (Hendrix would jokingly refer to them as "Thin Pillow"). Redding and Hendrix would begin seeing less and less of each other, which also had an effect in the studio, with Hendrix playing many of the basslines on ''Electric Ladyland''. |
| - | Le 28 janvier 1970, lors d'un concert donné au [[Madison Square Garden]], dans le cadre du ''Winter Festival For Peace'', le Band Of Gypsys doit se produire gratuitement, afin de soutenir des opposants à la guerre du [[Vietnam]]. Le groupe monte sur scène vers 3 heures du matin, dans ce qui s'avèrera être leur dernière performance, et peut-être le plus gros fiasco de toute la carrière de Jimi Hendrix. | + | Redding was also increasingly uncomfortable with the hysteria surrounding Hendrix's performances. The last Experience concert took place on [[June 29]] [[1969]] at Barry Fey's [http://www.bobwyman.com/hendrix.html Denver Pop Festival], a three-day event held at [[Denver|Denver's]] [[Mile High Stadium]] that was marked by rioting and tear gas. The three bandmates were smuggled out of the venue in the back of a rental truck which was crushed by a mob of fans. The next day, Noel Redding announced that he had quit the Experience.<ref>{{cite web |
| - | Après avoir introduit les membres de son groupe, alors qu'une jeune femme réclame ''Foxy Lady'', Hendrix lui répond que {{citation|''Foxy Lady est assise par là, en sous-vêtement jaunes, sales et tachés de sang.''}} | + | |url=http://www.bobwyman.com/hendrix.html |
| - | Le groupe se lance alors dans une version particulièrement peu inspirée de ''Who Knows''. Selon tous les témoins présents ce soir-là, Hendrix n'était pas en état de monter sur scène. [[Johnny Winter]] confiera par la suite que, pour lui, {{citation|''c'était comme s'il était déjà mort.''}}<ref>Entretien publié par Guitar Player (Septembre 1975)</ref> | + | |title=Jimi Hendrix plays The Denver Pop Festival [[June 29]] [[1969]] |
| - | Manifestement, Hendrix n'est pas dans son état normal : sur ''Who Knows'', contrairement à son habitude, il ne mélange pas guitare et chant. La version qui suit de ''Earth Blues'' est encore moins convaincante, Hendrix interpelant ainsi le public alors qu'il s'arrête de jouer : {{citation|''C'est ce qui arrive lorsque la Terre baise avec l'Espace, n'oubliez jamais ça. Voilà ce qui arrive !''}}<ref>Sources : ''Box Of Gypsys'' (ATM 066-071) et ''Earth Blues Merge''</ref> | + | |author=Bob Wyman |
| - | Buddy Miles tenta de calmer le jeu, faisant face à la stupéfaction de l'audience en promettant un retour sur scène qui n'arrivera pas : Hendrix débranche sa Stratocaster et quitte définitivement la scène, laissant à Buddy Miles le soin de gérer la foule... | + | }}</ref> |
| - | Aujourd'hui encore, la controverse historique reste entière sur ce qui s'est véritablement passé cette nuit-là au Madison Square Garden. Mike Jeffery profita de l'occasion pour virer sur le champ Buddy Miles... ce dernier accusant le manager d'avoir donné à Hendrix une dose de LSD le rendant dans l'incapacité de jouer. D'autres mettent en cause Devon Wilson, une des petites amies de Hendrix. On ne saura probablement jamais le fin mot de l'histoire.<ref>''Hendrix: Setting The Record Straight'' de John McDermott et ''Jimi Hendrix : Musician'' de Keith Shadwick</ref> | + | === Legal troubles === |
| + | Throughout 1969, Hendrix also experienced a number of legal difficulties. First, a contractual dispute arose in relation to an unfavorable agreement Hendrix had entered into with producer Ed Chalpin long before he became successful. The dispute was resolved when the parties agreed that Hendrix would record an album specifically for Chalpin which would be released under his auspices. This was the genesis of the live album entitled ''Band of Gypsys''. Then on May 3, 1969, Hendrix was arrested at [[Toronto]]'s [[Pearson International Airport]] after [[heroin]] and [[hashish]] were found in his luggage. Hendrix argued in his trial defense that the drugs were slipped into his bag by a fan without his knowledge, and he was acquitted. | ||
| - | Lors de son interview du 4 février 1970, menée par John Burks pour [[Rolling Stone]] (à l'initiative de Mike Jeffery), Hendrix reviendra sur la performance du Madison Square Garden : {{citation|''C'est comme la fin du commencement ou quelque chose comme ça, je pense que le Madison Square Garden est comme la fin d'un grand long conte de fées. Ce qui est grand. (...). En ce qui me concerne, le Band Of Gypsys était formidable. (...) J'étais très fatigué. (...)''}} | + | === Gypsy Sun and Rainbows === |
| - | Il précisa ensuite qu'il avait affronté la plus grande guerre intérieure de toute sa vie, et que {{citation|''ce n'était pas l'endroit pour le faire.''}} | + | After the departure of Noel Redding from the group, Hendrix moved into a rented eight-bedroom mansion near the town of [[Shokan, New York|Shokan]] in upstate [[New York]] for the duration of the summer of 1969. Manager Michael Jeffery arranged the stay, with hopes that the respite would produce a new album. To replace Redding as bassist, Hendrix immediately tracked down Billy Cox, his old and trusted Army buddy. The trio of Hendrix, Cox, and Mitch Mitchell fulfilled his last commitment at the time, which was an appearance on [[The Tonight Show]]. In an effort to expand his sound beyond the power trio format, Hendrix then added rhythm guitarist [[Larry Lee]] (another old friend from his R&B days), and percussionists [[Juma Sultan]] and [[Jerry Velez]]. |
| - | === Hendrix/Cox/Mitchell === | + | He dubbed the new band ''Gypsy Sun and Rainbows'', although this was never formally announced by management. The cohesion of the group in the relaxed, country atmosphere of the Shokan house inspired fresh material like "Jam Back at the House", "Shokan Sunrise", "Villanova Junction", and the funk driven centerpieces of Hendrix's post-Experience sound: "Message to Love" and "Izabella". |
| - | Le concert donné le 25 avril 1970 au LA Forum marque le retour de Jimi Hendrix sur le devant de la scène : c'est la première de ce qui s'avèrera son ultime tournée américaine (le ''Cry Of Love Tour''). Première d'autant plus importante que c'est avec un nouveau groupe que Jimi Hendrix se présente : si Billy Cox est toujours à la basse, Mitch Mitchell est de retour derrière les fûts. Contrairement à ce que l'interview donnée en février 1970 à John Burks aurait pu faire croire, Hendrix n'a pas reformé l'Experience avec son ''line up'' original. Le nom de cette formation est d'ailleurs toujours sujet à caution : "Jimi Hendrix Experience" selon Billy Cox, "Cry Of Love Band" pour d'autres, Jimi Hendrix semble n'avoir jamais véritablement clarifié ce point. | + | |
| - | Cette tournée marque aussi une reprise en main de sa carrière : Hendrix enregistre en semaine son nouvel album studio et se produit en concert le week end, afin de financer les travaux de construction de l'Electric Lady, son propre studio (à parts égales avec Mike Jeffery). | + | The band did not last long. After the [[Woodstock]] festival they appeared on only one more occasion, in [[Harlem, New York]]. Studio recordings of the band can be heard on the [[Music Corporation of America|MCA Records]] [[box set]] ''[[The Jimi Hendrix Experience (Box Set)|The Jimi Hendrix Experience]]'' and on ''[[South Saturn Delta]]''. |
| - | Le rythme de cette tournée, autrement plus raisonnable que celui des tournée US précédentes, n'est pas étranger à la qualité tant des sessions studio que des concerts. Les critiques, biographes et journalistes tendent à décrire cette tournée dans des termes pour le moins mitigés... et c'est fort regrettable, car, ainsi que John McDermott le souligne dans ''Setting The Record Straight'', la tournée américaine de 1970 marque le retour d'une grande créativité. | + | |
| - | Selon Billy Cox, Hendrix n'arrêtait pas de ''setlists'' précises<ref>''Hendrix: Setting The Record Straight'' de John McDermott</ref> : il se contentait de préciser uniquement les premiers titres qu'ils allaient jouer. Le répertoire du groupe est d'ailleurs nettement moins stéréotypé que celui de l'Experience. | + | After the break-up of this band, Hendrix and Cox teamed up with another Hendrix friend, [[Buddy Miles]] (formerly with [[Wilson Pickett]] and [[The Electric Flag]]). They performed a short series of concerts under the name [[Band of Gypsys|A Band of Gypsys]]. In 1999, Mitchell and Cox, along with guitarist Gary Serkin, performed some dates as the [[Gypsy Sun Experience]].<ref>{{cite web|title=All Music.com biography of Billy Cox|publisher=Allmusicguide.com|accessdate=2006-04-26|url=http://www.allmusicguide.com/cg/amg.dll?p=amg&sql=11:hikzikn6bbf9~T1}}</ref> |
| - | Jimi Hendrix inaugure le 15 juin 1970 son propre studio d'enregistrement à New York, ''Electric Lady''. Selon la plupart des témoignages, Hendrix aborde les séances avec plus de sérieux que par le passé, même si ses sautes d'humeur et sa relation avec Devon Wilson compliquaient parfois leur bon déroulement.<ref>''Jimi Hendrix : Sessions'' de John McDermott avec Billy Cox & Eddie Kramer : un livre incontournable pour cette période, Billy Cox & Eddie Kramer étant deux acteurs de ces séances de l'été 1970</ref> | + | ==== Woodstock ==== |
| + | [[Image:Jimi-hendrix-woodstock-1969.jpg|thumb|right|Hendrix playing [[The Star-Spangled Banner]], 1969]] | ||
| + | Hendrix's popularity eventually saw him headline the [[Woodstock Festival|Woodstock music festival]] on [[August 18]], [[1969]]. | ||
| - | Après des mois de chaos personnel et de doutes artistiques, Hendrix retrouve son inspiration et progresse dans la création de son quatrième album studio. Les sessions comme celles du premier juillet 1970<ref>Encyclopedia : http://www.jimi-hendrix.com/encyclopedia/document,19700701,1.html</ref> montrent son renouveau artistique. Sa musique est nettement plus rythmique, plus composée. Hendrix l'architecte prend le pas sur Hendrix l'instrumentiste. La guitare sert le discours... et non l'inverse. | + | Due to enormous delays caused by bad weather and other logistical problems, Hendrix did not appear on stage until Monday morning, by which time the audience, which had peaked at over 500,000 people, had been reduced to, at most, 180,000, many of whom merely waited to catch a glimpse of Hendrix before leaving. The band was introduced at the festival as ''The Jimi Hendrix Experience'', but Hendrix quickly corrected this to ''Gypsy Sun and Rainbows'' and launched into a two hour set (the longest of his career) that was plagued with technical difficulties. Hendrix suffered microphone level and guitar tuning problems, and one of his guitar strings snapped while performing [[Red House (song)|Red House]] (though he kept playing regardless). Moreover, it was apparent that Jimi's new, much larger band had not rehearsed enough, and at times simply could not keep up with him. Despite this, Hendrix managed to deliver a historic performance, which featured his highly-regarded rendition of the "[[Star Spangled Banner]]", a solo improvisation which became a defining moment of the 1960s. |
| - | Hendrix n'aura toutefois pas le temps de terminer ce quatrième album, dont le matériel sera publié dans un premier temps sur ''[[The Cry Of Love]]'', ''[[Rainbow Bridge (album)|Rainbow Bridge - Original Motion Picture Sound Track]]'' (1971), ''[[War Heroes]]'' (1972) et ''[[Loose Ends]]'' (1973). ''[[Voodoo Soup]]'' (1995) et ''[[First Rays Of The New Rising Sun]]'' (1997) présenteront la vision que les producteurs ultérieurs de Hendrix avaient de cet ultime album. | + | The controversial nature of Hendrix's style is epitomized in the sentiments expressed about his renditions of the "Star Spangled Banner", a tune he played loudly and sharply accompanied by simulated sounds of war (machine guns, bombs and screams) from his guitar. His impressionistic renditions have been described by some as [[anti-American]] mockery and by others a generation's statement on the unrest in U.S. society, oddly symbolic of the beauty, spontaneity, and tragedy endemic to Hendrix's life. |
| - | Afin de financer le studio qu'il vient d'inaugurer officiellement, Hendrix accepte à contrecœur de se lancer dans ce qui s'avèrera être son ultime tournée européenne. Son trio se produit notamment le [[30 août]] au [[festival de l'île de Wight]], au sud de l'Angleterre. | + | Hendrix claimed that he did not intend for his performance of the national anthem to be a political statement, that he simply intended it as a different interpretation of the anthem. When taken to task on the ''[[Dick Cavett|Dick Cavett Show]]'' regarding the "unorthodox" nature of his performance of the song at Woodstock, Hendrix replied, "I thought it was beautiful," which was greeted with applause from the audience. His later-career live favorite "[[Machine Gun (song)|Machine Gun]]" however, was clearly a protest song against war. |
| - | {{citation|''Pour être franc, c’était un mauvais concert. Je ne peux pas dire si le cœur de Jimi y était. Une chose est certaine, rétrospectivement, c’est que nous aurions vraiment dû répéter une fois. C'est étrange parce que le groupe jouait tellement bien, il était réglé comme une horloge. A ce stade, nous étions tous confiants vis-à-vis de nos jeux respectifs. Il n’y avait aucune raison que le concert soit peu réjouissant. Mais le feeling n’était pas au rendez-vous.''}} en dira Mitch Mitchell. <ref>In ''Blue Wild Angel: Jimi Hendrix Live At The Isle Of Wight'' (DVD)</ref> | + | |
| - | La performance du 2 septembre 1970 (Arhus) est pire encore : Hendrix quitte la scène après seulement quelques titres. Hendrix semble très déprimé, et consomme beaucoup de drogues.<ref>''Jimi Hendrix - Electric Gypsy'' de Harry Shapiro & Caesar Glebbeek</ref> Il déclare dans un entretien que {{citation|''Je ne suis pas sûr que j’atteindrai 28 ans. Je veux dire qu’au moment où musicalement, je sentirai que je n’ai plus rien à donner, je ne serai plus de ce monde.''}}<ref>Interview d’Anne Bjorndal (publiée le 6 septembre 1970).</ref> | + | Woodstock was not the first time Hendrix played the Star Spangled Banner in concert. It was in fact a setlist staple from fall 1968 through the summer of 1970, and a studio version was released on the 1971 ''[[Rainbow Bridge]]'' album and later re-released on the 2000 ''[[The Jimi Hendrix Experience (Box Set)|The Jimi Hendrix Experience]]'' Box Set. |
| - | La tournée n'est toutefois pas aussi mauvaise que ces deux évènements pourraient le laisser penser : les concerts des premier (Gothenburg) et 3 septembre 1970 (Copenhague) sont en effet remarquables.<ref>Chroniques détaillées de tous les derniers concerts du trio : | + | ===Band of Gypsys=== |
| - | http://hendrix.aceboard.fr/264448-2563-326-0-Sommaire-Chronologie-concerts.htm</ref> | + | The [[Gypsy Sun and Rainbows]] band was short-lived; after two post-Woodstock shows, some studio time, and an appearance on ''[[Dick Cavett|The Dick Cavett Show]]'', Hendrix disbanded the group, but retained bassist [[Billy Cox]]. After attending to the successful defense of his drug possession charges in Toronto, Hendrix added drummer [[Buddy Miles]] and formed a new trio: the [[Band of Gypsys]]. Rehearsing for ten days at Juggy's sound studio, the group gelled quickly and produced a surprising amount of original material, including the lively "Earth Blues", which featured [[The Ronettes]] on background vocals. Four memorable concerts on New Year's Eve 1969-70 at Bill Graham's [[Fillmore East]] in New York captured several outstanding pieces, including one of Hendrix's greatest live performances: an explosive 12-minute rendition of his anti-war epic ''[[Machine Gun (song)|Machine Gun]]''. The release of the ''Band of Gypsys'' album--the only official live recording sanctioned by and also produced by Jimi (under the name "Heaven Research") brought to an end the contract and legal battles with Ed Chalpin. |
| - | La santé de Billy Cox oblige toutefois le management du groupe à annuler le reste de la tournée : le concert donné à [[Live At The Isle Of Fehmarn|Fehmarn]] dans le cadre du ''Love And Peace Festival'' le 6 septembre 1970 sera le dernier du trio. | + | The second and final Band of Gypsys appearance occurred one month later ([[January 28]] [[1970]]) at a twelve-act show in [[Madison Square Garden]] dubbed the ''Winter Festival for Peace''. Similar to Woodstock, set delays forced Hendrix to take the stage at an inopportune 3am, only this time he was obviously high on drugs and in no shape to play. He belted out a dismal rendition of "Who Knows" before snapping a vulgar response at a woman who shouted a request for "[[Foxey Lady]]". He lasted halfway through a second song, then simply stopped playing, telling the audience: "That's what happens when earth fucks with space—never forget that". He then sat quietly on the stage until staffers escorted him away. Various explanations have been offered to explain this bizarre scene—Buddy Miles claimed that manager Michael Jeffery dosed Hendrix with LSD in an effort to sabotage the current band and bring about the return of the Experience lineup; blues legend [[Johnny Winter]] said it was Hendrix's girlfriend [[Devon Wilson]] who spiked his drink with drugs for unknown reasons. |
| - | Hendrix regagne Londres, et donne son dernier entretien le 11 septembre 1970. | + | ===Cry of Love band=== |
| + | Jeffery's reaction to the botched Band of Gypsys show was swift and firm; he immediately fired Buddy Miles and Billy Cox, then rushed Mitch Mitchell and Noel Redding over from England to begin press for the upcoming tour dates as a reunited Jimi Hendrix Experience. Before the tour began however, Jimi fired Redding from the band and reinstated Billy Cox. Fans refer to this final Hendrix/Cox/Mitchell lineup as the ''Cry of Love'' band, named after the tour. | ||
| - | Le 16 septembre 1970 : Hendrix rejoint War, le nouveau groupe d'[[Eric Burdon]], au Ronnie Scott's et joue sur deux titres, qui constituent les ultimes enregistrements amateurs du guitariste.<ref>http://hendrix.aceboard.fr/264448-2563-3266-0-Londres-Ronnie-Scott-septembre-1970.htm</ref> | + | Most of 1970 was spent recording during the week and playing live on the weekends. The "Cry of Love" tour, begun in April at the [[LA Forum]], was structured to accommodate this pattern. Performances on this tour were occasionally uneven in sound quality, but featured Hendrix, Cox, and Mitchell playing new material alongside extended versions of older recordings. The tour included 30 performances and ended at Honolulu, Hawaii on [[August 1]], [[1970]]. A number of these shows were professionally recorded and produced some of Hendrix's most memorable live performances. |
| - | Le 18 septembre 1970, Hendrix est retrouvé mort au Samarkand Hotel (Londres). Les circonstances exactes de sa mort sont toujours l'objet de controverses, même si la thèse principale selon laquelle il serait mort étouffé par son propre vomi suite à un abus de [[barbiturique]] (Vesparax) lié à une prise d'alcool semble être la plus probable.<ref>''Jimi Hendrix - L'expérience des limites'' de Charles R. Cross</ref> | + | ==== Electric Lady Studios ==== |
| + | In 1968, Hendrix and Jeffery had invested jointly in the purchase of the Generation Club in [[Greenwich Village]]. Their initial plans to reopen the club were scrapped when the pair decided that the investment would serve them much better as a recording studio. The studio fees for the lengthy ''Electric Ladyland'' sessions were astronomical, and Jimi was constantly in search of a recording environment that suited him. In August, 1970, [[Electric Lady Studios]] was opened in New York. Hendrix was among the first major music artists to own his own recording studio (the Beatles had opened their Apple studios in London in January 1969).{{Fact|date=June 2007}} | ||
| - | Il est enterré à [[Seattle]], sa ville natale, le {{1er octobre}} [[1970]]. | + | Designed by [[architect]] and [[acoustician]] John Storyk, the studio was made specifically for Hendrix, with round windows and a machine capable of generating ambient lighting in a myriad of colors. It was designed to have a relaxing feel to encourage Jimi's creativity, but at the same time provide a professional recording atmosphere. Engineer [[Eddie Kramer]] upheld this by refusing to allow any drug use during session work. |
| - | == Influences == | + | Hendrix spent only four weeks recording in Electric Lady, most of which took place while the final phases of construction were still ongoing. An opening party was held on [[August 26]], following a recording/dubbing session that generated his last studio recorded song, Belly Button Window.{{Fact|date=September 2007}} He then boarded an Air India flight for London (with Billy Cox in tow), joining Mitch Mitchell to perform at the [[Isle of Wight Festival 1970|Isle of Wight Festival]]. |
| - | {{Citation bloc|Pour jouer le Rhythm & Blues, Hendrix était de loin le plus grand expert que j'ai pu entendre dans le style de musique développé par Bobby Womack, Curtis Mayfield et Eric Gale entre autres. J'ai l'impression qu'il n'y avait aucun style de guitare qu'il n'ait soit entendu, soit étudié, y compris steel-guitar, guitare hawaïenne et [[dobro]]. Dans son jeu on pouvait clairement entendre Curtis Mayfield, Wes Montgomery, Albert King, B.B. King et Muddy Waters. Jimi était le plus black des guitaristes. Sa musique émanait des formes musicales les plus anciennes, pré-blues, comme ce qu'on chante pendant le travail de la terre ou les mélodies [[gospel]]. D'après ce que j'ai pu recueillir, il n'y avait pas de genre de musique noire qu'il n'ait écouté ou étudié, mais il aimait surtout les formes anciennes de la musique noire, et ça transpirait de son jeu. On a souvent parlé de Son House et de vieux bluesman, mais ce qui l'épatait, c'était les vieux disques de Muddy Waters et John Lee Hooker où la guitare est énormément amplifiée et boostée par le studio pour lui donner une présence qu'elle n'avait pas en réalité. Il connaissait ça : on peut entendre tout les trucs de John Lee Hooker et Muddy Waters sur la version longue de Voodoo Chile ("Electric Ladyland"). Je ne l'ai jamais entendu jouer quoi que ce soit qui ressemble à du jazz, mais je l'ai entendu jouer comme Mahavishnu (John McLaughlin). Il cherchait à jouer des mélodies avec un sustain permanent ; il était plongé dans le [[feedback]] depuis les Yardbirds et autres groupes anglais. Je crois même l'avoir entendu parler de "Beck's Bolero".|Mike Bloomfield|Hors Série Guitare & Claviers 1990}} | + | |
| - | Le [[blues]] constitue la base du vocabulaire guitaristique utilisé par Jimi Hendrix. Il reprend les techniques des grands bluesmen qui permettent de développer un jeu expressif, mais aussi leur langage harmonique où l'ambiguïté majeur/mineur joue un rôle important. Il est difficile d'établir une liste exhaustive des guitaristes de blues ayant influencé Hendrix. On peut toutefois se faire une idée assez précise des ses principales influences via les reprises qu'il joua en concert ou en club, mais aussi des entretiens qu'il accorda : [[Albert King]] (''Born Under A Bad Sign''<ref>''[[Jimi Hendrix :Blues]]'' (1994)</ref>), [[B. B. King|B.B. King]] (''Rock Me Baby''<ref>''[[Live At Monterey]]'' (2007)</ref>), [[Elmore James]] (''Bleeding Heart''<ref>Londres (Royal Albert Hall) : 24 février 1969</ref>), Hubert Sumlin, le guitariste de Howlin' Wolf (''Killing Floor''<ref>''[[Live At Monterey]]'' (2007)</ref>), [[Freddie King]] (''San-Ho-Zay''<ref>Live Generation Club (avril 1968): enregistrement non officiel</ref>), [[Muddy Waters]] (''Hoochie Koochie Man'' & ''Catfish Blues''<ref>''[[BBC Sessions (Jimi Hendrix)|BBC Sessions]]'' (1998)</ref>), [[Albert Collins]] (''Drivin' South''<ref>''[[BBC Sessions (Jimi Hendrix)|BBC Sessions]]'' (1998)</ref>), mais aussi [[Buddy Guy]], [[John Lee Hooker]] ou [[Robert Johnson]]. | + | ==== European tour ==== |
| - | Le 9 octobre 1967 (à l'Olympia), il interpelle ainsi le public : {{citation|''Avez-vous entendu parler de Muddy Waters ? Et de John Lee Hooker ?''}}<ref>''[[The Jimi Hendrix Experience Box Set]]'' (2000)</ref> | + | The group then commenced on a tour of Europe designed to earn money to repay the studio loans, temper Jimi's mounting back taxes and legal fees, and fund the production of his next album, tentatively titled ''First Rays of The New Rising Sun''. Longing for his new studio and creative outlets, the tour was a requirement by Jeffery that the already restless Hendrix was not eager to perform. Audience demands for the older hits and stage trickery that he had long tired of performing only served to worsen his mood. In [[Aarhus]], Hendrix abandoned his show after only two songs, remarking: "I've been dead a long time". |
| - | Son style de guitare rythmique tel qu'on peut l'entendre sur ''Little Wing'' ou ''Bold As Love'' est inspiré, en plus complexe, du style développé par [[Curtis Mayfield]], reconnu par Hendrix comme l'une de ses influences majeures.<ref name =Shadwick/> | + | While on tour in [[Sweden]], Hendrix discovered the music of duo Hansson & Karlsson and became a big fan, recording a cover of their song "Tax Free". His LSD-fueled jam sessions with Swedish drummer-turned-TV-star Janne "Loffe" Carlsson (one half of Hansson & Karlsson), remain a legendary claim to fame in the Scandinavian country.<ref>{{cite web |
| + | |url=http://www.vinylvulture.co.uk/features/loffe.php | ||
| + | |title= Sing Loffe Sing – The Curious Recording Career of Janne Carlsson | ||
| + | |publisher= Vinyl Vulture | ||
| + | }}</ref> | ||
| - | [[Bob Dylan]], dont il reprendra plusieurs morceaux (''All Along The Watchtower'', ''[[Like a Rolling Stone]]'', ''Drifter's Escape'' et ''Can You Please Crawl Out Your Window'') influencera Hendrix en tant qu'auteur, mais aussi en tant que chanteur : la technique vocale limitée de ce dernier lui donna confiance en ses propres moyens.<ref name =Shadwick/> | + | In the months before Hendrix's death, the British music press claimed that Hendrix had plans to join the band [[Emerson, Lake & Palmer]] which were prevented only by his death.<ref>[http://www.emersonlakepalmer.com/bio.html Emerson, Lake & Palmer official website].</ref> |
| - | Hendrix est aussi influencé par le [[rock anglais]]. D'une part il reprit le ''[[Sgt. Pepper's Lonely Hearts Club Band (chanson)|Sgt. Pepper's Lonely Hearts Club Band]]'' des [[Beatles]] à plusieurs reprises, mais il poussa plus loin des idées développées sur l'album ''[[Revolver (album)|Revolver]]'' publié en 1966 : certaines bandes sont passée à l'envers sur ''Tomorrow Never Knows'', dont Hendrix reprendra le thème<ref>''I Don't Live Today'' à San Diego le 24/05/1969</ref> en concert. Le titre ''Are You Experienced'' reprend ce type de procédé, de façon plus poussée encore. | + | On [[September 6]], [[1970]], his final concert performance, Hendrix was greeted with some booing and jeering by fans at the Isle of Fehmarn Festival in Germany in a riot-like atmosphere reminiscent of the failed [[Altamont Music Festival|Altamont Festival]]. Shortly after he left the stage, it went up in flames during the first stage appearance of [[Ton Steine Scherben]]. Billy Cox quit the tour and headed home to [[Memphis, Tennessee]], after reportedly being dosed with [[phencyclidine|PCP]]. |
| - | Hendrix reprit à plusieurs reprises ''Sunshine Of Your Love'' de Cream (citant régulièrement le solo de Clapton) et s'est peut-être inspiré du feedback tel que Jeff Beck l'utilisait au sein des [[Yardbirds]]. Il utilise d'ailleurs le riff du ''Rice Pudding'' du Jeff Beck Group pour conclure l'une de ses compositions (''In From The Storm''). | + | |
| - | Enfin, il n'est pas exclu que Jimi Hendrix ait été influencé par les prestations scéniques des Who, dont [[Pete Townshend]], le guitariste, utilisait des amplis Marshall avant lui. | + | |
| - | Enfin, les dernières années de sa vie, Hendrix s'intéresse de plus en plus au [[jazz]], jouant avec [[Roland Kirk]], enregistrant avec [[Larry Young]]<ref>''Young/Hendrix'' sur ''[[Nine To The Universe]]'', publié en 1980</ref>, [[John McLaughlin]] et [[Dave Holland]]<ref>Jam enregistrée le 25/03/1969 au Record Plant avec Buddy Miles à la batterie, inédite</ref>, qui participèrent aux premiers enregistrements électriques de [[Miles Davis]], avec lequel Hendrix commençait à entretenir certains rapports.<ref>''Miles - L'autobiographie'' par Miles Davis avec Quincy Troupe</ref> | + | Hendrix retreated to London, where he reached out to [[Chas Chandler]], [[Eric Burdon]], and other friends in a renewed attempt to divorce himself from manager Michael Jeffery. He caught up with Linda Keith, an old flame he still admired, and gave her a brand new black Fender Stratocaster as a token of his appreciation for her discovery efforts years earlier. Included in the guitar case was a stack of letters--all of their mutually written correspondence. Jimi's last public performance was an informal jam at [[Ronnie Scott#Ronnie Scott's Jazz Club|Ronnie Scott's Jazz Club]] in [[Soho]] with Burdon and his latest band, [[War (band)|War]]. |
| - | A la fin de sa vie, il avait prévu d'enregistrer avec [[Gil Evans]].<ref name =Shadwick/> À l'écoute de sa version de l'hymne américain ou de ''Machine Gun'', il est difficile de ne pas faire le lien avec le [[free jazz]] et sa volonté de libérer l'improvisateur des contraintes harmoniques et rythmiques. | + | |
| - | == Héritage == | + | One of Hendrix's last known recordings was the lead guitar part on ''Old Times Good Times'' from [[Stephen Stills]]' [[Stephen Stills (album)|eponymous album]] (1970), a track recorded at London's Island Studios. |
| - | === L'œuvre === | + | |
| - | Jimi Hendrix n'a publié de son vivant que quatre albums (trois albums studio et un Live) : ''[[Are You Experienced]]'', ''[[Axis: Bold As Love]]'', ''[[Electric Ladyland]]'' et le ''[[Band Of Gypsys]]''. Ces quatre albums sont des classiques de la musique rock. | + | |
| - | Mais il laisse derrière lui des centaines d'heures d'enregistrements, de natures très diverses : [[composition]]s sur lesquelles il travaillait dans la perspective de publier son quatrième album studio, ébauches plus ou moins embryonnaires de compositions en devenir, [[démo]]s personnelles enregistrées chez lui, [[jam]]s en studio ou en concert, concerts enregistrés professionnellement ou par des amateurs. | + | |
| - | La qualité de ces enregistrements, tant musicale que technique, est tout à fait variable. La discographie officielle<ref>Pour le détail : http://hendrix.aceboard.fr/264448-2561-3539-0-Chroniques-Hendrixiennes-Sommaire.htm</ref> de Jimi Hendrix est particulièrement complexe, et très inégale : certains albums ont été publiés en dépit de toute considération artistique.<ref>''[[Crash Landing]]'' est à cet égard édifiant.</ref> | + | ===Death=== |
| + | In the early morning hours of [[September 18]] [[1970]], Jimi Hendrix was found dead in the basement flat of the Samarkand Hotel at 22 Lansdowne Crescent in London. Hendrix died amid circumstances which have never been fully explained. He had spent the night with his German girlfriend, [[Monika Dannemann]], and likely died in bed after drinking wine and taking nine [[Secobarbital|Vesperax]] sleeping pills, then [[asphyxiating]] on his own vomit. For years, Dannemann publicly claimed that Hendrix was alive when placed in the back of the ambulance; however, her comments about that morning were often contradictory and confused, varying from interview to interview. Police and ambulance reports reveal that not only was Hendrix dead when they arrived on the scene, but he had been dead for some time, the apartment's front door was wide open, and the apartment itself empty. A poem written by Hendrix that was found in the apartment has led some to believe that he committed suicide.{{Fact|date=October 2007}} Following a [[Defamation|libel]] case brought in 1996 by Hendrix's long-term British girlfriend Kathy Etchingham, Monika Dannemann committed suicide, though her later lover, Uli John Roth, has made accusations of foul play<ref>http://www.ulijonroth.com/sky/lux_artis/monika_1.htm</ref>. | ||
| - | Outre les albums publiés de son vivant, on peut recommander les albums suivants, salués majoritairement par la critique et les amateurs : ''[[The Cry Of Love]]'' (dont on retrouve l'intégralité du matériel sur ''[[First Rays Of The New Rising Sun]]''), ''[[Rainbow Bridge (album)|Rainbow Bridge - Original Motion Picture Sound Track]]'' et ''[[Jimi Hendrix :Blues]]'' pour les albums studio, ''[[Live At Monterey]]'', les enregistrements consacrés au concert du [[Londres (Royal Albert Hall) : 24 février 1969|Royal Albert Hall]] du 24 février 1969, ''[[Live at Woodstock]]'' et ''[[Live At Berkeley]]'' pour les albums en concert. | + | Some reports indicated that the paramedics who escorted Jimi out of the apartment did not support his head and that he was still alive. According to this version of events, he choked on his own vomit and died during the trip to the hospital, because his head and his neck were not supported.<ref>companion booklet to ''The Essential Jimi Hendrix Volumes One And Two'', 1989, Reprise Records (page 7).</ref> |
| - | [[Image:Jimi Hendrix, 5th Avenue, Seattle.jpg|thumb|200px|right|Jimi Hendrix sur la 5{{e}} avenue]] | + | Reports that Hendrix's tapes of the concept album ''Black Gold'' had been stolen from the London flat are in fact wrong: the tapes were handed to Mitch Mitchell by Hendrix at the [[Isle of Wight Festival]] three weeks prior to his death.{{Fact|date=November 2007}} Hendrix's Greenwich Village apartment, however, was indeed plundered by an unknown series of vandals who stole numerous personal items, tapes, and countless pages of lyrics and poems, some of which have resurfaced in the hands of collectors or at auctions.{{Fact|date=November 2007}} |
| - | === Un pas de géant pour la guitare électrique === | + | Hendrix's unfinished album was released under a title ''[[Cry of Love]]''. The album was well received and peaked at position #3 on US Billboard album chart. However, the album's producers, Mitchell and Kramer, would later complain that they were unable to make use of some tracks at the time. The ''Cry of Love'' album was re-released to include all the tracks that Mitchell and Kramer had wanted to include, and is called ''[[First Rays of the New Rising Sun]]'' (1997). |
| - | {{Citation bloc|Je me revois attendant anxieusement de voir Jimi jouer de près car, pour l’avoir vu en concert, je pensais qu’il devait avoir un truc mystérieux construit dans sa guitare afin d’obtenir tous ces incroyables sons. J’ai vite découvert qu’en fait, il n’utilisait qu’une vieille Strat et des amplis Marshall. Il avait quelques gadgets comme l’Univibe, la Fuzz Face et la Cry Baby, mais tous ces articles étaient disponibles pour tous dans le commerce. La magie, à vrai dire, provenait uniquement de ses doigts.|Harvey Mandel|Hors Série Guitare & Claviers 1990}} | + | |
| - | Hendrix a révolutionné l'approche de la guitare électrique, notamment par son utilisation des pédales d'effet et des ressources de l'amplification. Au début de l'Experience, il combine la saturation des amplificateurs à lampes (en jouant à un haut volume sonore) avec la Fuzz Face, une pédale de saturation. Cela lui permettait de générer du [[feedback]] (dû au [[larsen]] de ses amplificateurs) qu'il pouvait contrôler en temps réel grâce à son levier de [[vibrato]] ou sa technique de main droite. | + | ===Gravesite=== |
| - | Roger Mayer construira pour lui l'Octavia (une pédale de distorsion jouant sur les fréquences) qu'il utilisera dès l'enregistrement de ''Purple Haze'', puis avec le Band Of Gypsys. Hendrix est l'un des premiers à utiliser la pédale [[wah-wah]] (en 1967). Il est selon Larry Coryell {{citation|le premier à l'avoir abordée sérieusement et à y avoir passé des heures de pratique.}} | + | [[Image:Jh-stone.jpg|thumb|right|The original gravestone of Jimi Hendrix, incorporated into the granite base of his memorial where a large brass statue will someday be installed.]] |
| - | En concert, Hendrix n'utilisait toutefois qu'un nombre réduit d'effets, y compris en 1970 : une wah wah Vox, l'Octavia de Roger Mayer, la Fuzz Face Arbitrer et l'Uni-Vibe. | + | Although Hendrix had verbally requested to be buried in England, his body was returned to Seattle and he was interred in [[Greenwood Memorial Park]], [[Renton, Washington]]. Al Hendrix created a five-plot family burial site to include himself, his second wife Akayo June, his adopted daughter Janie, and son Leon. The headstone for Jimi contains a drawing of a Fender Stratocaster guitar, the instrument he was most famed for using. |
| - | En studio, Hendrix élargira sa palette de timbres avec l'aide de son ingénieur du son habituel, le Britannique [[Eddie Kramer]], qui contribua à l'élaboration du [[Guitare électrique|phasing]], mais aussi au fait de passer les bandes à l'envers. | + | |
| - | === L'impact sur ses contemporains === | + | As the popularity of Hendrix and his music grew over the decades following his death, concerns began to mount over fans damaging the adjoining graves at Greenwood, and the growing extended Hendrix family further prompted Al to create an expanded memorial site separate from other burial sites in the park. The memorial was announced in late 1999, but Al's deteriorating health led to delays. He died two months before its scheduled completion in 2002. Later that year, the remains of Jimi Hendrix, his father Al Hendrix, and grandmother Nora Rose Moore Hendrix were moved to the new site. |
| - | * {{citation|Jimi m'a influencé, comme il a, je pense, influencé tous les guitaristes. Il était révolutionnaire. Et, tandis que nous expérimentions tous dans les années 60 avec le feedback et ces grands amplis, recherchant de nouvelles manières de jouer de la guitare électrique, avec la Stratocaster et le Marshall, Jimi a tout mis en place. Je veux dire, il a… qu'il a mis tout le monde sur sa voie. Il a eu l'effet le plus profond, et durable, parce que l'effet de Jimi Hendrix sur les guitaristes est toujours là aujourd'hui.}} ([[John McLaughlin]]) | + | |
| - | *{{citation|Pourquoi Jimi Hendrix est-il toujours présent ? Il était si bon. Il ne faisait qu'un avec son instrument. Personne d'autre n'a amené la guitare électrique à ce niveau, et surtout depuis. Il était à des coudées au-dessus de tous. Il était complètement parti. Si aquatique, développant ces belles choses à partir du feedback. Pour le dingue de guitare que je suis, il représentait le maximum.}} ([[Neil Young]]) | + | |
| - | * {{citation|Très peu de gens jouent vite et intensément. La plupart jouent vite et vide. Mais Coltrane jouait vite et profond, tout comme Charlie Parker, et tout comme Jimi.}} ([[Carlos Santana]]) | + | |
| - | * {{citation|Je reviens toujours à la musique de Jimi et je ne finis pas d'y découvrir de nouvelles possibilités. Chaque fois que j'écoute ses disques, j'y trouve quelque chose de nouveau. C'est à ça qu'on reconnaît un grand compositeur.}} ([[Gil Evans]]) | + | |
| - | * {{citation|C'est le plus grand musicien que j'ai connu}} ([[BB King]]) | + | |
| - | * {{citation|Toutes les fois que j'ai vu Jimi jouer, c'était la concrétisation de ce que j'aurai dû être et que je n'étais pas.}} ([[Mike Bloomfield]]) | + | |
| - | * {{citation|S'il ne reste qu'un nom dans toute l'histoire du rock'n'roll dans cent ans, ne cherchez pas, ce sera forcément Jimi Hendrix.}} ([[Pete Townshend]]) | + | |
| - | * {{citation|Ce que je trouvais stimulant chez lui, c’était son attitude intensément autocritique envers sa musique. Il avait un don énorme et une technique extraordinaire, comme quelqu’un qui passait ses journées entières à jouer et à s’entraîner, et pourtant il n’en semblait pas conscient.}} ([[Eric Clapton]]) | + | |
| - | * {{citation|La disparition de Jimi m'a bouleversé. Il était si jeune et avait un tel avenir.}} ([[Miles Davis]]) | + | |
| - | * {{citation|Hendrix est un des personnages les plus révolutionnaires de la culture pop, musicalement et sociologiquement parlant. Le public féminin trouve Hendrix beau (peut-être un peu épouvantable), mais en tout cas sexy. Le public masculin pense qu'il est un guitariste et un chanteur phénoménal. Les types semblent aimer le fait que leurs petites amies soient sexuellement attirées par Hendrix. Très peu sont froissés par son charme ou l'envient. Ils renoncent ou alors ils se payent une Fender Stratocaster, une pédale wah wah et quatre amplis Marshall.}} ([[Frank Zappa]]) | + | |
| - | === La postérité du musicien === | + | [[Image:Jh-grave.jpg|thumb|left|The memorial gravesite of Jimi Hendrix in [[Renton, Washington]].]] |
| - | Le 9 septembre 1970<ref>Notes de pochette de ''The Layla Sessions''</ref>, [[Eric Clapton]] enregistre avec [[Duane Allman]] une version de ''Little Wing'', qui ne sera publiée qu'après la mort de Jimi Hendrix, sur ''[[Layla And Other Assorted Love Songs]]'', l'album studio de ''[[Derek and the Dominos]]''. | + | The memorial is an impressive granite dome supported by three pillars under which Jimi Hendrix is interred. Jimi's autograph is inscribed at the base of each pillar, while two stepped entrances and one ramped entrance provide access to the dome's center where the original Stratocaster adorned headstone has been incorporated into a statue [[pedestal]]. A granite [[sundial]] complete with brass [[gnomon]] adjoins the dome, along with over 50 family plots that surround the central structure, half of which are currently adorned with raised granite headstones. |
| - | Par la suite, Hendrix sera repris par de nombreux musiciens dans des styles musicaux très différents : | + | To date, the memorial remains incomplete: brass accents for the dome and a large brass statue of Hendrix were announced as being under construction in [[Italy]], but since 2002, no information as to the status of the project has been revealed to the public. In addition, a memorial statue of Jimi playing a [[Stratocaster]] stands near the corner of Broadway and Pine Streets in [[Seattle]]. |
| - | * Jazz par Jean Paul Bourelly, Gil Evans, le World Saxophone Quartet de David Murray, Jaco Pastorius, Marc Ribot, Marcus Miller, Larry Coryell, Hiram Bullock, Tuck & Patti ; | + | |
| - | * Blues par John Lee Hooker, Albert King, Buddy Guy, Roy Buchanan, Stevie Ray Vaughan, Taj Mahal, Popa Chubby, Alvin "Youngblood" Hart, Roben Ford, Lucky Peterson ; | + | |
| - | * Rock par Eric Clapton, Jeff Beck, Carlos Santana, Mick Taylor, Stevie Winwood, Gov't Mule, Allman Brothers Band, Frank Zappa, Red Hot Chili Peppers, The Cure, Ben Harper, Living Color, Rod Stewart, Mick Jagger, Sting, Spirit ; | + | |
| - | * Hard rock par Gary Moore, Frank Marino, Steve Vai, Joe Satriani, Deep Purple, Yngwie J. Malmsteen, Coroner ; | + | |
| - | * Funk par George Clinton, Bootsy Collins, Larry Graham, Prince ; | + | |
| - | * Rap par Body Count, Chuck D ; | + | |
| - | * Musiques du monde par Mad Sheer Khan, Band of Gnawa ; | + | |
| - | * Classique par le Kronos Quartet, Nigel Kennedy... | + | |
| - | Il importe toutefois de ne pas se limiter aux seules reprises du guitariste. En effet, l’impact de Hendrix fut immédiat et facile à mesurer : il suffit d’écouter les albums publiés avant son arrivée à Londres pour comprendre son influence sur la guitare électrique. | + | In May 2006 Seattle honored the music, artistry and legacy of Jimi Hendrix with the naming of a new park near Seattle's historic Colman School in the heart of the Central District.<ref>{{cite web |
| - | Les pirates de [[Cream]] montrent par exemple un [[Eric Clapton]] s’essayant sans succès aux techniques développées par Hendrix.<ref>La version de ''Spoonful'' jouée au ''Ricky Tick'' le 22 avril 1967 est édifiante</ref> | + | |url=http://www.seattle.gov/parks/park_detail.asp?ID=3121 |
| + | |title=Jimi Hendrix Park | ||
| + | |publisher=City of Seattle | ||
| + | }}</ref> | ||
| - | Il est la principale influence de guitaristes comme [[Tommy Bolin]] et [[Robin Trower]], qui s’inspirera même de son style de composition.<ref>''Twice Removed From Yesterday'' (1973) et ''Bridge Of Sighs'' (1974)</ref> | + | ==Personality== |
| + | ===Fashion=== | ||
| + | Hendrix was well known for his unique sense of fashion, and strived to perfect his hairstyle and wardrobe almost to the point of obsession. A set of hair curlers was one of the few possessions that travelled with him to England upon his discovery in 1966. When his first advance check arrived, Hendrix immediately took to the streets of London in search of clothing at obscure fashion haunts like ''I Was Lord Kitchener's Valet'', where he purchased an ages old British military jacket adorned with tasseled ropes. A traffic warden once ordered him to remove the jacket, citing it as an offense to the Queen. | ||
| - | Certains musiciens ont repris à leur compte les apports musicaux de Jimi Hendrix tout en produisant une musique très personnelle. [[Frank Zappa]] reprendra à son compte les techniques élaborées par Hendrix sans jamais perdre sa personnalité musicale. Enfin, son influence sur la première période électrique de [[Miles Davis]] est évidente sur certains de ses albums, où l’ombre du guitariste plane par moments : ''[[A Tribute to Jack Johnson]]'', et plus encore ''[[Agharta]]'' ou ''[[Pangaea]]''. | + | Many photographs of Hendrix show him wearing various rings, medallions, and brooches, and Hendrix often peppered his attire with pins that professed his support for the [[hippie]] movement or his fascination with folk singer [[Bob Dylan]]. His only vacation, a two week trip to [[Morocco]] with friends Colette Mimram and Deering Howe, deeply affected his sense of art and style, and upon his return Hendrix filled his [[Greenwich Village]] apartment with Moroccan art and decor. Mimram and Stella Douglas, the wife of producer [[Alan Douglas]], created some of Hendrix's most memorable attire: a [[Bowler hat|Bowler]] style derby adorned with either an angled feather or a set of silver bangles, a [[Trilby]] hat crowned with a purple scarf and adorned with various brooches, the blue [[dashiki]]s he wore on the [[Dick Cavett|Dick Cavett Show]], and the blue on white fringed jacket that he wore at [[Woodstock Festival|Woodstock]]. |
| - | == L'auteur == | + | He had enough of a sense of humor to poke fun at himself, specifically with the song "Purple Haze." A [[mondegreen]] had appeared, in which the line "'Scuse me while I kiss the sky" was misheard as "Scuse me while I kiss this guy." It is claimed that, in a few performances, Hendrix deliberately enunciated the line so as to emphasize the [[mondegreen]].{{Fact|date=July 2007}} A volume of misheard lyrics has been published, with this mondegreen itself as the title, and Hendrix illustrated on the cover, taking the phrase literally. |
| - | La liberté est un thème qui traverse la plupart des premiers textes qu'il signe (''Stone Free'', ''51st Anniversary'', ''Highway Chile'') : {{citation|''Tous les jours de la semaine, je suis dans différentes villes. Si je reste trop longtemps, les gens essayent de me rabaisser.''}}<ref>''Stone Free'' : extrait de la traduction</ref> | + | |
| - | La [[science fiction]] est très présente, que ce soit de façon humoristique : {{citation|''Je suis en orbite autour de la troisième planète d’une étoile connue sous le nom de Soleil, terminé. Est-ce que ça pourrait être la Terre ? Terminé. Affirmatif. Elle est connue pour héberger certaines formes d’espèces intelligentes, terminé.''}}<ref>''Third Stone From The Sun'' : extrait de la traduction</ref>, ou de façon nettement plus alarmante : {{citation|''C'est la raison de mon angoisse, à voir les étoiles chamboulées, et cette odeur de monde carbonisé.''}}<ref>''Up From The Skies'' : extrait de la traduction</ref> | + | ===Politics and racism=== |
| + | {{Unbalanced}} | ||
| + | Even after achieving worldwide success as a musician, Hendrix could not avoid experiences of [[racism]], which was omnipresent whenever he returned to the [[Southern United States]]. | ||
| - | On rencontre principalement deux types de femmes dans ses chansons. D'une part, les proies d'un prédateur sexuel (''Foxy Lady'', ''Little Miss Lover'', ''Burning Desire'') : {{citation|''Yeah je vais t’emmener chez moi, je ne te ferai pas de mal, non ! Tu dois être entièrement mienne, entièrement mienne.''}}<ref>''Foxy Lady'' : extrait de la traduction</ref> | + | Hendrix was also shunned by much of the black community for playing "white music" and for having white musicians in his band. Weeks after Woodstock, his performance at a Harlem block party became a harrowing experience. Within seconds of arriving at the site, his guitar was stolen from the back seat of his car by two Harlem thugs. When he appeared stageside to watch the early acts with his girlfriend Carmen Borrero (a Puerto-Rican model), the crowd verbally harassed the pair. When he appeared on stage, he was [[bottled]], and had eggs thrown at him from the crowd. After the show, drummer Mitch Mitchell and roadie Eric Barrett were physically assaulted while dismantling their set. |
| - | D'autre part des femmes éthérées, pures et inaccessibles (''May This Be Love'', ''Little Wing'', ''Angel'', ''Drifting'') : {{citation|''A la dérive, sur une mer de larmes oubliées, sur un canot de sauvetage, voguant à la recherche de ton amour.''}}<ref>''Drifing'' : extrait de la traduction</ref> | + | |
| - | Certains de ses textes reflètent les préoccupations de ses contemporains, concernant les rapports homme-femme par exemple : {{citation|''Tu ferais mieux de prouver à l’homme, que tu es aussi forte que lui, Car au regard de Dieu, vous êtes tous deux ses enfants.''}}<ref>''Message To Love'' : extrait de la traduction</ref> | + | Hendrix was also constantly harassed by various civil rights oriented activist and extremist groups who wished to use his fame to further their own message or cause. The [[Black Panthers]] even went as far as posting signs for his appearance at a benefit concert that Hendrix never even knew existed. |
| - | Ou la drogue : les initiales du titre ''The Stars That Play With Laughing Sam's Dice'' ne font en effet guère de doute quant à leur origine ([[STP]] avec [[LSD]]) alors que ''Spanish Castle Magic'' fait référence au dessin imprimé sur les buvards d'acides.<ref>''Jimi Hendrix - Mots pour mots'' de David Stubbs</ref> Par la suite, il évoquera toutefois les dangers de la seringue sur ''Freedom'', un titre inspiré par sa petite amie Devon Wilson<ref>Notes de pochette de ''Voodoo Soup''</ref>, et plus largement de la dépendance : {{citation|''Ne te défonce pas trop, souviens-toi que tu es un homme.''}}<ref>''Earth Blues'' : extrait de la traduction</ref> | + | ===Drug use=== |
| + | Hendrix is widely known for and associated with the use of [[hallucinogenic]] drugs, most notably [[LSD]]. A common opinion is that Jimi's use of LSD was integral in unlocking his creative process. He had never taken hallucinogens until the night he met Linda Keith, but likely experimented with other drugs in years prior. Various forms of sleeping pills and [[Speed (drug)|speed]] fueled his "stop and go" lifestyle throughout his career, and pictures exist of Hendrix smoking [[cannabis (drug)|marijuana]]. | ||
| - | Ils peuvent aussi être autobiographiques. ''Castles Made Of Sand'' met ainsi en scène les principaux membres de sa famille : {{citation|''En bas de la rue, vous pouvez l'entendre crier "Tu me fais honte !", alors qu'elle claque la porte à son visage d'ivrogne, et maintenant il reste dehors, et tous les voisins commencent à commérer en le fixant.''}} | + | Jimi was also notorious among friends and bandmates for becoming angry and violent when he drank alcohol. [[Kathy Etchingham]] spoke of an incident that took place in a London pub in which an intoxicated Hendrix beat her with a public telephone handset because he thought she was calling another man on the payphone. Alcohol was also cited as the cause of Hendrix's 1968 rampage that destroyed a Stockholm hotel room and led to his arrest. Musician [[Paul Caruso (Drummer)|Paul Caruso]]'s friendship with Hendrix ended in 1970 when Jimi punched him during an alcohol-fueled argument. |
| - | Ou évoquer le rapport qu'il entretient avec son talent : {{citation|''Les pumas m’ont trouvé là, et ils m’ont mis sur l’aile d’un aigle. Il m’a emmené au-delà de la périphérie de l’infini, et quand il m’a ramené, il m’a donné l’anneau de la sorcière de Vénus.''}}<ref>''Voodoo Chile'' : extrait de la traduction</ref> | + | The most controversial topic however, concerns his alleged use of [[heroin]]. The Hendrix family, along with a portion of his friends and biographers, emphatically maintains that Hendrix was never a heroin user, citing his irrational fear of needles. Known today as [[trypanophobia]], this condition was never medically diagnosed in Hendrix. A toxicology report prepared shortly after his death found no heroin in his body, nor were there any marks from needles. <ref>Cross, 2005, ''Room Full of Mirrors'', p. 336.</ref> |
| - | L'ouverture d'esprit : {{citation|''Je vivais dans une pièce pleine de miroirs, où je ne voyais rien d'autre que moi. Alors mon esprit a brisé mes miroirs, maintenant le monde entier s'ouvre à moi.''}}<ref>''Room Full Of Mirrors'' : extrait de la traduction</ref> | + | ==Legacy== |
| + | Hendrix synthesized many styles in creating his musical voice and his guitar style was unique, later to be abundantly imitated by others. Despite his hectic touring schedule and notorious perfectionism, he was a prolific recording artist and left behind more than 300 unreleased recordings. | ||
| - | La condition des [[amérindien]]s, qu'il jugeait misérable : {{citation|''Je ne vis pas aujourd’hui, demain peut-être, je ne peux pas te vraiment dire, bébé. Mais, je ne vis pas aujourd’hui, c’est vraiment une honte de passer le temps ainsi.''}}<ref>''I Don’t Live Today'' : extrait de la traduction</ref> | + | His career and ill-timed death has grouped him with [[Brian Jones]], [[Janis Joplin]], and [[Jim Morrison]] as one of contemporary music's tragic "three J's", iconic '60s rock stars that suffered drug-related deaths at age 27 within months of each other, leaving legacies in death that have eclipsed the popularity and influence they experienced during their lifetimes. |
| - | Avec les mois, les thèmes deviennent plus graves. Il revient ainsi sur les émeutes raciales du milieu des années 1960 : {{citation|''Debout sur le dos de mon cheval, j’ai crié sans faiblir : Oh bébé, pourquoi incendies-tu la maison de ton frère ?''}}<ref>''House Burning Down'' : extrait de la traduction</ref> | + | Musically, Hendrix did much to further the development of the electric guitar repertoire. He moved the instrument to a higher level, establishing it as a unique sonic source, rather than merely an amplified version of the acoustic guitar. Likewise, his feedback and fuzz-laden soloing moved guitar distortion well beyond mere novelty, incorporating effects pedals and units (most notably the [[wah-wah pedal]]) with dramatic results. |
| - | La guerre du Viêt Nam, de façon onirique : {{citation|''Décidons de faire une ultime promenade au milieu du vacarme jusqu’à la mer, non pour y mourir, mais pour y renaître, loin des terres meurtries et déchirées.''}}<ref>''1983 (A Merman I Should Turn To Be)'' : extrait de la traduction</ref> | + | Hendrix affected popular music with similar profundity; along with earlier bands such as [[The Who]] and [[Cream (band)|Cream]], he established a sonically heavy yet technically proficient bent to rock music as a whole, significantly furthering the development of [[hard rock]] and paving the way for [[heavy metal music|heavy metal]]. He took [[blues]] to another level. His music has also had a great influence on [[funk]] and the development of [[funk rock]] especially through the guitarists [[Ernie Isley]] of [[The Isley Brothers]] and [[Eddie Hazel]] of [[Funkadelic]], [[Prince (musician)|Prince]] and [[Jesse Johnson]] of [[The Time]]. His influence even extends to many hip hop artists, including [[?uestlove]], [[Chuck D]] of [[Public Enemy]], [[Ice-T]] (who covered "Hey Joe" with his [[heavy metal music|heavy metal]] band [[Body Count]]), [[El-P]] and [[Wyclef Jean]]. [[Miles Davis]] was also deeply impressed by Hendrix and compared his improvisational skills with those of saxophonist [[John Coltrane]],<ref>{{Cite book |title=Miles. The Autobiography|last=Davis|first=Miles|authorlink=Miles Davis|coauthors=with Quincy Troupe| location = New York |
| + | | publisher = Simon & Schuster | ||
| + | | year = 1989 | ||
| + | | pages = 282-283 | ||
| + | | id = ISBN 0 330 31382 7}}</ref> and Davis would later want guitarists in his bands to emulate Hendrix.<ref>Davis, with Troupe (1989), ''Miles'', pp. 319-320; 374.</ref> Hendrix was ranked number 3 on [[VH1]]'s ''100 Greatest Artists of Hard Rock'' behind [[Black Sabbath]] at the second spot, and [[Led Zeppelin]], ranked number one. Hendrix was ranked number 3 on VH1's list of 100 Best Pop Artists of all time, behind the Rolling Stones and the Beatles. He has been voted by ''[[Rolling Stone]]'', ''[[Guitar World]]'', and a number of other magazines and polls as the best electric guitarist of all time. | ||
| - | Ou nettement plus directe : {{citation|''De la même façon dont tu m’as abattu bébé, tu disparaîtras de la même manière, triplant la douleur, et tu pourras t’en prendre à toi-même, bébé. Mitrailleuse !''}}<ref>''Machine Gun'' : extrait de la traduction</ref> | + | In 1992, Hendrix was awarded the [[Grammy Lifetime Achievement Award]]. |
| - | La solitude (''Hear My Train A Comin''', ''Burning Of The Midnight Lamp'') : {{citation|''Toute ma solitude que j’ai ressentie aujourd’hui, est plus qu’il n’en faut pour qu’un homme se foute en l’air.''}}<ref>''Burning Of The Midnight Lamp'' : extrait de la traduction</ref> | + | ===Financial legacy=== |
| + | When Al Hendrix died of congestive heart failure in 2002, his will stipulated that Experience Hendrix, LLC was to exist as a trust designed to distribute profits to a list of Hendrix family beneficiaries. Upon his death, it was revealed that Al had signed a revision to his will which removed Jimi's brother Leon Hendrix as a beneficiary. A 2004 probate lawsuit merged Leon's challenge to the will with charges from other Hendrix family beneficiaries that Janie Hendrix was improperly handling the company finances. The suit argued that Janie and a cousin (Robert Hendrix) paid themselves exorbitant salaries and covered their own mortgages and personal expenses from the company's coffers while the beneficiaries went without payment and the Hendrix gravesite in Renton went uncompleted. | ||
| - | L'avortement : {{citation|''Car si vous ne voulez que je vienne cette fois-ci, je serai heureux de rejoindre la terre des Esprits.''}}<ref>''Belly Button Window'' : extrait de la traduction</ref> | + | Janie and Robert's defense was that the company was not profitable yet, and that their salary and benefits were justified given the work that they put into running the company. Leon charged that Janie bilked Al Hendrix, then old and frail, into signing the revised will, and sought to have the previous will reinstated. The defense argued that Al willingly removed Leon from his will because of Leon's problems with alcohol and gambling. In early 2005, presiding judge Jeffrey Ramsdell handed down a ruling that left the final will intact, but replaced Janie and Robert's role at the financial helm of Experience Hendrix with an independent trustee. To date, the gravesite of Jimi Hendrix remains incomplete. |
| - | Et même la mort : {{citation|''Mais si je ne te revois plus dans ce monde, alors je te retrouverai dans le prochain.''}}<ref>''Voodoo Child (Slight Return)'' : extrait de la traduction</ref> | + | ===The Jimi Hendrix Foundation=== |
| + | In 1988, Al and Leon Hendrix commissioned the James (Jimi) Marshall Hendrix Foundation. This foundation is based in Renton, Washington and is devoted to helping people in all plights. When Al Hendrix passed in 2002, he donated the 'likeness' of his son Jimi to the foundation to be used in a non-profit manner to assist people less fortunate. | ||
| + | In August, 2006 Jimi Hendrix's long-time best friend James (Jimmy) Williams took helm of the Foundation. | ||
| - | ==Discographie== | + | ===Guitar legacy=== |
| + | ====Fender Stratocaster==== | ||
| + | Hendrix owned and used a variety of guitars during his career. His guitar of choice however, and the instrument that became most associated with him, was the [[Fender Stratocaster]], or "Strat". He bought his first Stratocaster in 1965 and thereafter used it almost exclusively for his stage performances and recordings. | ||
| - | {{Son|Voodoo Child (slight return)|Jimi Hendrix - Voodoo Child.ogg}} | + | Hendrix's emergence coincided with the lifting of post-war import restrictions (imposed in many British Commonwealth countries), which made the instrument much more available, and after its initial popularizers [[Buddy Holly]] and [[Hank B. Marvin]], Hendrix arguably did more than any other player to make the Stratocaster the biggest-selling electric guitar in history. Before his arrival in the UK, most top players used [[Gibson Guitar Corporation|Gibson]] and [[Rickenbacker]] models. After Hendrix, many leading guitarists including [[Jeff Beck]], [[Ritchie Blackmore]] and [[Eric Clapton]] switched to the Stratocaster. Hendrix bought dozens of Strats and gave many away as gifts, including one to [[ZZ Top]] guitarist [[Billy Gibbons]], although a former ZZ Top roadie claimed this was one of Gibbons' many made-up stories to the press. Many others were stolen, and a few were destroyed during his notorious guitar-burning finales. One formerly sunburst Strat which was mutilated by Hendrix at the 1968 Miami Pop Festival was given to [[Frank Zappa]] by a Hendrix roadie. Zappa had it hanging on a wall in his basement for years. He posed for the cover of Guitar Player Magazine holding this instrument, and recent news and an image of the refurbished instrument are available in the August 2006 issue of ''Guitar Player''. In 1969, Hendrix met film director [[Edmund Darris]] in front of the Baby Grand Night Club where Hendrix was to meet with Albert King. Hendrix gave Edmund Darris tips on how to tune cross Spanish and how to play guitar. Edmund Darris went on to become a great guitarist because of this meeting. |
| - | === Albums sortis de son vivant === | + | The Strat's easy action and narrow neck were also ideally suited to Hendrix's evolving style and enhanced his tremendous dexterity: Hendrix's hands were large enough to fret across all six strings with his thumb, and he could play lead and rhythm parts simultaneously. Another remarkable fact about Hendrix is that he was left-handed, yet used right-handed guitars, playing them upside-down but re-strung for playing left-handed, so that the heavier strings were in their standard position at the top of the neck.<ref> |
| - | * ''[[Are You Experienced]]'' (mai [[1967 en musique|1967]]) | + | {{Citation |
| - | * ''[[Axis: Bold as Love]]'' (décembre [[1967 en musique|1967]]) | + | | last = Shapiro |
| - | * ''[[Electric Ladyland]]'' (septembre [[1968 en musique|1968]]) | + | | first = Harry |
| - | * ''[[Band of Gypsys]]'' (avril [[1970 en musique|1970]]) | + | | last2 = Glebbeek |
| + | | first2 = Caesar | ||
| + | | title = Jimi Hendrix. Electric Gypsy | ||
| + | | place= London | ||
| + | | publisher = William Heinemann Ltd. | ||
| + | | year = 1990 | ||
| + | | pages = 37-38 | ||
| + | | id = ISBN 0 434 69523 8}} | ||
| + | </ref> He preferred this layout because the tremolo arm and volume and tone controls were more easily accessible above the strings, but it also had an important effect on the sound of his guitar: because of the stagger of the pickups' pole pieces, his lowest string had a bright sound while his highest string had a mellow sound—the opposite of the Strat's intended design.<ref>{{cite web|url=http://www.modernguitars.com/archives/000039.html#tribute|title=Seven Fender Stratocaster Models That Pay Tribute to Jimi Hendrix|last=Wilson|first=Tom|work=Modern Guitars Magazine|date=2004-11-13|accessdate=2007-09-23}}</ref> This effect was exaggerated by the slant of the Strat's bridge pickup. | ||
| - | === L'ère Michael Jeffery === | + | A new Stratocaster model (with a wide headstock) was launched in late 1968, and as the cohesion of the Experience began to deteriorate, Hendrix wished to vary his playing and his repertoire with this new design. Choosing Stratocasters with a light-tone maple fretboard (giving a "brighter" sound than the "darker" rosewood), he wanted to balance the high-power play with further versatility and velocity, so in early 1969, he opted for heavy-gauge strings which he combined with a tuning lowered a half-step from normal pitch, a technique which he picked up from Albert King in 1966. This enhanced the possibilities offered by the interlaced rhythm and solos during the Olmstead Studios sessions of April 1969. Later on tour, this stringing caused the drawback of more frequent losses in tuning after pushing down (or pulling) the tremolo bar; Hendrix would often ask the audience for a "minute to tune up" several times during the same concert. |
| - | * ''[[The Cry Of Love]]'' (1971) | + | |
| - | * ''[[Rainbow Bridge (album)|Rainbow Bridge - Original Motion Picture Sound Track]]'' (1971) | + | |
| - | * ''[[Isle Of Wight]]'' (1971) : concert du 30 août 1970 | + | |
| - | * ''[[Hendrix In The West]]'' (1972) : constitué de différents concerts | + | |
| - | * ''[[War Heroes]]'' (1972) | + | |
| - | * ''[[Loose Ends]]'' (1973) | + | |
| - | === L'ère Alan Douglas === | + | In addition to Fender Stratocasters, Hendrix was also photographed playing [[Fender Jaguar]]s, Gretsch Corvette, [[Fender Duosonic|Duosonics]] and [[Fender Jazzmaster|Jazzmasters]], and Gibson Les Paul Customs and SGs (and in his pre- solo career, he was seen with an Ibanez Rhythm Guitar, very similar to today's Ibanez Jetking<ref>{{cite web| url=http://www.sixties-ibanez.com/|title= The sixties ibanez page|accessdate=2007-09-25}}</ref>). Jimi used a white Gibson SG Custom for his performance on the Dick Cavett show in the summer of 1969, and the Isle of Wight film shows him playing a Gibson Flying V. While Jimi owned a number of Flying Vs throughout his career (included a black model with hand-painted designs by Hendrix), the Flying V used at the Isle of Wight was a unique left-handed guitar. Custom ordered from Gibson, Jimi's example featured gold hardware, a bound fingerboard and "split-diamond" fret markers that were not found on other 60s-era Flying Vs. |
| - | * ''[[Crash Landing]]'' (1975) | + | |
| - | * ''[[Midnight Lightning]]'' (1975) | + | |
| - | * ''[[Nine To The Universe]]'' (1980) | + | |
| - | * ''[[The Jimi Hendrix Concerts]]'' (1982) : constitué de différents concerts | + | |
| - | * ''[[Jimi Plays Monterey]]'' (1986) : concert du 18 juin 1967 | + | |
| - | * ''[[Live At Winterland]]'' (1987) : issu des performances des 10-11-12 octobre 1968 | + | |
| - | * ''[[Radio One]]'' (1988) | + | |
| - | * ''[[Variations On A Theme: Red House]]'' (1989) | + | |
| - | * ''[[Live & Unreleased - The Radio Show]]'' (1989) | + | |
| - | * ''[[Lifelines - The Jimi Hendrix Story]]'' (1990) - CD 4 : concert du 26 avril 1969 | + | |
| - | * ''[[Live Isle Of Wight '70]]'' (1991) : concert du 30 août 1970 | + | |
| - | * ''[[Stages (coffret)|Stages - Stockholm 67]]'' (1991) : concert du 5 septembre 1967 | + | |
| - | * ''[[Stages (coffret)|Stages - Paris 68]]'' (1991) : concert du 29 janvier 1968 | + | |
| - | * ''[[Stages (coffret)|Stages - San Diego 69]]'' (1991) : concert du 24 mai 1969 | + | |
| - | * ''[[Stages (coffret)|Stages - Atlanta 70]]'' (1991) : concert du 4 juillet 1970 | + | |
| - | * ''[[Jimi Hendrix :Blues]]'' (1994) | + | |
| - | * ''[[Jimi Hendrix :Woodstock]]'' (1994) : concert du 18 août 1969 | + | |
| - | * ''[[Voodoo Soup]]'' (1995) | + | |
| - | * ''[[Jimi By Himself - The Home Recordings]]'' (1995) | + | |
| - | === L'ère Experience Hendrix LLC === | + | On [[December 4]] [[2006]], one of Hendrix's custom 1968 Fender Stratocaster guitars with a sunburst design was sold at a [[Christie's]] auction for USD$168,000.<ref name="sunburstsale">{{cite web |
| - | * ''[[First Rays Of The New Rising Sun]]'' (1997) | + | |year=2006 |
| - | * ''[[South Saturn Delta]]'' (1997) | + | |date=2006-12-04 |
| - | * ''[[BBC Sessions (Jimi Hendrix)|BBC Sessions]]'' (1998) | + | |accessdate=2007-09-18 |
| - | * ''[[Live At The Fillmore East]]'' (1999) : issu des concerts des 31 décembre 1969 et 1{{er}} Janvier 1970 | + | |url=http://www.usatoday.com/life/people/2006-12-04-rock-auction_x.htm |
| - | * ''[[Live at Woodstock]]'' (1999) : concert du 18 août 1969 | + | |title=Hendrix guitar goes for $168K at auction |
| - | * ''[[Merry Christmas and Happy New Year]]'' (1999) | + | |publisher=USA Today ([[Associated Press|AP]]) |
| - | * ''[[The Jimi Hendrix Experience Box Set]]'' (2000) | + | }}</ref> |
| - | * ''[[Blue Wild Angel : Live at Isle Of Wight|Blue Wild Angel: Jimi Hendrix Live At The Isle Of Wight]]'' (2002) : concert du 30 août 1970 | + | |
| - | * ''[[Martin Scorsese Presents The Blues]]'' (2003) | + | |
| - | * ''[[Live At Berkeley]]'' (2003) : second concert du 30 mai 1970 | + | |
| - | * ''[[Live At Monterey]]'' (2007) : concert du 18 juin 1967 | + | |
| - | === Dagger Records (pirates officiels) === | + | ====Amplifiers and effects==== |
| - | * ''[[Live At The Oakland Coliseum]]'' (1998) : concert du 27 avril 1969 | + | Hendrix was a catalyst in the development of modern guitar amplification and guitar effects. His high-energy stage act and the blistering volume at which he played required robust and powerful amplifiers. For the first few rehearsals he used [[Vox (musical equipment)|Vox]] and [[Fender Musical Instruments Corporation|Fender]] amplifiers. Sitting in with CREAM Hendrix played through a new range of high-powered guitar amps being made by London drummer turned audio engineer [[Marshall Amplification|Jim Marshall]] and they proved perfect for his needs. Along with the Strat, the Marshall stack and Marshall amplifiers were crucial in shaping his heavily overdriven sound, enabling him to master the creative use of feedback as a musical effect, and his exclusive use of this brand soon made it the most popular amplifier in rock music. |
| - | * ''[[Live At Clark University]]'' (1999) : concert du 15 mars 1968 | + | |
| - | * ''[[Morning Symphony Ideas]]'' (2000) | + | |
| - | * ''[[Live In Ottawa]]'' (2001) : concert du 19 mars 1968 | + | |
| - | * ''[[The Baggy's Rehearsal Sessions]]'' (2002) | + | |
| - | * ''[[Paris 67 / San Francisco 68]]'' (2003) : concert du 9 octobre 1967 et second concert du 4 février 1968 | + | |
| - | * ''[[Hear My Music]]'' (2004) | + | |
| - | * ''[[Live At The Isle Of Fehmarn]]'' (2005) : concert du 6 septembre 1970 (le dernier du trio Hendrix/Cox/Mitchell) | + | |
| - | * ''[[Burning Desire]]'' (2006) | + | |
| - | === Le cas du Royal Albert Hall === | + | The sound of Hendrix's recordings seemed to have progressively changed from the "sharp edge" of 1966 and 1967 to the warmer sounds of 1969 and 1970. The first two albums were recorded in England with his British-made Marshall amps operating at 240 volts/50 Hertz. He then recorded in the US (beginning in May 1968 on ''Electric Ladyland''), under 110 volts/60 Hertz.{{Fact|date=February 2007}} The evolution in the Stratocasters used (pre-1968 versus post-1968 models) may have contributed to this change as well. Weather conditions may also have had an effect on his amps: the warm sound of Woodstock contrasts to the "edgy" sound of the [[Isle of Wight Festival 1970|Isle of Wight]] recordings.During the Isle of Wight video Hendrix has numerous equiptment problems, during "All Along the Watchtower" his wah pedal squeals at a high pitch instead of functioning normally, after struggling with it during a solo Hendrix can be clearly seen to turn toward the camera and his support crew and say "wah wah, get me another wah wah" as the show progresses further pieces of equiptment are replaced. {{disputable|date=August 2007}}Both Fender Stratocasters and Marshall amps were evolving to a more edgy sound, the Marshall amps in particular went through numerous electronic changes between 1966 and 1970 with the 1970 amp having considerably more treble edge than the earlier units. These supposed sound changes are more likely caused by the erratic performance of Arbiter Fuzz Face units which were highly inconsistent, and subject to changes in tone due to both temperature and battery conditions. As Hendrix's recording career progressed he made greater use of customized and custom voiced fuzz units or reworked Fuzz Faces. In contrast the first albums were made under more basic, low budget conditions with less time spent obtaining guitar sounds and effects. |
| - | * [[Londres (Royal Albert Hall) : 24 février 1969]] | + | |
| - | {{Commonscat | Jimi Hendrix}} | + | Hendrix constantly looked for new guitar effects. He was one of the first guitarists to move past simple gimmickry and to exploit the full expressive possibilities of electronic effects such as the Arbiter Fuzz Face and [[wah-wah]] pedal. He had a fruitful association with engineer [[Roger Mayer]] who later went on to make, the Axis fuzz unit, the Octavia octave doubler and several other devices based on units Mayer had created or tweeked for Hendrix. The Japanese made [[Univibe]] was another effect and is particularly interesting, designed to electronically simulate the modulation effects of the rotating [[Leslie speaker]] it provided a rich phasing sound with a speed control pedal. The Band of Gypsies track "Machine Gun" higlights use of the univibe, octavia and fuzz face pedals. |
| - | ==Filmographie== | + | |
| - | * ''Experience'' (1968, réédité en 2001) | + | |
| - | * ''[[Live At Berkeley|Jimi Plays Berkeley]]'' (1971, réédité en 2003) | + | |
| - | * ''[[Rainbow Bridge]]'' (1972) : Une première et longue partie étrange où de jeunes [[Baba-cool|babas-cools]] tentent de philosopher (non sous-titrée !) et puis quelques extraits des deux concerts avec un son très moyen. | + | |
| - | * ''A Film About Jimi Hendrix'' (1973) | + | |
| - | * ''[[Jimi Plays Monterey]]'' (1987, réédité en 2006) | + | |
| - | * ''[[Stages (coffret)|Atlanta]]'' (1992) | + | |
| - | * ''[[Jimi Hendrix :Woodstock|Live At Woodstock]]'' (1992, réédité en 1999) | + | |
| - | * ''[[Electric Ladyland|The Making Of Electric Ladyland]]'' (1997) | + | |
| - | * ''[[Live At The Fillmore East|Band Of Gypsys]]'' (1999) | + | |
| - | * ''The Dick Cavett Show'' (2002) | + | |
| - | * ''[[Blue Wild Angel : Live at Isle Of Wight|Blue Wild Angel: Jimi Hendrix Live At The Isle Of Wight]]'' (2002) | + | |
| - | * ''The Uncut Story'' (2004) [Indépendant] | + | |
| - | * ''[[Live at Woodstock|Live At Woodstock [Deluxe 2 DVD Edition]]]'' (2005) | + | |
| - | * ''[[Live At Monterey]]'' (2007) | + | |
| - | ==Bibliographie== | + | |
| - | ===Biographies=== | + | It should be noted that while Jimi never used an [[Electro-Harmonix]] [[Big Muff]], he did try out prototypes before he died and the tone of the pedal was modeled after Hendrix's tone. |
| - | * {{en}} Chris Welch, ''Hendrix - A Biography'', Omnibus Press, 1972 | + | |
| - | * {{en}} Harry Shapiro & Caesar Glebbeek, ''Jimi Hendrix - Electric Gypsy'', Saint Martin's Press Inc, 1990, actualisé en 1995 | + | |
| - | * {{en}} John McDermott et [[Eddie Kramer]], ''Hendrix: Setting The Record Straight'', Warner Books, 1992 | + | |
| - | * {{en}} Martin I. Green (textes) et Bill Sienkiewicz (dessins), ''Voodoo Child: The Illustrated Legend of Jimi Hendrix'', Penguin Studio, 1995 | + | |
| - | * {{en}} Keith Shadwick, ''Jimi Hendrix : Musician'', Backbeat Books, 2003 | + | |
| - | * {{fr}} Sharon Lawrence, ''Jimi Hendrix - L'homme, la magie, la vérité'', Flammarion, 2005 | + | |
| - | * {{fr}} Charles R. Cross, ''Jimi Hendrix - L'expérience des limites'', Camion Blanc, 2005 | + | |
| - | ===Études et témoignages=== | + | The Hendrix sound combined high volume and high power, feedback manipulation, and a range of cutting-edge guitar effects. He was also known for his trick playing, which included playing with only his right (fretting) hand, using his teeth or playing behind his back, although he soon grew tired of audience demands to perform these tricks. Hendrix had large hands and used his thumb almost constantly to fret bass notes, leaving his fingers free to play melodic fills on top. A clear demonstration of this technique can be witnessed in the Woodstock video, during the song Red House there are excellent closeups of Hendrix fretting hand. |
| - | * {{en}} Nona Hatay, ''Jimi Hendrix - The Spirit Lives On...'', Last Gasp of San Francisco, 1983 | + | |
| - | * {{fr}} [[Miles Davis]] avec Quincy Troupe, ''Miles - l'autobiographie'', Infolio, 1989 (nouvelle traduction en 2007) | + | |
| - | * {{fr}} Laurent Cugny, ''Las Vegas Tango'', P.O.L, 1989 | + | |
| - | * {{fr}} Charles Shaar Murray, ''Jimi Hendrix - Vie et légende'', Seuil, 1989 | + | |
| - | * {{en}} [[Mitch Mitchell]] & John A Platt, ''Jimi Hendrix: Inside the Experience'', Hamlyn, 1990 | + | |
| - | * {{en}} [[Noel Redding]] & Carol Appleby, ''Are You Experienced?: Inside Story of the Jimi Hendrix Experience'', Fourth Estate, 1990 | + | |
| - | * {{en}} John McDermott avec Billy Cox & [[Eddie Kramer]], ''Jimi Hendrix : Sessions'', Little Brown and Company, 1995 | + | |
| - | * {{fr}} Moebius & Jean-Noël Coghe, ''Jimi Hendrix - Émotions électriques'', Castor Astral, 1999 | + | |
| - | * {{en}} Steven Roby, ''Black Gold - The lost archives of Jimi Hendrix'', Billboard Books, 2002 | + | |
| - | * {{fr}} David Stubbs, ''Jimi Hendrix - Mots pour mots'', Flammarion, 2003 | + | |
| - | * {{en}} Dave Thompson, ''Cream - How Eric Clapton Took the World by Storm'', Virgin Books, 2005 | + | |
| - | * {{fr}} Janie Hendrix & John McDermott, ''Jimi Hendrix intime'', K&B, 2007 | + | |
| - | == Voir aussi == | + | ==Discography== |
| - | [[Image:EMPPano11.jpg|250px|thumb|right|[[Experience Music Project de Seattle]]]] | + | {{Main|Jimi Hendrix discography}} |
| - | === Musée === | + | ===Studio albums=== |
| - | * [[Experience Music Project de Seattle]] : « Temple du [[Rock 'n' roll]] » en l'honneur tout particulier de Jimi Hendrix conçu en [[2000]] par le célèbre [[architecte]] [[Frank Gehry]] et financé par le milliardaire américain [[Paul Allen]] (cofondateur de [[Microsoft]] avec [[Bill Gates]]). | + | {| class="wikitable" style="text-align:center" |
| + | |- bgcolor="#CCCCCC" | ||
| + | ! Release<br>Year !! Album !! US<br>Chart !! UK<br>Chart !! Notable Songs | ||
| + | |- | ||
| + | |1967 | ||
| + | |''[[Are You Experienced (album)|Are You Experienced]]'' | ||
| + | |#5 | ||
| + | |#2 | ||
| + | |align="left"| | ||
| + | *"[[Purple Haze]]" | ||
| + | *"[[Manic Depression (song)|Manic Depression]]" | ||
| + | *"[[Fire (Hendrix song)|Fire]]" | ||
| + | *"[[Foxey Lady]]" | ||
| + | *"[[Hey Joe]]" | ||
| + | *"[[The Wind Cries Mary]]" | ||
| + | |- | ||
| + | |1967 | ||
| + | |''[[Axis: Bold as Love]]'' | ||
| + | |#3 | ||
| + | |#5 | ||
| + | |align="left"| | ||
| + | *"[[Bold as Love (song)|Bold as Love]]" | ||
| + | *"[[Castles Made of Sand (song)|Castles Made of Sand]]" | ||
| + | *"[[If 6 Was 9]]" | ||
| + | *"[[Little Wing]]" | ||
| + | *"[[Spanish Castle Magic]]" | ||
| + | |- | ||
| + | |1968 | ||
| + | |''[[Electric Ladyland]]'' | ||
| + | |#1 | ||
| + | |#5 | ||
| + | |align="left"| | ||
| + | *"[[Voodoo Child (Slight Return)]]" | ||
| + | *"[[Crosstown Traffic]]" | ||
| + | *"[[All Along the Watchtower]]" | ||
| + | *"[[Gypsy Eyes]]" | ||
| + | *"[[Burning of the Midnight Lamp]]" | ||
| + | *"[[1983... (A Merman I Should Turn to Be)]]" | ||
| - | === Lien externe === | + | |- |
| - | * {{en}} [http://www.jimihendrix.com/ Site officiel] | + | |1997 |
| + | |''[[First Rays of the New Rising Sun]]'' | ||
| + | |#49 | ||
| + | |#37 | ||
| + | |align="left"| | ||
| + | *"[[Freedom (Jimi Hendrix song)|Freedom]]" | ||
| + | *"[[Angel (Jimi Hendrix song)|Angel]]" | ||
| + | *"Ezy Ryder" | ||
| + | *"Room Full of Mirrors" | ||
| + | *"Drifting" | ||
| + | |} | ||
| - | == Notes et références == | + | ===Live albums=== |
| - | {{références|colonnes=2}} | + | {| class="wikitable" style="text-align:center" border=1 |
| + | |- bgcolor="#CCCCCC" | ||
| + | ! Release<br>Year !! Album !! US<br>Chart !! UK<br>Chart !! Venue !! Notable<br>Performances | ||
| + | |- | ||
| + | |1970 | ||
| + | |''[[Band of Gypsys]]'' | ||
| + | |#5 | ||
| + | |#5 | ||
| + | |[[Bill Graham (promoter)|Bill Graham's]]<br>[[Fillmore East|Fillmore East Auditorium]]<br>[[New York City]]<br>[[January 1]], [[1970]]<br>(Two shows) | ||
| + | |align="left"| | ||
| + | *"Machine Gun" | ||
| + | *"Power of Soul" | ||
| + | *"Message to Love" | ||
| + | |} | ||
| - | {{Multi bandeau|Portail guitare|Portail rock|Portail blues}} | + | ===Anticipated releases=== |
| - | {{Portail États-Unis}} | + | {{see also|Jimi Hendrix discography#Anticipated releases}} |
| - | {{Lien BA|de}} | + | Despite the extremely prolific recording career of Hendrix and the staggering volume of published content (estimated at over 500 unique releases), there are still items in the Hendrix vaults (and elsewhere) as yet unseen and unheard. Some of the tie-ups involve legal disputes or lost tapes, while others are simply being held by Experience Hendrix for release at intervals that the company deems worthy according to its long-term plans. |
| - | {{Lien AdQ|hu}} | + | |
| - | {{Lien AdQ|simple}} | + | |
| + | ==Copyright ownership dispute== | ||
| + | The [[copyright]]s for a portion of Jimi Hendrix's music recently sold at auction for $16.5 million USD. The auction was sponsored by [[Ocean Tomo LLC]]. The sale has been blocked by a judge in New York City, however, pending the outcome of a dispute over the rightful ownership of the music.<ref>{{cite web | ||
| + | |url=http://www.therockradio.com/2006/11/jimi-hendrix-auction-blocked-by-judge.html | ||
| + | |title= Jimi Hendrix auction blocked by judge | ||
| + | |publisher=The Rock Radio | ||
| + | |date=[[November 22]] [[2006]] | ||
| + | }}</ref> | ||
| + | |||
| + | ==See also== | ||
| + | *[[Early life of Jimi Hendrix]] | ||
| + | *[[Jimi Hendrix discography]] | ||
| + | *[[Rainbow Bridge concert]] (Maui, Hawaii, 1970) | ||
| + | *[[Electric Lady Studios]] | ||
| + | *[[Eire Apparent]] | ||
| + | |||
| + | ==References== | ||
| + | {{reflist}} | ||
| + | |||
| + | ===Other books=== | ||
| + | *Ken Matesich, ''Jimi Hendrix: A Discography'', 1982 | ||
| + | *David Stubbs, ''Jimi Hendrix: Voodoo Child: The Stories Behind Every Song'', 2003 | ||
| + | *John Kruth, ''Bright Moments: The Life & Legacy of Rahsaan Roland Kirk'', 2004: ISBN 1-56649-105-3 | ||
| + | *Brad Tolinski and Ross Halfin, ''Classic Hendrix: The Ultimate Hendrix Experience'', [[Genesis Publications]] 2004 | ||
| + | *Charles R. Cross, ''Room Full Of Mirrors: A Biography Of Jimi Hendrix', 2005 | ||
| + | *Mark Lewisohn, ''The Complete Beatles Recording Sessions'', Hamlyn 1988: ISBN 0600612074. See pp 164-5 re Apple recording studio. | ||
| + | |||
| + | ===Magazine articles=== | ||
| + | *[http://www.jimpress.co.uk Jimpress] magazine; Warrington, Cheshire, UK | ||
| + | *[http://www.univibes.com Univibes] magazine; Popiglio, Italy | ||
| + | *[http://www.jimi-hendrix.com/magazine Experience Hendrix] magazine; Seattle, USA | ||
| + | |||
| + | ===Interviews=== | ||
| + | *[[September 3]], [[1969]] - for United Block Association at "Frank's Restaurant", Harlem, New York City, USA | ||
| + | *[[February 4]], [[1970]] - at Mike Jeffery's apartment, W 44th St., New York City, USA | ||
| + | *[[September 11]], [[1970]] - with Keith Altham at The Cumberland Hotel, Great Cumberland Place, Marble Arch, UK (last interview ever) | ||
| + | |||
| + | ==External links== | ||
| + | {{wikiquote}} | ||
| + | {{Guitar}} | ||
| + | * [http://www.jimihendrixfoundation.com The Jimi Hendrix Foundation - Comissioned by Al and Leon Hendrix] | ||
| + | * [http://www.jimihendrix.com/ Official Jimi Hendrix website] | ||
| + | * {{musicbrainz artist|id=06fb1c8b-566e-4cb2-985b-b467c90781d4|name=Jimi Hendrix}} | ||
| + | *[http://www.ptpcircuits.com/gallery1.html Photo gallery showing rare pictures inside Jimi's first Marshall JTM 45/100 amp] | ||
| + | *[http://video.aol.com/video-category/jimi-hendrix/2623 Jimi Hendrix LIVE] | ||
| + | *[http://www.limelightagency.com/jimi_hendrix/art_eng/_jimi_hendrix.html Official Estate release of the art and lyrics of Jimi Hendrix] | ||
| + | *[http://guitar-pro-tabs.com/Fr/Tablatures/Tablatures%20H/Tabs,%20Jimi%20Hendrix.html '''Jimi Hendrix Guitar Tabs & Partitions'''] | ||
| + | |||
| + | {{Jimi Hendrix}} | ||
| + | |||
| + | {{Persondata | ||
| + | |NAME=Hendrix, James Marshall | ||
| + | |ALTERNATIVE NAMES=Hendrix, Jimi | ||
| + | |SHORT DESCRIPTION=Rock musician | ||
| + | |DATE OF BIRTH={{birth date|1942|11|27|mf=y}} | ||
| + | |PLACE OF BIRTH=[[Seattle, Washington]] | ||
| + | |DATE OF DEATH={{death date|1970|9|18|mf=y}} | ||
| + | |PLACE OF DEATH=[[London]], [[United Kingdom|UK]] | ||
| + | }} | ||
| {{DEFAULTSORT:Hendrix, Jimi}} | {{DEFAULTSORT:Hendrix, Jimi}} | ||
| - | [[Catégorie:Chanteur américain]] | + | {{Link FA|hu}} |
| - | [[Catégorie:Naissance en 1942]] | + | {{Link FA|simple}} |
| - | [[Catégorie:Décès en 1970]] | + | |
| - | [[Catégorie:Guitariste de rock]] | + | [[Category:Jimi Hendrix| ]] |
| - | [[Catégorie:Guitariste de blues]] | + | [[Category:The Jimi Hendrix Experience members| ]] |
| - | [[Catégorie:Guitar hero]] | + | [[Category:American rock guitarists]] |
| - | [[Catégorie:Chanteur de rock]] | + | [[Category:American rock singers]] |
| - | [[Catégorie:Chanteur de blues]] | + | [[Category:African American musicians]] |
| - | [[Catégorie:Compositeur de rock]] | + | [[Category:Black rock musicians]] |
| - | [[Catégorie:Mort accidentelle]] | + | [[Category:Washington musicians]] |
| - | [[Catégorie:Guitariste gaucher]] | + | [[Category:People associated with the hippie movement]] |
| + | [[Category:People from Greenwich Village, New York]] | ||
| + | [[Category:Grammy Lifetime Achievement Award winners]] | ||
| + | [[Category:UK Music Hall of Fame inductees]] | ||
| + | [[Category:Musical instrument destruction]] | ||
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| + | [[Category:People of Cherokee descent]] | ||
| + | [[Category:People from Seattle]] | ||
| + | [[Category:Accidental human deaths in the United States]] | ||
| + | [[Category:Cause of death disputed]] | ||
| + | [[Category:Drug-related deaths]] | ||
| + | [[Category:Alcohol-related deaths]] | ||
| + | [[Category:1942 births]] | ||
| + | [[Category:1970 deaths]] | ||
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Version actuelle
Modèle:Pp-semi-protected Modèle:Redirect Modèle:Infobox musical artist
Jimi Hendrix (November 27, 1942 – September 18, 1970) was an American guitarist, singer and songwriter. Hendrix is considered one of the greatest and most influential guitarists in rock music history.<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.rockhall.com/hof/inductee.asp?id=130 The Jimi Hendrix Experience. Induction Year: 1992]
. The Rock and Roll Hall of Fame and Museum, Inc.
. Retrieved on 2007-09-19. </ref> After initial success in England, he achieved worldwide fame following his 1967 performance at the Monterey Pop Festival. Later, Hendrix headlined the iconic 1969 Woodstock Festival.
Jimi Hendrix helped pioneer the technique of guitar feedback with overdriven amplifiers, incorporating into his music what was previously an undesirable sound. He built upon the innovations and influences of blues stylists such as B.B. King, Muddy Waters, Albert King, and T-Bone Walker, and derived style from rhythm and blues and soul guitarists Curtis Mayfield, Steve Cropper, and Cornell Dupree, as well as from traditional jazz. Part of Hendrix's flamboyant stage persona may have been inspired by rock pioneer Little Richard, with whom he toured as part of Richard's back-up band, "The Upsetters." Hendrix is also widely thought to be influenced by Pete Townshend of The Who, who performed in London when Hendrix started his career there in 1966. Carlos Santana has also suggested that Hendrix's music may have been influenced by his Native American heritage.<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.djnoble.demon.co.uk/ints/CARLOSS.ANT.html Carlos Santana on Jimi Hendrix]
. UniVibes (February 1995)
. Retrieved on 2007-09-18. </ref>
Hendrix strove to combine what he called "earth", a blues, jazz, or funk driven rhythm accompaniment, with "space", the high-pitched psychedelic sounds created by his guitar improvisations. As a record producer, Hendrix also broke new ground in using the recording studio as an extension of his musical ideas; he was one of the first to experiment with stereophonic and phasing effects during recording.
Hendrix was inducted into the Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. His star on the Hollywood Walk of Fame (at 6627 Hollywood Blvd.) was dedicated in 1994. In 2006, his debut album, Are You Experienced, was inducted into the United States National Recording Preservation Board's National Recording Registry. Rolling Stone named Hendrix number 1 on their list of the 100 Greatest Guitarists of All Time in 2003.<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.rollingstone.com/news/story/5937559/the_100_greatest_guitarists_of_all_time The 100 Greatest Guitarists of All Time]
. Rolling Stone (August 27 2003)
.</ref>
Sommaire |
Biography
Early life
Hendrix was born on November 27, 1942, in Seattle, Washington, U.S.. He was originally named Johnny Allen Hendrix, but later re-named James Marshall Hendrix. Hendrix's parents (James "Al" Hendrix and Lucille Jeter) divorced when he was nine years old, and in 1958 his mother died. He went to live with his Cherokee grandmother because of his unstable household. At age 15, he received his first guitar, an electric to replace the broom stick he would strum like one.<ref name="liner">Modèle:Cite album-notes</ref> Learning quickly, he played in many local bands, playing as far away as Vancouver.<ref name="liner" /> Hendrix did not graduate from high school. Hendrix later claimed that he was expelled for holding hands with his white girlfriend, but when questioned later, his principal insisted that it was due to poor grades and frequent absences.
Hendrix got into trouble with the law twice for riding in a stolen car. He was given a choice between spending two years in prison or joining the army. Hendrix chose the latter and enlisted on May 31, 1961. After completing boot camp, he was assigned to the 101st Airborne Division and stationed in Fort Campbell, Kentucky. His commanding officers considered him to be a sub-par soldier: he slept while on duty, had little regard for regulations, required constant supervision, and showed no skill as a marksman. For these reasons, his commanding officers submitted a request that Hendrix be discharged from the military after he had served only one year.<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.thesmokinggun.com/archive/0803051jimi1.html Jimi's Private Parts]
. The Smoking Gun
.</ref>
Early career
After his release, Hendrix and army friend Billy Cox moved to nearby Clarksville, Tennessee, where they formed a band called "The King Kasuals". Playing in low-paying gigs at obscure venues, the band eventually moved to Nashville. Playing and sometimes living in the clubs along Jefferson Street, the traditional heart of Nashville's black community and home to a lively rhythm and blues scene, offered a bare sort of existence.<ref name="Nashville"> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.cmt.com/artists/news/1485999/03262004/hendrix_jimi.jhtml Climbing Aboard 'Night Train to Nashville']
. Country Music Television (2004)
.</ref> In November 1962, Hendrix participated in his first studio session, where his wild but still undeveloped playing found him cut from the soundboard.
For the next three years, Hendrix made a precarious living on the Chitlin Circuit, performing in black-oriented venues throughout the South with both the King Kasuals and in backing bands for various soul, R&B, and blues musicians, including Chuck Jackson, Slim Harpo, Tommy Tucker, Sam Cooke, and Jackie Wilson. The Chitlin Circuit was an important phase of Jimi's career, since the refinement of his style and blues roots occurred there. His work garnered him little fame or profit, and the extremes of racism and poverty that he endured left an indelible mark on his memories of this era.
Frustrated by his experiences in the South, Hendrix decided to try his luck in New York City. Jimi was always inspired by a saying he once heard from his grandmother: "I want to need to have you. First I have to need to want you." In January 1964, he moved to Harlem, where he quickly befriended Lithofayne "Fayne" Pridgeon (who later became his girlfriend) and the Allen twins, Arthur and Albert (now known as Taharqa and Tunde-Ra Aleem). The Allen twins quickly became loyal friends who kept Hendrix out of trouble in New York. The twins also performed as backup singers (under the name Ghetto Fighters) on some of his recordings, most notably the funk anthem "Freedom". Pridgeon, a beautiful Harlem native with connections throughout the area's music scene, provided Hendrix with shelter, support, and encouragement during the poorest and most desperate years of his life. In February 1964, Hendrix won first prize in the Apollo Theater amateur contest. The win was encouraging, but in general he found breaking into the New York scene difficult.
In 1965, guitar pioneer and producer Les Paul watched Hendrix audition for a nightclub gig in Greenwich Village, NYC, and was awestruck by his performance. An errand forced Les Paul to leave the club before he had the chance to speak with Hendrix. When he returned later to contact and sign Hendrix, Les Paul found that the club owner had turned Hendrix down for being too loud and crazy and that Hendrix had disappeared.[citation needed] That year, Hendrix earned a spot as the new guitarist for the Isley Brothers' band and joined their national tour, which included the southern Chitlin' circuit. Hendrix played his first successful studio session on the two-part Isley Brothers hit "Testify". In Nashville, he left the Isleys to tour with Gorgeous George Odell. In Atlanta, he earned a spot in the backing band of Little Richard, The Upsetters. Although Hendrix idolized Richard, he clashed frequently with the star over tardiness, wardrobe, and, above all, Hendrix's flashy stage antics. For a short while, Hendrix quit and toured with Ike and Tina Turner, but was quickly fired for playing wild guitar solos and returned to Little Richard's band. Months later, he was banished from The Upsetters after missing the tour bus in Washington, D.C.. Around this time he refined his flamboyant guitar stage style, much of which was influenced by Johnny "Guitar" Watson.
In 1965, Hendrix joined a New York-based band, Curtis Knight and the Squires, after meeting Knight in the lobby of a seedy midtown hotel where both men were living at the time. Hendrix then toured for two months with Joey Dee and the Starliters before rejoining the Squires in New York. On October 15, 1965, Hendrix signed a three-year recording contract with entrepreneur Ed Chalpin, receiving $1 and 1% royalty on records with Curtis Knight. While the relationship with Chalpin was short-lived, his contract remained in force, which caused considerable problems for Hendrix later on in his career. The legal dispute was eventually settled. During a brief excursion to Vancouver in 1965, it was reported that Hendrix played in Motown band Bobby Taylor & the Vancouvers with Taylor and Tommy Chong (of Cheech and Chong fame). Chong, however, disputes this ever happened and that any such appearance is a product of Taylor's imagination".<ref name="Tommy Chong"> Kayce , Aaron
(2007)
. [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.harpmagazine.com/articles/detail.cfm?article_id=6162 Tommy Chong: From Guitar to Bong]
. Harp
. HarpMagazine.com
. Retrieved on 2007-09-24. </ref>
In 1966, Hendrix formed his own band, Jimmy James and The Blue Flames, composed of various friends he would casually meet at Manny's Music Shop, including a 15-year old runaway from California named Randy Wolfe. Since there were two musicians named "Randy" in the group, Hendrix dubbed Wolfe "Randy California" and the other "Randy Texas". Randy California would later co-found the band Spirit with Ed Cassidy.
Hendrix and his new band quickly gained local attention and played throughout New York City, but their primary spot was a residency at the Cafe Wha? on MacDougal Street in Greenwich Village. During this period, Hendrix met and worked with singer-guitarist Ellen McIlwaine and guitarist Jeff "Skunk" Baxter, who was an employee at Manny's. Hendrix also met Frank Zappa during this time, who is credited as having introduced Hendrix to the newly-invented wah-wah.
The Jimi Hendrix Experience
Modèle:Mainarticle Early in 1966 at the Cheetah Club on West 21st Street, Linda Keith, the girlfriend of Rolling Stones guitarist Keith Richards, befriended Hendrix and recommended him to Stones manager Andrew Loog Oldham and producer Seymour Stein. Neither man took a liking to Hendrix's music, however, and they both passed. She then referred him to Chas Chandler, who was ending his tenure as bassist in The Animals and looking for talent to manage and produce. Chandler was enamored with the song "Hey Joe" and was convinced that he could create a hit single by remaking it into a rock song.
Impressed with Hendrix's version, Chandler brought him to London and signed him to a management and production contract with himself and ex-Animals manager Michael Jeffery. Chandler then helped Hendrix form a new band, The Jimi Hendrix Experience, with guitarist-turned-bassist Noel Redding and drummer Mitch Mitchell, both British musicians. Shortly before the Experience was formed, Chandler introduced Hendrix to Pete Townshend and to Eric Clapton, who had only recently formed Cream. At Chandler's request, Cream let Hendrix join them on stage for a gig. Hendrix and Clapton remained friends up until Hendrix's death.
UK success
After a number of European club appearances, word of Hendrix spread through the London music community. His showmanship and virtuosity made instant fans of reigning guitar heroes Eric Clapton and Jeff Beck, as well as members of The Beatles and The Who, whose managers signed Hendrix to The Who's record label, Track Records.
Hendrix's first single was a cover of "Hey Joe", crafted after folk-singer Tim Rose's slower revision of the song and adapted to Hendrix's emerging style. Backing the first single was Jimi's first songwriting effort, "Stone Free". Further success came with "Purple Haze" and "The Wind Cries Mary". The three singles were all UK Top 10 hits. Onstage, Hendrix was also making a huge impression with fiery renditions of the B.B. King hit "Rock Me Baby" and an ultra-fast revision of Howlin Wolf's blues classic, "Killing Floor".
Are You Experienced?
The first Jimi Hendrix Experience album, Are You Experienced, was released in the United Kingdom on May 12, 1967. It contained no previous UK singles or any B sides ("Hey Joe/Stone Free", "Purple Haze/51st Anniversary" and "The Wind Cries Mary/Highway Chile"). Only The Beatles' Sgt. Pepper's Lonely Hearts Club Band prevented Are You Experienced from reaching No. 1 on the UK charts.
At this time, the Experience extensively toured the United Kingdom and parts of Europe. This allowed Hendrix to develop his stage presence, which reached a high point on March 31, 1967, when he set his guitar on fire. Later, after causing damage to amplifiers and other stage equipment at his shows, Rank Theatre management warned him to "tone down" his stage act. On June 4 1967, the Experience played their last show in England, at London's Saville Theatre, before heading off to America. The Sgt. Pepper's album had just been released on June 1st and two Beatles (Paul McCartney and George Harrison) were in attendance, along with a roll call of other UK rock stardom: Brian Epstein, Eric Clapton, Spencer Davis, Jack Bruce, and pop singer Lulu. Jimi chose to open the show with his own rendition of "Sgt. Pepper's Lonely Hearts Club Band", crafted minutes before taking the stage, much to McCartney's astonishment and delight.
Months later, Reprise Records released the US version of Are You Experienced with a new cover by Karl Ferris, removing "Red House," "Remember" and "Can You See Me" to make room for the first three UK single A-sides. Where the UK album kicked off with "Foxey Lady", the American one started with "Purple Haze". The UK and US versions both offered a startling introduction to the Jimi Hendrix Experience, and the album was a blueprint for what had become possible on the electric guitar.
US success
Although quite popular in Europe at this time, the Experience had yet to crack America. Their chance came when Paul McCartney recommended the group to the organizers of the Monterey International Pop Festival. This proved to be a great opportunity for Hendrix, not only because of the large audience present at the event, but also because the performances were filmed by D. A. Pennebaker and later shown in movie theaters throughout the country as the concert documentary Monterey Pop, which immortalized Hendrix's iconic burning and smashing of his guitar at the finale of his performance.
Following the festival, the Experience played a short-lived gig as the opening act for pop group The Monkees on their first American tour. The Monkees asked for Hendrix because they were fans, but their mostly teenage audience did not warm to his outlandish stage act and he abruptly quit the tour after a few dates. Chas Chandler later admitted that being "thrown" from The Monkees tour was engineered to gain maximum media impact and publicity for Hendrix. At the time, a story circulated claiming that Hendrix was removed from the tour because of complaints made by the Daughters of the American Revolution that his stage conduct was "lewd and indecent". Australian journalist Lillian Roxon, accompanying the tour, concocted the story. The claim was repeated in Roxon's 1969 Rock Encyclopedia but she later admitted it was fabricated.
Meanwhile in England, Hendrix's wild-man image and musical gimmickry (such as playing the guitar with his teeth and behind his back) continued to bring publicity, but Hendrix was already advancing musically and becoming frustrated by media and audience concentration on his stage tricks and hit singles.
Hendrix adapted the Howlin' Wolf blues classic "Killing Floor" into this wild and fast paced revision, and throughout the first year of his fame these became the first notes concertgoers would hear when witnessing a live Hendrix show. The Monterey performance included an equally lively rendition of the BB King hit "Rock Me Baby", Billy Roberts' "Hey Joe" and the Bob Dylan hit "Like a Rolling Stone". The set ended with Hendrix burning his guitar on stage, then smashing it to bits and tossing pieces out to the audience. The show instantly catapulted Hendrix into US stardom. Today, the charred remnants of Hendrix's psychedelically painted Stratocaster can now be found at the Experience Music Project in Seattle.
Axis: Bold as Love
The Jimi Hendrix Experience's second 1967 album, Axis: Bold as Love continued the style established by Are You Experienced, but showcased a profound sense of melody along with his well-known technical virtuosity with tracks such as "Little Wing" and "If 6 Was 9". The opening track "EXP" featured a stereo effect in which a ruckus of sound emanating from Jimi's guitar appeared to revolve around the listener, fading out into the distance from the right channel, then returning in on the left. It should also be noted that this album marked the first time Jimi recorded the whole album with his guitar tuned down one half-tone, to Eb, which he used exclusively thereafter.
A mishap almost prevented the album's release: Hendrix lost the master tape of side 1 of the LP, leaving it in the back seat of a London taxi. Chas Chandler and engineer Eddie Kramer tried re-mixing it, but couldn't match the lost mix. It was only saved by the discovery that bassist Noel Redding had a copy on tape, which had to be ironed flat as his machine had chewed it up.<ref>Liner notes to the 1997 cd reissue of Axis: Bold as Love</ref> With the release deadline looming, Hendrix, Chandler, and engineer Eddie Kramer remixed the missing side from the multitracks in an all-night session. Kramer and Hendrix later admitted that they were never entirely happy with the results.
Hendrix was also somewhat disappointed with the album's cover art. Although he appreciated the symbolic design, he had requested cover art that showcased his "Indian" heritage. The British art designers who created the cover assumed that he meant the culture of India, not of Native Americans, and thus created cover art that depicts Hendrix and his Experience bandmates as the Vedic deities Durga and Vishnu, illustrating a photo portrait of their heads by Karl Ferris.
Upon the album's release, the Jimi Hendrix Experience continued to pursue an extremely demanding touring schedule, which involved performing in front of ever-larger audiences. This, combined with the influence of drugs, alcohol, and fatigue, led to a trouble-plagued tour of Scandinavia that culminated with the arrest of Hendrix in Stockholm after trashing his hotel room in a drunken rage.
Electric Ladyland
Hendrix's third recording, a double album cover by Karl Ferris, Electric Ladyland (1968), was a departure from previous efforts.
As the album's recording progressed, Chas Chandler became so frustrated with Hendrix's perfectionism and with various friends and hangers-on milling about the studio that he decided to sever his professional relationship with Hendrix. Chandler's professional and musical education was very business-oriented, and it taught him that songs should be recorded in a matter of hours, and written with a view to releasing them as singles. His influence over the Experience's first two albums is clear in light of the facts that very few of the tracks are more than four minutes long, that both albums were recorded in short times, and that most of the songs on both albums conformed to the structure of a typical pop song. However, as Hendrix began developing his own vision and started to assert more control over the artistic process in the studio, Chandler decided to move to other opportunities and ceded overall control to Hendrix. Chandler's departure had a clear impact on the artistic direction that the recording took.
Hendrix began experimenting with different combinations of musicians and instruments, and modern electronic effects. For example, Dave Mason, Chris Wood, and Steve Winwood from the band Traffic, drummer Buddy Miles and former Bob Dylan organist Al Kooper, among others, were all involved in the recording sessions. This was one of the other reasons that Chandler cited as precipitating his departure. He described how Hendrix went from a disciplined recording regimen to an erratic schedule, which often saw him beginning recording sessions in the middle of the night and with any number of hangers-on.
Chandler also expressed exasperation at the number of times Hendrix would insist on re-recording particular tracks; the song "Gypsy Eyes" was reportedly recorded 43 times. This was also frustrating for bassist Noel Redding, who would often leave the studio to calm himself, only to return and find that Hendrix had recorded the bass parts himself during Redding's absence. The effects of these events can clearly be identified in the album's musical style. On a purely superficial level, the tracks no longer conformed to the standard pop song format, often lacked easily identifiable patterns or sections, and would sometimes lack even a recognizable melody. More particularly, however, the themes that the songs addressed, and the music that Hendrix set out to record, went far beyond anything that he had attempted to achieve before.
Electric Ladyland includes a number of compositions and arrangements for which Hendrix is still remembered. These include "Voodoo Child (Slight Return)" as well as Hendrix's rendition of Bob Dylan's "All Along the Watchtower". Hendrix's version was a complete departure from the original, and includes one of the most highly praised guitar arrangements in modern music. It was around this time that Hendrix lived with his girlfriend Kathy Etchingham at her Brook Street home, now the Handel House Museum, in the West End of London.
Throughout the four years of his fame, Hendrix often appeared in impromptu jams with various musicians. A recording exists of Hendrix playing in March 1968 at Steve Paul's Scene Club, in which a rendition of the Beatles' 1966 Revolver album's closing track "Tomorrow Never Knows" is played. The band members remain largely unknown but singer Jim Morrison clearly can be heard contributing a growling, obscenity-laced vocal accompaniment. The band continued to play behind him, and Hendrix can be heard on the tape announcing Morrison's presence and offering him a better microphone. The recording, circulated among Hendrix and Doors collectors, is titled Morrison's Lament. Albums of the recording were sold under various titles (originally Sky High, then Woke Up this Morning and Found Myself Dead), some falsely claiming the presence of Johnny Winter's band. Johnny Winter has denied, several times, being a participant at that jam session.
Breakup of Jimi Hendrix Experience
The Jimi Hendrix Experience performed at London's Royal Albert Hall February 18 and February 24 1969, two sold-out concerts which became the last British appearance of the band. A Gold and Goldstein-produced film titled "Experience" was also recorded at these two shows, but remains to this day unreleased.
Noel Redding felt increasingly frustrated by the fact that he was not playing his original and favored instrument, the guitar. In 1968, he decided to form his own band "Fat Mattress", which would sometimes open for the Experience (Hendrix would jokingly refer to them as "Thin Pillow"). Redding and Hendrix would begin seeing less and less of each other, which also had an effect in the studio, with Hendrix playing many of the basslines on Electric Ladyland.
Redding was also increasingly uncomfortable with the hysteria surrounding Hendrix's performances. The last Experience concert took place on June 29 1969 at Barry Fey's [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.bobwyman.com/hendrix.html Denver Pop Festival], a three-day event held at Denver's Mile High Stadium that was marked by rioting and tear gas. The three bandmates were smuggled out of the venue in the back of a rental truck which was crushed by a mob of fans. The next day, Noel Redding announced that he had quit the Experience.<ref> Bob Wyman
. [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.bobwyman.com/hendrix.html Jimi Hendrix plays The Denver Pop Festival June 29 1969]
.</ref>
Legal troubles
Throughout 1969, Hendrix also experienced a number of legal difficulties. First, a contractual dispute arose in relation to an unfavorable agreement Hendrix had entered into with producer Ed Chalpin long before he became successful. The dispute was resolved when the parties agreed that Hendrix would record an album specifically for Chalpin which would be released under his auspices. This was the genesis of the live album entitled Band of Gypsys. Then on May 3, 1969, Hendrix was arrested at Toronto's Pearson International Airport after heroin and hashish were found in his luggage. Hendrix argued in his trial defense that the drugs were slipped into his bag by a fan without his knowledge, and he was acquitted.
Gypsy Sun and Rainbows
After the departure of Noel Redding from the group, Hendrix moved into a rented eight-bedroom mansion near the town of Shokan in upstate New York for the duration of the summer of 1969. Manager Michael Jeffery arranged the stay, with hopes that the respite would produce a new album. To replace Redding as bassist, Hendrix immediately tracked down Billy Cox, his old and trusted Army buddy. The trio of Hendrix, Cox, and Mitch Mitchell fulfilled his last commitment at the time, which was an appearance on The Tonight Show. In an effort to expand his sound beyond the power trio format, Hendrix then added rhythm guitarist Larry Lee (another old friend from his R&B days), and percussionists Juma Sultan and Jerry Velez.
He dubbed the new band Gypsy Sun and Rainbows, although this was never formally announced by management. The cohesion of the group in the relaxed, country atmosphere of the Shokan house inspired fresh material like "Jam Back at the House", "Shokan Sunrise", "Villanova Junction", and the funk driven centerpieces of Hendrix's post-Experience sound: "Message to Love" and "Izabella".
The band did not last long. After the Woodstock festival they appeared on only one more occasion, in Harlem, New York. Studio recordings of the band can be heard on the MCA Records box set The Jimi Hendrix Experience and on South Saturn Delta.
After the break-up of this band, Hendrix and Cox teamed up with another Hendrix friend, Buddy Miles (formerly with Wilson Pickett and The Electric Flag). They performed a short series of concerts under the name A Band of Gypsys. In 1999, Mitchell and Cox, along with guitarist Gary Serkin, performed some dates as the Gypsy Sun Experience.<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.allmusicguide.com/cg/amg.dll?p=amg&sql=11:hikzikn6bbf9~T1 All Music.com biography of Billy Cox]
. Allmusicguide.com
. Retrieved on 2006-04-26. </ref>
Woodstock
Hendrix's popularity eventually saw him headline the Woodstock music festival on August 18, 1969.
Due to enormous delays caused by bad weather and other logistical problems, Hendrix did not appear on stage until Monday morning, by which time the audience, which had peaked at over 500,000 people, had been reduced to, at most, 180,000, many of whom merely waited to catch a glimpse of Hendrix before leaving. The band was introduced at the festival as The Jimi Hendrix Experience, but Hendrix quickly corrected this to Gypsy Sun and Rainbows and launched into a two hour set (the longest of his career) that was plagued with technical difficulties. Hendrix suffered microphone level and guitar tuning problems, and one of his guitar strings snapped while performing Red House (though he kept playing regardless). Moreover, it was apparent that Jimi's new, much larger band had not rehearsed enough, and at times simply could not keep up with him. Despite this, Hendrix managed to deliver a historic performance, which featured his highly-regarded rendition of the "Star Spangled Banner", a solo improvisation which became a defining moment of the 1960s.
The controversial nature of Hendrix's style is epitomized in the sentiments expressed about his renditions of the "Star Spangled Banner", a tune he played loudly and sharply accompanied by simulated sounds of war (machine guns, bombs and screams) from his guitar. His impressionistic renditions have been described by some as anti-American mockery and by others a generation's statement on the unrest in U.S. society, oddly symbolic of the beauty, spontaneity, and tragedy endemic to Hendrix's life.
Hendrix claimed that he did not intend for his performance of the national anthem to be a political statement, that he simply intended it as a different interpretation of the anthem. When taken to task on the Dick Cavett Show regarding the "unorthodox" nature of his performance of the song at Woodstock, Hendrix replied, "I thought it was beautiful," which was greeted with applause from the audience. His later-career live favorite "Machine Gun" however, was clearly a protest song against war.
Woodstock was not the first time Hendrix played the Star Spangled Banner in concert. It was in fact a setlist staple from fall 1968 through the summer of 1970, and a studio version was released on the 1971 Rainbow Bridge album and later re-released on the 2000 The Jimi Hendrix Experience Box Set.
Band of Gypsys
The Gypsy Sun and Rainbows band was short-lived; after two post-Woodstock shows, some studio time, and an appearance on The Dick Cavett Show, Hendrix disbanded the group, but retained bassist Billy Cox. After attending to the successful defense of his drug possession charges in Toronto, Hendrix added drummer Buddy Miles and formed a new trio: the Band of Gypsys. Rehearsing for ten days at Juggy's sound studio, the group gelled quickly and produced a surprising amount of original material, including the lively "Earth Blues", which featured The Ronettes on background vocals. Four memorable concerts on New Year's Eve 1969-70 at Bill Graham's Fillmore East in New York captured several outstanding pieces, including one of Hendrix's greatest live performances: an explosive 12-minute rendition of his anti-war epic Machine Gun. The release of the Band of Gypsys album--the only official live recording sanctioned by and also produced by Jimi (under the name "Heaven Research") brought to an end the contract and legal battles with Ed Chalpin.
The second and final Band of Gypsys appearance occurred one month later (January 28 1970) at a twelve-act show in Madison Square Garden dubbed the Winter Festival for Peace. Similar to Woodstock, set delays forced Hendrix to take the stage at an inopportune 3am, only this time he was obviously high on drugs and in no shape to play. He belted out a dismal rendition of "Who Knows" before snapping a vulgar response at a woman who shouted a request for "Foxey Lady". He lasted halfway through a second song, then simply stopped playing, telling the audience: "That's what happens when earth fucks with space—never forget that". He then sat quietly on the stage until staffers escorted him away. Various explanations have been offered to explain this bizarre scene—Buddy Miles claimed that manager Michael Jeffery dosed Hendrix with LSD in an effort to sabotage the current band and bring about the return of the Experience lineup; blues legend Johnny Winter said it was Hendrix's girlfriend Devon Wilson who spiked his drink with drugs for unknown reasons.
Cry of Love band
Jeffery's reaction to the botched Band of Gypsys show was swift and firm; he immediately fired Buddy Miles and Billy Cox, then rushed Mitch Mitchell and Noel Redding over from England to begin press for the upcoming tour dates as a reunited Jimi Hendrix Experience. Before the tour began however, Jimi fired Redding from the band and reinstated Billy Cox. Fans refer to this final Hendrix/Cox/Mitchell lineup as the Cry of Love band, named after the tour.
Most of 1970 was spent recording during the week and playing live on the weekends. The "Cry of Love" tour, begun in April at the LA Forum, was structured to accommodate this pattern. Performances on this tour were occasionally uneven in sound quality, but featured Hendrix, Cox, and Mitchell playing new material alongside extended versions of older recordings. The tour included 30 performances and ended at Honolulu, Hawaii on August 1, 1970. A number of these shows were professionally recorded and produced some of Hendrix's most memorable live performances.
Electric Lady Studios
In 1968, Hendrix and Jeffery had invested jointly in the purchase of the Generation Club in Greenwich Village. Their initial plans to reopen the club were scrapped when the pair decided that the investment would serve them much better as a recording studio. The studio fees for the lengthy Electric Ladyland sessions were astronomical, and Jimi was constantly in search of a recording environment that suited him. In August, 1970, Electric Lady Studios was opened in New York. Hendrix was among the first major music artists to own his own recording studio (the Beatles had opened their Apple studios in London in January 1969).[citation needed]
Designed by architect and acoustician John Storyk, the studio was made specifically for Hendrix, with round windows and a machine capable of generating ambient lighting in a myriad of colors. It was designed to have a relaxing feel to encourage Jimi's creativity, but at the same time provide a professional recording atmosphere. Engineer Eddie Kramer upheld this by refusing to allow any drug use during session work.
Hendrix spent only four weeks recording in Electric Lady, most of which took place while the final phases of construction were still ongoing. An opening party was held on August 26, following a recording/dubbing session that generated his last studio recorded song, Belly Button Window.[citation needed] He then boarded an Air India flight for London (with Billy Cox in tow), joining Mitch Mitchell to perform at the Isle of Wight Festival.
European tour
The group then commenced on a tour of Europe designed to earn money to repay the studio loans, temper Jimi's mounting back taxes and legal fees, and fund the production of his next album, tentatively titled First Rays of The New Rising Sun. Longing for his new studio and creative outlets, the tour was a requirement by Jeffery that the already restless Hendrix was not eager to perform. Audience demands for the older hits and stage trickery that he had long tired of performing only served to worsen his mood. In Aarhus, Hendrix abandoned his show after only two songs, remarking: "I've been dead a long time".
While on tour in Sweden, Hendrix discovered the music of duo Hansson & Karlsson and became a big fan, recording a cover of their song "Tax Free". His LSD-fueled jam sessions with Swedish drummer-turned-TV-star Janne "Loffe" Carlsson (one half of Hansson & Karlsson), remain a legendary claim to fame in the Scandinavian country.<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.vinylvulture.co.uk/features/loffe.php Sing Loffe Sing – The Curious Recording Career of Janne Carlsson]
. Vinyl Vulture
.</ref>
In the months before Hendrix's death, the British music press claimed that Hendrix had plans to join the band Emerson, Lake & Palmer which were prevented only by his death.<ref>[seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.emersonlakepalmer.com/bio.html Emerson, Lake & Palmer official website].</ref>
On September 6, 1970, his final concert performance, Hendrix was greeted with some booing and jeering by fans at the Isle of Fehmarn Festival in Germany in a riot-like atmosphere reminiscent of the failed Altamont Festival. Shortly after he left the stage, it went up in flames during the first stage appearance of Ton Steine Scherben. Billy Cox quit the tour and headed home to Memphis, Tennessee, after reportedly being dosed with PCP.
Hendrix retreated to London, where he reached out to Chas Chandler, Eric Burdon, and other friends in a renewed attempt to divorce himself from manager Michael Jeffery. He caught up with Linda Keith, an old flame he still admired, and gave her a brand new black Fender Stratocaster as a token of his appreciation for her discovery efforts years earlier. Included in the guitar case was a stack of letters--all of their mutually written correspondence. Jimi's last public performance was an informal jam at Ronnie Scott's Jazz Club in Soho with Burdon and his latest band, War.
One of Hendrix's last known recordings was the lead guitar part on Old Times Good Times from Stephen Stills' eponymous album (1970), a track recorded at London's Island Studios.
Death
In the early morning hours of September 18 1970, Jimi Hendrix was found dead in the basement flat of the Samarkand Hotel at 22 Lansdowne Crescent in London. Hendrix died amid circumstances which have never been fully explained. He had spent the night with his German girlfriend, Monika Dannemann, and likely died in bed after drinking wine and taking nine Vesperax sleeping pills, then asphyxiating on his own vomit. For years, Dannemann publicly claimed that Hendrix was alive when placed in the back of the ambulance; however, her comments about that morning were often contradictory and confused, varying from interview to interview. Police and ambulance reports reveal that not only was Hendrix dead when they arrived on the scene, but he had been dead for some time, the apartment's front door was wide open, and the apartment itself empty. A poem written by Hendrix that was found in the apartment has led some to believe that he committed suicide.[citation needed] Following a libel case brought in 1996 by Hendrix's long-term British girlfriend Kathy Etchingham, Monika Dannemann committed suicide, though her later lover, Uli John Roth, has made accusations of foul play<ref>seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.ulijonroth.com/sky/lux_artis/monika_1.htm</ref>.
Some reports indicated that the paramedics who escorted Jimi out of the apartment did not support his head and that he was still alive. According to this version of events, he choked on his own vomit and died during the trip to the hospital, because his head and his neck were not supported.<ref>companion booklet to The Essential Jimi Hendrix Volumes One And Two, 1989, Reprise Records (page 7).</ref>
Reports that Hendrix's tapes of the concept album Black Gold had been stolen from the London flat are in fact wrong: the tapes were handed to Mitch Mitchell by Hendrix at the Isle of Wight Festival three weeks prior to his death.[citation needed] Hendrix's Greenwich Village apartment, however, was indeed plundered by an unknown series of vandals who stole numerous personal items, tapes, and countless pages of lyrics and poems, some of which have resurfaced in the hands of collectors or at auctions.[citation needed]
Hendrix's unfinished album was released under a title Cry of Love. The album was well received and peaked at position #3 on US Billboard album chart. However, the album's producers, Mitchell and Kramer, would later complain that they were unable to make use of some tracks at the time. The Cry of Love album was re-released to include all the tracks that Mitchell and Kramer had wanted to include, and is called First Rays of the New Rising Sun (1997).
Gravesite
Although Hendrix had verbally requested to be buried in England, his body was returned to Seattle and he was interred in Greenwood Memorial Park, Renton, Washington. Al Hendrix created a five-plot family burial site to include himself, his second wife Akayo June, his adopted daughter Janie, and son Leon. The headstone for Jimi contains a drawing of a Fender Stratocaster guitar, the instrument he was most famed for using.
As the popularity of Hendrix and his music grew over the decades following his death, concerns began to mount over fans damaging the adjoining graves at Greenwood, and the growing extended Hendrix family further prompted Al to create an expanded memorial site separate from other burial sites in the park. The memorial was announced in late 1999, but Al's deteriorating health led to delays. He died two months before its scheduled completion in 2002. Later that year, the remains of Jimi Hendrix, his father Al Hendrix, and grandmother Nora Rose Moore Hendrix were moved to the new site.
The memorial is an impressive granite dome supported by three pillars under which Jimi Hendrix is interred. Jimi's autograph is inscribed at the base of each pillar, while two stepped entrances and one ramped entrance provide access to the dome's center where the original Stratocaster adorned headstone has been incorporated into a statue pedestal. A granite sundial complete with brass gnomon adjoins the dome, along with over 50 family plots that surround the central structure, half of which are currently adorned with raised granite headstones.
To date, the memorial remains incomplete: brass accents for the dome and a large brass statue of Hendrix were announced as being under construction in Italy, but since 2002, no information as to the status of the project has been revealed to the public. In addition, a memorial statue of Jimi playing a Stratocaster stands near the corner of Broadway and Pine Streets in Seattle.
In May 2006 Seattle honored the music, artistry and legacy of Jimi Hendrix with the naming of a new park near Seattle's historic Colman School in the heart of the Central District.<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.seattle.gov/parks/park_detail.asp?ID=3121 Jimi Hendrix Park]
. City of Seattle
.</ref>
Personality
Fashion
Hendrix was well known for his unique sense of fashion, and strived to perfect his hairstyle and wardrobe almost to the point of obsession. A set of hair curlers was one of the few possessions that travelled with him to England upon his discovery in 1966. When his first advance check arrived, Hendrix immediately took to the streets of London in search of clothing at obscure fashion haunts like I Was Lord Kitchener's Valet, where he purchased an ages old British military jacket adorned with tasseled ropes. A traffic warden once ordered him to remove the jacket, citing it as an offense to the Queen.
Many photographs of Hendrix show him wearing various rings, medallions, and brooches, and Hendrix often peppered his attire with pins that professed his support for the hippie movement or his fascination with folk singer Bob Dylan. His only vacation, a two week trip to Morocco with friends Colette Mimram and Deering Howe, deeply affected his sense of art and style, and upon his return Hendrix filled his Greenwich Village apartment with Moroccan art and decor. Mimram and Stella Douglas, the wife of producer Alan Douglas, created some of Hendrix's most memorable attire: a Bowler style derby adorned with either an angled feather or a set of silver bangles, a Trilby hat crowned with a purple scarf and adorned with various brooches, the blue dashikis he wore on the Dick Cavett Show, and the blue on white fringed jacket that he wore at Woodstock.
He had enough of a sense of humor to poke fun at himself, specifically with the song "Purple Haze." A mondegreen had appeared, in which the line "'Scuse me while I kiss the sky" was misheard as "Scuse me while I kiss this guy." It is claimed that, in a few performances, Hendrix deliberately enunciated the line so as to emphasize the mondegreen.[citation needed] A volume of misheard lyrics has been published, with this mondegreen itself as the title, and Hendrix illustrated on the cover, taking the phrase literally.
Politics and racism
Modèle:Unbalanced Even after achieving worldwide success as a musician, Hendrix could not avoid experiences of racism, which was omnipresent whenever he returned to the Southern United States.
Hendrix was also shunned by much of the black community for playing "white music" and for having white musicians in his band. Weeks after Woodstock, his performance at a Harlem block party became a harrowing experience. Within seconds of arriving at the site, his guitar was stolen from the back seat of his car by two Harlem thugs. When he appeared stageside to watch the early acts with his girlfriend Carmen Borrero (a Puerto-Rican model), the crowd verbally harassed the pair. When he appeared on stage, he was bottled, and had eggs thrown at him from the crowd. After the show, drummer Mitch Mitchell and roadie Eric Barrett were physically assaulted while dismantling their set.
Hendrix was also constantly harassed by various civil rights oriented activist and extremist groups who wished to use his fame to further their own message or cause. The Black Panthers even went as far as posting signs for his appearance at a benefit concert that Hendrix never even knew existed.
Drug use
Hendrix is widely known for and associated with the use of hallucinogenic drugs, most notably LSD. A common opinion is that Jimi's use of LSD was integral in unlocking his creative process. He had never taken hallucinogens until the night he met Linda Keith, but likely experimented with other drugs in years prior. Various forms of sleeping pills and speed fueled his "stop and go" lifestyle throughout his career, and pictures exist of Hendrix smoking marijuana.
Jimi was also notorious among friends and bandmates for becoming angry and violent when he drank alcohol. Kathy Etchingham spoke of an incident that took place in a London pub in which an intoxicated Hendrix beat her with a public telephone handset because he thought she was calling another man on the payphone. Alcohol was also cited as the cause of Hendrix's 1968 rampage that destroyed a Stockholm hotel room and led to his arrest. Musician Paul Caruso's friendship with Hendrix ended in 1970 when Jimi punched him during an alcohol-fueled argument.
The most controversial topic however, concerns his alleged use of heroin. The Hendrix family, along with a portion of his friends and biographers, emphatically maintains that Hendrix was never a heroin user, citing his irrational fear of needles. Known today as trypanophobia, this condition was never medically diagnosed in Hendrix. A toxicology report prepared shortly after his death found no heroin in his body, nor were there any marks from needles. <ref>Cross, 2005, Room Full of Mirrors, p. 336.</ref>
Legacy
Hendrix synthesized many styles in creating his musical voice and his guitar style was unique, later to be abundantly imitated by others. Despite his hectic touring schedule and notorious perfectionism, he was a prolific recording artist and left behind more than 300 unreleased recordings.
His career and ill-timed death has grouped him with Brian Jones, Janis Joplin, and Jim Morrison as one of contemporary music's tragic "three J's", iconic '60s rock stars that suffered drug-related deaths at age 27 within months of each other, leaving legacies in death that have eclipsed the popularity and influence they experienced during their lifetimes.
Musically, Hendrix did much to further the development of the electric guitar repertoire. He moved the instrument to a higher level, establishing it as a unique sonic source, rather than merely an amplified version of the acoustic guitar. Likewise, his feedback and fuzz-laden soloing moved guitar distortion well beyond mere novelty, incorporating effects pedals and units (most notably the wah-wah pedal) with dramatic results.
Hendrix affected popular music with similar profundity; along with earlier bands such as The Who and Cream, he established a sonically heavy yet technically proficient bent to rock music as a whole, significantly furthering the development of hard rock and paving the way for heavy metal. He took blues to another level. His music has also had a great influence on funk and the development of funk rock especially through the guitarists Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic, Prince and Jesse Johnson of The Time. His influence even extends to many hip hop artists, including ?uestlove, Chuck D of Public Enemy, Ice-T (who covered "Hey Joe" with his heavy metal band Body Count), El-P and Wyclef Jean. Miles Davis was also deeply impressed by Hendrix and compared his improvisational skills with those of saxophonist John Coltrane,<ref>Modèle:Cite book</ref> and Davis would later want guitarists in his bands to emulate Hendrix.<ref>Davis, with Troupe (1989), Miles, pp. 319-320; 374.</ref> Hendrix was ranked number 3 on VH1's 100 Greatest Artists of Hard Rock behind Black Sabbath at the second spot, and Led Zeppelin, ranked number one. Hendrix was ranked number 3 on VH1's list of 100 Best Pop Artists of all time, behind the Rolling Stones and the Beatles. He has been voted by Rolling Stone, Guitar World, and a number of other magazines and polls as the best electric guitarist of all time.
In 1992, Hendrix was awarded the Grammy Lifetime Achievement Award.
Financial legacy
When Al Hendrix died of congestive heart failure in 2002, his will stipulated that Experience Hendrix, LLC was to exist as a trust designed to distribute profits to a list of Hendrix family beneficiaries. Upon his death, it was revealed that Al had signed a revision to his will which removed Jimi's brother Leon Hendrix as a beneficiary. A 2004 probate lawsuit merged Leon's challenge to the will with charges from other Hendrix family beneficiaries that Janie Hendrix was improperly handling the company finances. The suit argued that Janie and a cousin (Robert Hendrix) paid themselves exorbitant salaries and covered their own mortgages and personal expenses from the company's coffers while the beneficiaries went without payment and the Hendrix gravesite in Renton went uncompleted.
Janie and Robert's defense was that the company was not profitable yet, and that their salary and benefits were justified given the work that they put into running the company. Leon charged that Janie bilked Al Hendrix, then old and frail, into signing the revised will, and sought to have the previous will reinstated. The defense argued that Al willingly removed Leon from his will because of Leon's problems with alcohol and gambling. In early 2005, presiding judge Jeffrey Ramsdell handed down a ruling that left the final will intact, but replaced Janie and Robert's role at the financial helm of Experience Hendrix with an independent trustee. To date, the gravesite of Jimi Hendrix remains incomplete.
The Jimi Hendrix Foundation
In 1988, Al and Leon Hendrix commissioned the James (Jimi) Marshall Hendrix Foundation. This foundation is based in Renton, Washington and is devoted to helping people in all plights. When Al Hendrix passed in 2002, he donated the 'likeness' of his son Jimi to the foundation to be used in a non-profit manner to assist people less fortunate. In August, 2006 Jimi Hendrix's long-time best friend James (Jimmy) Williams took helm of the Foundation.
Guitar legacy
Fender Stratocaster
Hendrix owned and used a variety of guitars during his career. His guitar of choice however, and the instrument that became most associated with him, was the Fender Stratocaster, or "Strat". He bought his first Stratocaster in 1965 and thereafter used it almost exclusively for his stage performances and recordings.
Hendrix's emergence coincided with the lifting of post-war import restrictions (imposed in many British Commonwealth countries), which made the instrument much more available, and after its initial popularizers Buddy Holly and Hank B. Marvin, Hendrix arguably did more than any other player to make the Stratocaster the biggest-selling electric guitar in history. Before his arrival in the UK, most top players used Gibson and Rickenbacker models. After Hendrix, many leading guitarists including Jeff Beck, Ritchie Blackmore and Eric Clapton switched to the Stratocaster. Hendrix bought dozens of Strats and gave many away as gifts, including one to ZZ Top guitarist Billy Gibbons, although a former ZZ Top roadie claimed this was one of Gibbons' many made-up stories to the press. Many others were stolen, and a few were destroyed during his notorious guitar-burning finales. One formerly sunburst Strat which was mutilated by Hendrix at the 1968 Miami Pop Festival was given to Frank Zappa by a Hendrix roadie. Zappa had it hanging on a wall in his basement for years. He posed for the cover of Guitar Player Magazine holding this instrument, and recent news and an image of the refurbished instrument are available in the August 2006 issue of Guitar Player. In 1969, Hendrix met film director Edmund Darris in front of the Baby Grand Night Club where Hendrix was to meet with Albert King. Hendrix gave Edmund Darris tips on how to tune cross Spanish and how to play guitar. Edmund Darris went on to become a great guitarist because of this meeting.
The Strat's easy action and narrow neck were also ideally suited to Hendrix's evolving style and enhanced his tremendous dexterity: Hendrix's hands were large enough to fret across all six strings with his thumb, and he could play lead and rhythm parts simultaneously. Another remarkable fact about Hendrix is that he was left-handed, yet used right-handed guitars, playing them upside-down but re-strung for playing left-handed, so that the heavier strings were in their standard position at the top of the neck.<ref> « » </ref> He preferred this layout because the tremolo arm and volume and tone controls were more easily accessible above the strings, but it also had an important effect on the sound of his guitar: because of the stagger of the pickups' pole pieces, his lowest string had a bright sound while his highest string had a mellow sound—the opposite of the Strat's intended design.<ref> Wilson , Tom
(2004-11-13) . [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.modernguitars.com/archives/000039.html#tribute Seven Fender Stratocaster Models That Pay Tribute to Jimi Hendrix] . Modern Guitars Magazine
. Retrieved on 2007-09-23. </ref> This effect was exaggerated by the slant of the Strat's bridge pickup.
A new Stratocaster model (with a wide headstock) was launched in late 1968, and as the cohesion of the Experience began to deteriorate, Hendrix wished to vary his playing and his repertoire with this new design. Choosing Stratocasters with a light-tone maple fretboard (giving a "brighter" sound than the "darker" rosewood), he wanted to balance the high-power play with further versatility and velocity, so in early 1969, he opted for heavy-gauge strings which he combined with a tuning lowered a half-step from normal pitch, a technique which he picked up from Albert King in 1966. This enhanced the possibilities offered by the interlaced rhythm and solos during the Olmstead Studios sessions of April 1969. Later on tour, this stringing caused the drawback of more frequent losses in tuning after pushing down (or pulling) the tremolo bar; Hendrix would often ask the audience for a "minute to tune up" several times during the same concert.
In addition to Fender Stratocasters, Hendrix was also photographed playing Fender Jaguars, Gretsch Corvette, Duosonics and Jazzmasters, and Gibson Les Paul Customs and SGs (and in his pre- solo career, he was seen with an Ibanez Rhythm Guitar, very similar to today's Ibanez Jetking<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.sixties-ibanez.com/ The sixties ibanez page]
. Retrieved on 2007-09-25.
</ref>). Jimi used a white Gibson SG Custom for his performance on the Dick Cavett show in the summer of 1969, and the Isle of Wight film shows him playing a Gibson Flying V. While Jimi owned a number of Flying Vs throughout his career (included a black model with hand-painted designs by Hendrix), the Flying V used at the Isle of Wight was a unique left-handed guitar. Custom ordered from Gibson, Jimi's example featured gold hardware, a bound fingerboard and "split-diamond" fret markers that were not found on other 60s-era Flying Vs.
On December 4 2006, one of Hendrix's custom 1968 Fender Stratocaster guitars with a sunburst design was sold at a Christie's auction for USD$168,000.<ref name="sunburstsale"> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.usatoday.com/life/people/2006-12-04-rock-auction_x.htm Hendrix guitar goes for $168K at auction]
. USA Today (AP) (2006-12-04)
. Retrieved on 2007-09-18. </ref>
Amplifiers and effects
Hendrix was a catalyst in the development of modern guitar amplification and guitar effects. His high-energy stage act and the blistering volume at which he played required robust and powerful amplifiers. For the first few rehearsals he used Vox and Fender amplifiers. Sitting in with CREAM Hendrix played through a new range of high-powered guitar amps being made by London drummer turned audio engineer Jim Marshall and they proved perfect for his needs. Along with the Strat, the Marshall stack and Marshall amplifiers were crucial in shaping his heavily overdriven sound, enabling him to master the creative use of feedback as a musical effect, and his exclusive use of this brand soon made it the most popular amplifier in rock music.
The sound of Hendrix's recordings seemed to have progressively changed from the "sharp edge" of 1966 and 1967 to the warmer sounds of 1969 and 1970. The first two albums were recorded in England with his British-made Marshall amps operating at 240 volts/50 Hertz. He then recorded in the US (beginning in May 1968 on Electric Ladyland), under 110 volts/60 Hertz.[citation needed] The evolution in the Stratocasters used (pre-1968 versus post-1968 models) may have contributed to this change as well. Weather conditions may also have had an effect on his amps: the warm sound of Woodstock contrasts to the "edgy" sound of the Isle of Wight recordings.During the Isle of Wight video Hendrix has numerous equiptment problems, during "All Along the Watchtower" his wah pedal squeals at a high pitch instead of functioning normally, after struggling with it during a solo Hendrix can be clearly seen to turn toward the camera and his support crew and say "wah wah, get me another wah wah" as the show progresses further pieces of equiptment are replaced. Modèle:DisputableBoth Fender Stratocasters and Marshall amps were evolving to a more edgy sound, the Marshall amps in particular went through numerous electronic changes between 1966 and 1970 with the 1970 amp having considerably more treble edge than the earlier units. These supposed sound changes are more likely caused by the erratic performance of Arbiter Fuzz Face units which were highly inconsistent, and subject to changes in tone due to both temperature and battery conditions. As Hendrix's recording career progressed he made greater use of customized and custom voiced fuzz units or reworked Fuzz Faces. In contrast the first albums were made under more basic, low budget conditions with less time spent obtaining guitar sounds and effects.
Hendrix constantly looked for new guitar effects. He was one of the first guitarists to move past simple gimmickry and to exploit the full expressive possibilities of electronic effects such as the Arbiter Fuzz Face and wah-wah pedal. He had a fruitful association with engineer Roger Mayer who later went on to make, the Axis fuzz unit, the Octavia octave doubler and several other devices based on units Mayer had created or tweeked for Hendrix. The Japanese made Univibe was another effect and is particularly interesting, designed to electronically simulate the modulation effects of the rotating Leslie speaker it provided a rich phasing sound with a speed control pedal. The Band of Gypsies track "Machine Gun" higlights use of the univibe, octavia and fuzz face pedals.
It should be noted that while Jimi never used an Electro-Harmonix Big Muff, he did try out prototypes before he died and the tone of the pedal was modeled after Hendrix's tone.
The Hendrix sound combined high volume and high power, feedback manipulation, and a range of cutting-edge guitar effects. He was also known for his trick playing, which included playing with only his right (fretting) hand, using his teeth or playing behind his back, although he soon grew tired of audience demands to perform these tricks. Hendrix had large hands and used his thumb almost constantly to fret bass notes, leaving his fingers free to play melodic fills on top. A clear demonstration of this technique can be witnessed in the Woodstock video, during the song Red House there are excellent closeups of Hendrix fretting hand.
Discography
Studio albums
| Release Year | Album | US Chart | UK Chart | Notable Songs |
|---|---|---|---|---|
| 1967 | Are You Experienced | #5 | #2 |
|
| 1967 | Axis: Bold as Love | #3 | #5 | |
| 1968 | Electric Ladyland | #1 | #5 | |
| 1997 | First Rays of the New Rising Sun | #49 | #37 |
Live albums
| Release Year | Album | US Chart | UK Chart | Venue | Notable Performances |
|---|---|---|---|---|---|
| 1970 | Band of Gypsys | #5 | #5 | Bill Graham's Fillmore East Auditorium New York City January 1, 1970 (Two shows) |
|
Anticipated releases
Despite the extremely prolific recording career of Hendrix and the staggering volume of published content (estimated at over 500 unique releases), there are still items in the Hendrix vaults (and elsewhere) as yet unseen and unheard. Some of the tie-ups involve legal disputes or lost tapes, while others are simply being held by Experience Hendrix for release at intervals that the company deems worthy according to its long-term plans.
Copyright ownership dispute
The copyrights for a portion of Jimi Hendrix's music recently sold at auction for $16.5 million USD. The auction was sponsored by Ocean Tomo LLC. The sale has been blocked by a judge in New York City, however, pending the outcome of a dispute over the rightful ownership of the music.<ref> [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.therockradio.com/2006/11/jimi-hendrix-auction-blocked-by-judge.html Jimi Hendrix auction blocked by judge]
. The Rock Radio (November 22 2006)
.</ref>
See also
- Early life of Jimi Hendrix
- Jimi Hendrix discography
- Rainbow Bridge concert (Maui, Hawaii, 1970)
- Electric Lady Studios
- Eire Apparent
References
Other books
- Ken Matesich, Jimi Hendrix: A Discography, 1982
- David Stubbs, Jimi Hendrix: Voodoo Child: The Stories Behind Every Song, 2003
- John Kruth, Bright Moments: The Life & Legacy of Rahsaan Roland Kirk, 2004: ISBN 1-56649-105-3
- Brad Tolinski and Ross Halfin, Classic Hendrix: The Ultimate Hendrix Experience, Genesis Publications 2004
- Charles R. Cross, Room Full Of Mirrors: A Biography Of Jimi Hendrix', 2005
- Mark Lewisohn, The Complete Beatles Recording Sessions, Hamlyn 1988: ISBN 0600612074. See pp 164-5 re Apple recording studio.
Magazine articles
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.jimpress.co.uk Jimpress] magazine; Warrington, Cheshire, UK
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.univibes.com Univibes] magazine; Popiglio, Italy
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.jimi-hendrix.com/magazine Experience Hendrix] magazine; Seattle, USA
Interviews
- September 3, 1969 - for United Block Association at "Frank's Restaurant", Harlem, New York City, USA
- February 4, 1970 - at Mike Jeffery's apartment, W 44th St., New York City, USA
- September 11, 1970 - with Keith Altham at The Cumberland Hotel, Great Cumberland Place, Marble Arch, UK (last interview ever)
External links
Modèle:Wikiquote Modèle:Guitar
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.jimihendrixfoundation.com The Jimi Hendrix Foundation - Comissioned by Al and Leon Hendrix]
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.jimihendrix.com/ Official Jimi Hendrix website]
- Modèle:Musicbrainz artist
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.ptpcircuits.com/gallery1.html Photo gallery showing rare pictures inside Jimi's first Marshall JTM 45/100 amp]
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//video.aol.com/video-category/jimi-hendrix/2623 Jimi Hendrix LIVE]
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//www.limelightagency.com/jimi_hendrix/art_eng/_jimi_hendrix.html Official Estate release of the art and lyrics of Jimi Hendrix]
- [seattletimes.nwsource.com/html/pacificnw08072005/coverstory.html</ref>//guitar-pro-tabs.com/Fr/Tablatures/Tablatures%20H/Tabs,%20Jimi%20Hendrix.html Jimi Hendrix Guitar Tabs & Partitions]
Modèle:Persondata Modèle:DEFAULTSORT:Hendrix, Jimi Modèle:Link FA Modèle:Link FAar:جيمي هندريكس bs:Jimi Hendrix br:Jimi Hendrix bg:Джими Хендрикс ca:Jimi Hendrix cs:Jimi Hendrix da:Jimi Hendrix de:Jimi Hendrix et:Jimi Hendrix el:Τζίμι Χέντριξ es:Jimi Hendrix eo:Jimi Hendrix eu:Jimi Hendrix fa:جیمی هندریکس fr:Jimi Hendrix ga:Jimi Hendrix gl:Jimi Hendrix ko:지미 헨드릭스 hr:Jimi Hendrix io:Jimi Hendrix id:Jimi Hendrix is:Jimi Hendrix it:Jimi Hendrix he:ג'ימי הנדריקס ka:ჯიმი ჰენდრიქსი la:Jimi Hendrix lv:Džimijs Hendrikss lb:Jimi Hendrix lt:Jimi Hendrix ln:Jimi Hendrix hu:Jimi Hendrix mr:जिमी हेंड्रिक्स nl:Jimi Hendrix ja:ジミ・ヘンドリックス no:Jimi Hendrix oc:Jimi Hendrix pl:Jimi Hendrix pt:Jimi Hendrix ro:Jimi Hendrix ru:Хендрикс, Джими simple:Jimi Hendrix sk:Jimi Hendrix sl:Jimi Hendrix sr:Џими Хендрикс fi:Jimi Hendrix sv:Jimi Hendrix vi:Jimi Hendrix tr:Jimi Hendrix zh:吉米·亨德里克斯
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