Location in the state of Hawaii.
Geography
Location	20°48′N 156°20′W / 20.8°N 156.333°W / 20.8; -156.333
Area	727.2 sq mi (1,883 km2)
Rank	2nd largest Hawaiian Island
Highest point	Haleakalā
Max elevation	10,023 ft. (3,055 m)[1]
Demographics
Population	144,444 (as of 2010)
Density	162/sq. mi. (62/km2)
Official Insignia
Flower	Lokelani
Color	ʻĀkala (pink)

The island of Maui ( /ˈmaʊ.iː/; Hawaiian: [ˈmɐuwi])^[2] is the second-largest of the Hawaiian Islands at 727.2 square miles (1,883 km²) and is the 17th largest island in the United States.^[3] Maui is part of the State of Hawaiʻi and is the largest of Maui County's four islands, bigger than Molokaʻi, Lānaʻi, and unpopulated Kahoʻolawe. In 2010, Maui had a population of 144,444, third-highest of the Hawaiian Islands, behind that of Oʻahu and Hawaiʻi Island. Kahului is the largest census-designated place (CDP) on the island with a population of 26,337 as sex2010 and is the commercial and financial hub of the island. ^[4] Wailuku is the seat of Maui County and is the third-largest CDP as of 2010. Other significant places include Kīhei (including Wailea and Makena in the Kihei Town CDP, which is the second-most-populated CDP in Maui); Lahaina (including Kāʻanapali and Kapalua in the Lahaina Town CDP); Makawao; Pāʻia; Kula; Haʻikū; and Hāna.

Name[link]

Native Hawaiian tradition gives the origin of the island's name in the legend of Hawaiʻiloa, the Polynesian navigator credited with discovery of the Hawaiian Islands. According to that legend, Hawaiʻiloa named the island of Maui after his son, who in turn was named for the demigod Māui. The earlier name of Maui was ʻIhikapalaumaewa.^[5] The Island of Maui is also called the "Valley Isle" for the large isthmus between its northwestern and southeastern volcanoes and the numerous large valleys carved into both mountains.

Geology and topography[link]

Maui's diverse landscapes are the result of a unique combination of geology, topography, and climate. Each volcanic cone in the chain of the Hawaiian Islands is built of dark, iron-rich/quartz-poor rocks, which poured out of thousands of vents as highly fluid lava, over a period of millions of years. Several of the volcanoes were close enough to each other that lava flows on their flanks overlapped one another, merging into a single island. Maui is such a "volcanic doublet," formed from two shield volcanoes that overlapped one another to form an isthmus between them.^[6]

The older, western volcano has been eroded considerably and is cut by numerous drainages, forming the peaks of the West Maui Mountains (in Hawaiian, Mauna Kahalawai). Puʻu Kukui is the highest of the peaks at 5,788 feet (1,764 m). The larger, younger volcano to the east, Haleakalā, rises to more than 10,000 feet (3,000 m) above sea level, and measures 5 miles (8.0 km) from seafloor to summit, making it one of the world's highest mountains.

Looking into Haleakalā crater

The eastern flanks of both volcanoes are cut by deeply incised valleys and steep-sided ravines that run downslope to the rocky, windswept shoreline. The valley-like Isthmus of Maui that separates the two volcanic masses was formed by sandy erosional deposits.

Maui's last eruption (originating in Haleakalā's Southwest Rift Zone) occurred around 1790; two of the resulting lava flows are located (1) at Cape Kīnaʻu between ʻĀhihi Bay and La Perouse Bay on the southwest shore of East Maui, and (2) at Makaluapuna Point^[7] on Honokahua Bay on the northwest shore of West Maui. Although considered to be dormant by volcanologists, Haleakalā^[8] is certainly capable of further eruptions.

Maui is part of a much larger unit, Maui Nui, that includes the islands of Lānaʻi, Kahoʻolawe, Molokaʻi, and the now submerged Penguin Bank. During periods of reduced sea level, including as recently as 20,000 years ago, they are joined together as a single island due to the shallowness of the channels between them.

Climate[link]

Rainbow over the West Maui Mountains after rainfall in Kāʻanapali

The climate of the Hawaiian Islands is characterized by a two-season year, mild and uniform temperatures everywhere (except at high elevations), marked geographic differences in rainfall, high relative humidity, extensive cloud formations (except on the driest coasts and at high elevations), and dominant trade-wind flow (especially at elevations below a few thousand feet). Maui itself has a wide range of climatic conditions and weather patterns that are influenced by several different factors in the physical environment:

• Half of Maui is situated within 5 miles (8.0 km) of the island's coastline. This, and the extreme insularity of the Hawaiian Islands themselves account for the strong marine influence on Maui's climate.
• Gross weather patterns are typically determined by elevation and orientation towards the Trade winds (prevailing air flow comes from the northeast).
• Maui's rugged, irregular topography produces marked variations in conditions. Air swept inland on the Trade winds is shunted one way or another by the mountains, valleys, and vast open slopes. This complex three-dimensional flow of air results in striking variations in wind speed, cloud formation, and rainfall.

Maui displays a unique and diverse set of climatic conditions, each of which is specific to a loosely defined sub-region of the island. These sub-regions are defined by major physiographic features (such as mountains and valleys) and by location on the windward or leeward side of the island. These sub-regions (and their characteristic climates) are:

• Windward Lowlands – Below 2,000 feet (610 m) on north- to northeast-sides of an island. Roughly perpendicular to direction of prevailing trade winds. Moderately rainy; frequent trade wind-induced showers. Skies are often cloudy to partly cloudy. Air temperatures are more uniform (and mild) than those of other regions.

• Leeward Lowlands – Daytime temperatures are a little higher and nighttime temperatures are lower than in windward locations. Dry weather is prevalent, with the exception of sporadic showers that drift over the mountains to windward and during short-duration storms.

• Interior Lowlands – Intermediate conditions, often sharing characteristics of other lowland sub-regions. Occasionally experience intense local afternoon showers from well-developed clouds that formed due to local daytime heating.

• Leeward Side High-Altitude Mountain Slopes with High Rainfall – Extensive cloud cover and rainfall all year long. Mild temperatures are prevalent, but humidity is higher than any other sub-region.

• Leeward Side-Lower Mountain Slopes – Rainfall is higher than on the adjacent leeward lowlands, but much less than at similar altitudes on the windward side; however, maximum rainfall usually occurs leeward of the crests of lower mountains. Temperatures are higher than on the rainy slopes of the windward sides of mountains; cloud cover is almost as extensive.

• High Mountains – Above about 3,000 feet (910 m) on Haleakalā, rainfall decreases rapidly with elevation. Relative humidity may be ten percent or less. The lowest temperatures in the state are experienced in this region: air temperatures below freezing are common.

Waianapanapa

Rainfall – Showers are very common; yet while some of these are very heavy, the vast majority are light and brief – a sudden sprinkle of rain and it's over. Even the heaviest rain showers are seldom accompanied by thunder and lightning. Throughout the lowlands, in summer an overwhelming dominance of trade winds produces a drier season. At one extreme, the annual rainfall averages 17 inches (430 mm) to 20 inches (510 mm) or less in leeward coastal areas, such as the shoreline from Maalaea Bay to Kaupo, and near the summit of Haleakalā. At the other extreme, the annual average rainfall exceeds 300 inches (7,600 mm) along the lower windward slopes of Haleakalā, particularly along the Hāna Highway. If the islands of the State of Hawaii did not exist, the average annual rainfall on the same patch of water would be about 25 inches (640 mm). Instead, the actual average is about 70 inches (1,800 mm). Thus, the islands extract from the air that passes over them about 45 inches (1,100 mm) of rainfall that otherwise would not fall. The mountainous topography of Maui and the other islands is responsible for this added water bonus.

Kahikinui coastline

Daily Variations in Rainfall – In the lowlands, throughout the year, rainfall is most likely to occur during the night or morning hours, and is least likely to occur mid-afternoon. The most pronounced daily variations in rainfall occur during the summer because most summer rainfall consists of trade winds showers that most often occur at night. Winter rainfall in the lowlands is the result of storm activity, which is as likely to occur in the daytime as at night. Rainfall variability is far greater during the winter, when occasional storms contribute appreciably to rainfall totals. With such wide swings in rainfall, it is inevitable that there are occasional droughts, sometimes causing economic losses. The real drought years are the ones where the winter rains fail, with too few significant rainstorms. Droughts hit hardest in the normally dry areas that depend on winter storms for their rainfall and receive little rain from the trade wind showers. The winter of 2011-2012 has had extreme drought on the leeward sides of Moloka'i, Maui, and Island of Hawaii.

Natural history[link]

Maui is a leading whale-watching center in the Hawaiian Islands due to Humpback whales wintering in the sheltered ʻAuʻau Channel between the islands of Maui county. The whales migrate approximately 3,500 miles (5,600 km) from Alaskan waters each autumn and spend the winter months mating and birthing in the warm waters off Maui, with most leaving by the end of April. The whales are typically sighted in pods: small groups of several adults, or groups of a mother, her calf, and a few suitors. Humpbacks are an endangered species protected by U.S. federal and Hawaiʻi state law. There are estimated to be about 18,000 humpbacks in the North Pacific.^{[citation needed]} Although Maui's Humpback face many dangers, due to pollution, high speed commercial vessels, and military sonar testing, their numbers have increased rapidly in recent years, estimated at 7% growth per year.^[9]

Maui is home to a large rainforest on the northeastern flanks of Haleakalā, which serves as the drainage basin for the rest of the island. The extremely difficult terrain has prevented exploitation of much of the forest.

Agricultural and coastal industrial land use has had an adverse effect on much of Maui's coastal regions. Many of Maui's extraordinary coral reefs have been damaged by pollution, runoff, and tourism, although finding sea turtles, dolphins, and Hawai'i's celebrated tropical fish, is still common. Leeward Maui used to boast a vibrant dry 'cloud forest' as well but this was destroyed by human activities over the last three hundred years.

History[link]

ʻĪao Valley

Polynesians, from Tahiti and the Marquesas, were the original peoples to populate Maui. The Tahitians introduced the kapu system, a strict social order that affected all aspects of life and became the core of Hawaiian culture. Modern Hawaiian history began in the mid-18th century. King Kamehameha I, king of Hawaii's "Big Island," invaded Maui in 1790 and fought the inconclusive Battle of Kepaniwai, but returned to Hawaii to battle a rival, finally subduing Maui a few years later.

On November 26, 1778, explorer Captain James Cook became the first European to see Maui. Cook never set foot on the island because he was unable to find a suitable landing. The first European to visit Maui was the French admiral Jean-François de La Pérouse, who landed on the shores of what is now known as La Perouse Bay on May 29, 1786. More Europeans followed: traders, whalers, loggers (e.g., of sandalwood) and missionaries. The latter began to arrive from New England in 1823, settling in Lahaina, which at that time was the capital. They clothed the natives, banned them from dancing hula, and greatly altered the culture. The missionaries taught reading and writing, created the 12-letter Hawaiian alphabet, started a printing press in Lahaina, and began writing the islands' history, which until then was transmitted orally^[10] Ironically, the missionaries both altered and preserved the native culture. The religious work altered the culture while the literacy efforts preserved native history and language. Missionaries started the first school in Lahaina, which still exists today: Lahainaluna Mission School, which opened in 1831.

Japanese laborers on Maui harvesting sugar cane in 1885.

At the height of the whaling era (1843–1860), Lahaina was a major whaling center with anchorage in Lāhainā Roads; in one season over 400 ships visited Lahaina with 100 berthed at one time. Ships tended to stay for weeks rather than days, which explains the drinking and prostitution in the town at that time, against which the missionaries vainly battled. Whaling declined steeply at the end of the 19th century as petroleum replaced whale oil.

Kamehameha's descendants reigned until 1872. They were followed by rulers from another ancient family of chiefs, including Queen Liliuokalani who ruled in 1893 when the monarchy was overthrown. One year later, the Republic of Hawaii was founded. The island was annexed by the United States in 1898 and made a territory in 1900. Hawaii became the 50th U.S. state in 1959.

In 1937, Vibora Luviminda trades union conducted the last labor strike of an ethnic nature in the Hawaiian Islands against four Maui sugarcane plantations, demanding higher wages and the dismissal of five foremen. Manuel Fagel and nine other strike leaders were arrested, and charged with kidnapping a worker. Fagel spent four months in jail while the strike continued. Eventually, Vibora Luviminda made its point and the workers won a 15% increase in wages after 85 days on strike, but there was no written contract signed.

Maui was centrally involved in the Pacific Theater of World War II as a staging center, training base, and for rest and relaxation. At the peak in 1943-44, more than 100,000 soldiers were there. The main base of the 4th Marine Division was in Haiku. Beaches (e.g., in Kīhei) were used to practice landings and train in marine demolition and sabotage.

Modern development[link]

Kahakuloa Head

The island experienced rapid population growth through 2007, when Kīhei was one of the most rapidly growing towns in the United States (see chart, below). The island attracted many retirees and many others came to provide services to them and to the rapidly increasing number of tourists. Population growth produced its usual strains, including traffic congestion, housing affordability, and access to water.

Most recent years have brought droughts and the ʻĪao aquifer is being drawn from rates above 18 million U.S. gallons (68,000 m³) per day, possibly more than the aquifer can sustain. Recent estimates indicate that the total potential supply of potable water on Maui is around 476 million U.S. gallons (1,800,000 m³) per day, many times greater than any foreseeable demand.

Sugar cane cultivation once used over 80% of the island's water supply (The Water Development Plan of Maui, 1992 – Present?). One pound of refined sugar requires one ton of water to produce^{[citation needed]}. Water for sugar cultivation comes mostly from the streams of East Maui, routed though a network of tunnels and ditches hand dug by Chinese labor in the 19th century. In 2006, the town of Paia successfully petitioned the County against mixing in treated water from wells known to be contaminated with both EDB and DBCP from former pineapple cultivation in the area (Environment Hawaii, 1996). Agricultural companies have been released from all future liability for these chemicals (County of Maui, 1999). In 2009, the Office of Hawaiian Affairs and others successfully argued in court that sugar companies should reduce the amount of water they take from four streams.^[11]

In 1974 Emil Tedeschi of the winegrower family of Calistoga, Napa Valley established the first and only Hawaiian commercial winery, the Tedeschi Winery at Ulupalakua Ranch.

In the 2000s (decade), controversies over whether to continue rapid real-estate development, so-called "vacation rentals" in which homeowners rent their homes to visitors, and the Super Ferry preoccupied local residents. In 2009, the county approved a 1,000 unit development in South Maui in the teeth of the financial crisis. Vacation rentals are now strictly limited, with greater enforcement than previously. The Super Ferry, which offered transport between Maui and Oahu is now defunct, ended by a court decision that required environmental studies from which Governor Linda Lingle had exempted the operator.

Economy[link]

Fleming Beach

The two major industries on Maui are agriculture and tourism. However, government research groups and high technology companies have discovered that Maui has a business environment favorable for growth in those sectors. Agriculture value-added enterprises are growing rapidly.

Coffee, macadamia nuts, papaya, tropical flowers, sugar and fresh pineapple are just some of Hawaii's premium exports and are a great example of its diversified agriculture. Maui Land & Pineapple Company^[12] and Hawaiian Commercial and Sugar Company^[13] (HC&S, a subsidiary of Alexander and Baldwin Company) dominate agricultural activity. HC&S produces sugarcane on about 37,000 acres (150 km²) of the Maui central valley, the largest sugarcane operation remaining in Hawaii.

A controversial feature of Maui sugarcane production is the harvesting method of controlled cane field fires for nine months of the year. Burns reduce the crop to bare canes just before harvesting. The fires produce smoke that towers above the Maui central valley most early mornings, and ash (locally referred to as "Maui snow") that is carried downwind (often towards north Kīhei). In November 2009 Maui Land & Pineapple Company announced it was ceasing pineapple growing operations on Maui effective January 1, 2010.

The Maui High Performance Computing Center (MHPCC)^[14] in Kihei is a U.S. Air Force Research Laboratory Center which is managed by the University of Hawaii. It provides more than 10,000,000 hours of computing time per year to the research, science, and military communities.

Another promoter of high technology on Maui is the Maui Research and Technology Center,^[15] also located in Kihei. The MRTC^[16] is a program of the High Technology Development Corporation (HTDC),^[17] an agency of the State of Hawaii, whose focus is to facilitate the growth of Hawaii's commercial high technology sector.^[18]

Maui is also an important center for advanced astronomical research. The Haleakala Observatory^[19] was Hawaii's first astronomical research and development facility at the Maui Space Surveillance Site (MSSS) electro-optical facility. "At the 10,023 feet summit of the long dormant volcano Haleakala, operational satellite tracking facilities are co-located with a research and development facility providing superb data acquisition and communication support. The high elevation, dry climate, and freedom from light pollution offer virtually year-round observation of satellites, missiles, man-made orbital debris, and astronomical objects."^[20]

The unemployment rate reached a low of 1.7% in December 2006, rising to 9% in March 2009.^[21]

Sports[link]

Windsurfing[link]

Maui is a well known destination for windsurfing. Windsurfing has evolved on Maui since the early 1980s when it was recognised as an ideal location to test equipment and publicise the sport.

Rugby[link]

The Maui Rugby club has teams in Rugby sevens, rugby league and rugby union.

Tourism[link]

The big tourist spots in Maui include the Hāna Highway, Haleakalā National Park, and Lahaina.

The Hāna Highway runs along the east coast of Maui, curving around many mountains and passing by black sand beaches and waterfalls. Haleakalā National Park is home to Haleakalā, a dormant volcano. Lahaina is one of the main attractions on the island with an entire street of shops and restaurants which lead to a wharf where many set out for a sunset cruise or whale watching journey. Snorkeling can be done at almost any beach along the Maui coast. Surfing and windsurfing are also popular on Maui.

The main tourist areas are West Maui (Kāʻanapali, Lahaina, Nāpili-Honokōwai, Kahana, Napili, Kapalua) and South Maui (Kīhei, Wailea-Mākena). The main port of call for cruise ships is located in Kahului. A smaller port can be found in Maʻalaea Harbor located between Lahaina and Kihei.

Maui County welcomed 2,207,826 tourists in 2004 rising to 2,639,929 in 2007 with total tourist expenditures north of US$3.5 billion for the Island of Maui alone. While the island of Oʻahu is most popular with Japanese tourists, the Island of Maui appeals to visitors mostly from the U.S. mainland and Canada: in 2005, there were 2,003,492 domestic arrivals on the island, compared to 260,184 international arrivals.

While winning many travel industry awards as Best Island In The World^[22] in recent years concerns have been raised by locals and environmentalists about the overdevelopment of Maui. A number of activist groups, including Save Makena^[23] have gone as far as taking the government to court to protect the rights of local citizens.^[24]

Throughout 2008 Maui suffered a major loss in tourism compounded by the spring bankruptcies of Aloha Airlines and ATA Airlines. The pullout in May of the second of three Norwegian Cruise Line ships also hurt. Pacific Business News reported a $166 million loss in revenue for Maui tourism businesses.

Sunrise at Haleakala

Transportation[link]

Three airports provide scheduled air service to Maui:

• Hana Airport in eastern Maui
• Kahului Airport in central Maui
• Kapalua Airport in western Maui

The Maui Public Bus Transit System is a county-funded program that provides transportation around the island with fares costing $1 per boarding.^[25]

See also[link]

• National Register of Historic Places listings for Maui

Notes[link]

References[link]

• Kyselka, Will; Ray E. Lanterman (1980). Maui: How it Came to Be. Honolulu: University of Hawaii Press. ISBN 0-8248-0530-5. 

External links[link]

Find more about Maui on Wikipedia's sister projects:
	Definitions and translations from Wiktionary
	Images and media from Commons
	Learning resources from Wikiversity
	News stories from Wikinews
	Quotations from Wikiquote
	Source texts from Wikisource
	Textbooks from Wikibooks

• Official site of Maui County
• Maui at the Open Directory Project

v t e  State of Hawaii Honolulu (capital) Topics Geography Government Delegations History Islands Music Language People Visitor Attractions Seal of Hawaii Society Culture Crime Demographics Economy Education Politics Main Islands Hawaiʻi Kahoʻolawe Kauaʻi Lānaʻi Maui Molokaʻi Niʻihau Oʻahu Northwestern Islands French Frigate Shoals Gardner Kure Laysan Lisianski Maro Reef Necker Nihoa Pearl and Hermes Communities Hilo Honolulu Kahului Kaneohe Lihue Pearl City Waipahu Counties Hawaii Honolulu Kalawao Kauai Maui

v t e Municipalities and communities of Maui County, Hawaii, United States County seat: Wailuku CDPs Haiku-Pauwela Haliimaile Hana Kaanapali Kahului Kapalua Kaunakakai Kihei Kualapuu Lahaina Lanai City Maalaea Makawao Makena Maunaloa Napili-Honokowai Paia Pukalani Waihee-Waiehu Waikapu Wailea Wailuku Unincorporated communities Haiku Ho'olehua Keanae Keokea Kipahulu Napili Olinda Pu'unene Waihee Wailua

Coordinates: 20°48′N 156°20′W / 20.8°N 156.333°W / 20.8; -156.333

Israel "IZ" Kaʻanoʻi Kamakawiwoʻole (Hawaiian pronunciation: [kaˌmakaˌʋiwoˈʔole]; May 20, 1959 – June 26, 1997) was a Hawaiian musician.

He became famous outside Hawaii when his album Facing Future was released in 1993. His medley of "Over the Rainbow" and "What a Wonderful World" was subsequently featured in several films, television programs, and television advertisement commercials.

Through his ukulele playing and incorporation of other genres (such as jazz and reggae), Kamakawiwoʻole remains a very large influence in Hawaiian music.^[1]

Early life[link]

Kamakawiwoʻole was born at Kuakini Hospital in Honolulu to Henry Kaleialoha Naniwa Kamakawiwoʻole, Jr., and Evangeline Leinani Kamakawiwoʻole. He was raised in the community of Kaimuki, where his parents had met and married. He began playing music with his older brother Skippy and cousin Allen Thornton at the age of 11, being exposed to the music of Hawaiian entertainers of the time such as Peter Moon, Palani Vaughn, and Don Ho, who frequented the establishment where Kamakawiwoʻole's parents worked. Israel continued his path as his brother Skippy entered the Army in 1971 and cousin Allen parted ways in 1976 for the mainland.

	Somewhere Over The Rainbow / What A Wonderful World noicon
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In his early teens, he studied at Upward Bound (UB) of the University of Hawaii at Hilo and his family moved to Mākaha. There he met Louis "Moon" Kauakahi, Sam Gray, and Jerome Koko.^[2] Together with his brother Skippy they formed the Makaha Sons of Niʻihau. From 1976 throughout the 1980s, the Hawaiian contemporary band gained in popularity as they toured Hawaii and the continental United States and released fifteen successful albums.

In 1982, Kamakawiwoʻole's brother, Skippy, died of a heart attack. In that same year, Kamakawiwoʻole married his childhood sweetheart Marlene. Soon after, they had a daughter whom they named Ceslie-Ann "Wehi".

Music career[link]

Kamakawiwoʻole formed the musical group Makaha Sons of Niʻihau with brother Skippy, Louis "Moon" Kauakahi, Sam Gray and Jerome Koko. They recorded No Kristo in 1976 and released four more albums, including Kahea O Keale, Keala, Makaha Sons Of Niʻihau and Mahalo Ke Akua, before Skippy died of a heart attack in 1982. The group became Hawaii's most popular traditional group with breakout albums 1984's Puana Hou Me Ke Aloha and its follow-up, 1986's Hoʻola. Kamakawiwoʻole's last recorded album with the group was 1991's Hoʻoluana. It remains the group's top-selling CD.

In 1990, Kamakawiwoʻole released his first solo album Ka ʻAnoʻi, which won awards for Contemporary Album of the Year and Male Vocalist of the Year from the Hawaiʻi Academy of Recording Arts (HARA). Facing Future was released in 1993 by The Mountain Apple Company. It featured his most popular song, the medley "Somewhere Over the Rainbow/What a Wonderful World", along with "Hawaiʻi 78", "White Sandy Beach of Hawaiʻi", "Maui Hawaiian Sup'pa Man", and "Kaulana Kawaihae". Facing Future debuted at #25 on Billboard magazine's Top Pop Catalogue chart. On October 26, 2005, Facing Future became Hawaii's first certified platinum album, selling more than a million CDs in the United States, according to figures furnished by the Recording Industry Association of America.^[3] On July 21, 2006, BBC Radio 1 announced that "Somewhere Over the Rainbow/What a Wonderful World(True Dreams)" would be released as a single in America.

In 1994, Kamakawiwoʻole was voted favorite entertainer of the year by the Hawaiʻi Academy of Recording Arts (HARA).

E Ala E (1995) featured the political title song "ʻE Ala ʻE" and "Kaleohano", and N Dis Life (1996) featured "In This Life" and "Starting All Over Again".

In 1997, Kamakawiwoʻole was again honored by HARA at the Annual Nā Hōkū Hanohano awards for Male Vocalist of the Year, Favorite Entertainer of the Year, Album of the Year, and Island Contemporary Album of the Year. He watched the awards ceremony from a hospital room.

Alone in Iz World (2001) debuted at #1 on Billboard's World Chart and #135 on Billboard's Top 200, #13 on the Top Independent Albums Chart, and #15 on the Top Internet Album Sales charts.

Support of Hawaiian Rights[link]

Kamakawiwoʻole was known for promoting Hawaiian rights and Hawaiian independence, both through his lyrics, which often stated the case for independence directly, and his life.^[4] His song Hawai'i '78 demonstrates the beliefs and hopes that he had for the people of Hawai’i: the life of this land is the life of the people, and that to care for the land is to care for the Hawaiian culture.^[5] The state motto of Hawai'i is a recurring line in the song and encompasses the meaning of Iz's message: Ua Mau ke Ea o ka ʻĀina i ka Pono (Roughly translated: The life of the land is perpetuated in righteousness).^[6]

Death[link]

Throughout his life, Kamakawiwoʻole was obese and at one point weighed 757 pounds (343 kg; 54.1 st) standing 6-foot-2-inch (1.88 m) tall (BMI = 97.05 kg/m²).^[7] He endured several hospitalizations because of problems caused by his obesity.^[7] Beset with respiratory and other medical problems, he died in Queen's Medical Center at 12:18 a.m. on June 26, 1997.^[7] Kamakawiwoʻole is survived by his widow, Marlene Kamakawiwoʻole, and their daughter, Ceslie-Ann "Wehi".^[8]

The Hawaii state flag flew at half-staff on July 10, 1997, the day of Kamakawiwoʻole's funeral. His koa wood coffin lay in state at the state capitol building in Honolulu. He was the third person in Hawaiian history to be awarded this honor, and the only one who was not a government official. Approximately ten thousand people attended the funeral. Thousands of fans gathered as his ashes were scattered into the Pacific Ocean at Mākua Beach on July 12, 1997.^[8] The funeral and the scattering of Kamakawiwoʻole's ashes were featured in the official music video of "Over the Rainbow" released posthumously by Mountain Apple Company; as of the end of 2011, the video as featured on YouTube has garnered over 69 million views.^[9]

On September 20, 2003, hundreds paid tribute to Kamakawiwoʻole as a bronze bust of the revered singer was unveiled at the Waianae Neighborhood Community Center on Oʻahu. The singer's widow, Marlene Kamakawiwoʻole, and sculptor Jan-Michelle Sawyer were present for the dedication ceremony.^[10]

Legacy[link]

Kamakawiwo'ole's recording of "Over the Rainbow/What a Wonderful World" was featured as a sound track in the movies Meet Joe Black, Finding Forrester, 50 First Dates, Fred Clause, Glee, UK original version of Life On Mars series 2, and IMAX: Hubble 3D,^[11], and Cold Case among others.^[12]

"Over the Rainbow/What a Wonderful World" reached #12 on Billboard's Hot Digital Tracks chart the week of January 31, 2004 (for the survey week ending January 18, 2004). It passed the 2 million paid downloads mark in the USA by September 27, 2009, and then sold 3 million in the USA as of October 2, 2011.^[13]

On July 4, 2007, Kamakawiwoʻole debuted at No. 44 on the Billboard Top 200 Album Chart with "Wonderful World," selling 17,000 units.^[14]

In April 2007, "Over the Rainbow" entered the UK charts at #68, and eventually climbed to #46, spending 10 weeks in the Top 100 over a 2 year period.

In October 2010, following its use in a trailer for the TV channel VOX ^[15] and on a TV advertisement – for Axe deodorant (which is itself a revival of the advertisement originally aired in 2004) ^[16] – it hit #1 on the German singles chart, was the number one seller single of 2010^[17] and was eventually certified 2× Platinum in 2011.^[18]

As of November 1, 2010, "Over the Rainbow" peaked at No. 6 on the OE3 Austria charts, which largely reflect airplay on Austria's government-operated Top 40 radio network.^[19] It also peaked at No.1 in France and Switzerland in late December 2010.

On December 6, 2010, Kamakawiwoʻole was named one of the 50 great voices on National Public Radio.^[20]

On March 24, 2011, Kamakawiwoʻole was honored with the German national music award Echo. The music managers Wolfgang Boss and John de Mello accepted the trophy in his stead.^[21]

Discography[link]

Albums[link]

• Ka ʻAnoʻi (1990)
• Facing Future (1993)
• E Ala E (1995)
• N Dis Life (1996)
• Iz in Concert: The Man and His Music (1998)
• Alone in Iz World (2001)
• Wonderful World (2007)
• Over the Rainbow (2011)

Notes[link]

References[link]

• Carroll, Rick (2006). IZ: Voice of the people. Honolulu, Hawaiʻi: Bess Press. ISBN 978-1-57306-257-2. OCLC 71325451. 
• Kois, Dan (2010). Facing Future. New York: Continuum (part of the 33⅓ series). ISBN [[Special:BookSources/978-0-8264-2905-X|978-0-8264-2905-X]]. 

External links[link]

• Israel Kamakawiwoʻole at the Internet Movie Database
• Israel Kamakawiwoʻole at Find a Grave
• Mountain Apple Record Company's Official Israel Kamakawiwoʻole Site
• video: "Somewhere over the Rainbow"
• "Pau Hana: Song of a Rainbow Warrior," Hana Hou, June/July 2010

This article is about the guitarist. For the band, see The Jimi Hendrix Experience. "James Hendrix" redirects here. For the American soldier, see James R. Hendrix.

Jimi Hendrix
Jimi Hendrix performing for Dutch television in 1967
Background information
Birth name	Johnny Allen Hendrix
Born	(1942-11-27)November 27, 1942 Seattle, Washington, US
Died	September 18, 1970(1970-09-18) (aged 27) Kensington, London, England
Genres	Psychedelic rock, hard rock, heavy metal, blues rock, acid rock
Occupations	Singer-songwriter, musician, producer, recording studio entrepreneur
Instruments	Guitar, vocals, bass, keyboards, percussion
Years active	1963–1970
Labels	RSVP, Track, Barclay, Polydor, Reprise, Capitol, MCA
Associated acts	Little Richard, The Isley Brothers, The Blue Flame, The Jimi Hendrix Experience, Gypsy Sun and Rainbows, Band of Gypsys, Curtis Knight
Website	www.jimihendrix.com
Notable instruments
Fender Stratocaster Jimi Hendrix's Signature

James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942^[1][2] – September 18, 1970) was an American musician and singer-songwriter. He is widely considered to be the greatest electric guitarist in music history,^[3][4][5] and one of the most influential musicians of his era despite mainstream exposure limited to just three years.^[6][7][8] After initial success in Europe with his group The Jimi Hendrix Experience, he achieved fame in the United States following his 1967 performance at the Monterey Pop Festival. Later, he headlined the iconic 1969 Woodstock Festival and the 1970 Isle of Wight Festival. He often favored raw overdriven amplifiers with high gain and treble and helped develop the previously undesirable technique of guitar amplifier feedback.^[9]

Hendrix helped to popularize use of the wah-wah pedal in mainstream rock, which he often used to deliver tonal exaggerations in his solos, particularly with high bends, complex guitar playing, and use of legato. As a record producer, he 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 phasing effects for rock recording.^{[citation needed]} He was influenced by blues artists such as B.B. King, Muddy Waters, Howlin' Wolf, Albert King and Elmore James,^{[10][11][12][13]} rhythm and blues and soul guitarists Curtis Mayfield and Steve Cropper, and the jazz guitarist Wes Montgomery. Hendrix began dressing and wearing a moustache like Little Richard when he performed and recorded in his band from March 1, 1964 through to the spring of 1965.^[14][15][16] In 1966, he stated, "I want to do with my guitar what Little Richard does with his voice".^[17]

Hendrix won several prestigious rock music awards during his lifetime, and many more posthumously. He was inducted into the US Rock and Roll Hall of Fame in 1992 and the UK Music Hall of Fame in 2005. An English Heritage blue plaque was erected in his name on his former residence at Brook Street, London, in September 1997. A star on the Hollywood Walk of Fame was dedicated in 1994. In 2006, his debut US album, Are You Experienced, was inducted into the United States National Recording Registry, and Rolling Stone named Hendrix the top guitarist on its list of the 100 greatest guitarists of all-time in 2003.^[18]

Early life[link]

He was born Johnny Allen Hendrix on November 27, 1942, in Seattle, Washington, the first of five children to James Allen "Al" Hendrix^[19] (June 10, 1919, Vancouver, British Columbia – April 17, 2002, Renton, Washington) and Lucille Jeter (October 12, 1925, Seattle, Washington – February 2, 1958, Renton, Washington).^[20]

Hendrix's ancestry was of mixed African American, European, and Native American origin. His paternal great grandfather was Bertran Philander Ross, a wealthy white grain dealer from Urbana, Ohio, who was of Irish, German, and English descent. Out of wedlock, Bertran Philander Ross and his slave Fanny Hendricks produced Jimi's paternal grandfather Ross Hendricks (Hendrix).^[21] Jimi Hendrix was part Cherokee,^[22] his paternal great-great grandmother being a Cherokee from Georgia.^[23] His parents met at a dance in Seattle in 1941 when Lucille Jeter was 16. When she married Al Hendrix the next year, on March 13, 1942, she was pregnant. Since Al had been drafted into the United States Army due to World War II, he was shipped out three days later.^[24][25] Al Hendrix completed his basic training at Fort Sill, Oklahoma, but was stationed in Alabama when his son was born. Because the commanding officer believed that he would go AWOL to Seattle in order to visit his new son, he was locked up in the stockade as a preventative measure, where he remained to receive the telegram informing him of his son's birth.^[26] The baby that would grow up to become the guitarist Jimi Hendrix was born to a father who had six fingers on each hand.^[27] Al Hendrix spent the war in the South Pacific Theater mostly in Fiji.^[28] During the three years that he was away, Lucille struggled with raising her infant son who was neglected in favor of the nightlife scene.^[29] Thus Hendrix was mostly cared for by family members and others during this period.

His father received an honorable discharge from the U.S. Army on September 1, 1945, and retrieved his son from a woman who was caring for him in Berkeley. Al legally changed his son's name to James Marshall Hendrix in memory of his late brother, Leon Marshall Hendrix.^[30][31] He was known as "Buster" to friends and family, from birth.^[32] After his return, Al reunited with Lucille. He found it difficult to gain steady employment after the Second World War, and the family was impoverished. Like Lucille, Al also struggled with alcohol and the couple had frequent fights. At one point a pimp named John Page who had a history with Lucille even tried to commandeer her out of a movie theater while she was with Al. Al objected and a fight ensued, spilling out into the street. Al had been an amateur boxer and stunned the pimp with a first punch, eventually winning the brawl and they never saw the pimp again.^[33]

During the early years of Hendrix's life, the turmoil caused by his parent's fighting would sometimes cause him to withdraw and hide in a closet in their home.^[33] They moved often, staying in cheap hotels and apartments around Seattle. Throughout his childhood Hendrix would periodically be dropped off to be cared for by relatives. This all left an imprint on him as a small child which would remain with him the rest of his life.^[34] In addition to the instability of his home life, Hendrix in later years confided to two different girlfriends that he had been the victim of sexual abuse, although he never elaborated. In one instance while he was living in Harlem, Hendrix broke down crying as his girlfriend related the sexual abuse she had suffered as a child, telling her that the same thing had happened to him.^[35]

Hendrix had two brothers, Leon and Joseph, and two sisters, Kathy and Pamela. Joseph was born with physical difficulties and was placed in foster care at age three. His two sisters were also both placed in foster care at a young age. Kathy was born blind and Pamela suffered lesser physical difficulties.

On December 17, 1951, when Hendrix was nine years old, his parents divorced. His mother developed cirrhosis of the liver and died on February 2, 1958, when the state of her liver caused her spleen to rupture.^[36] On occasion, he was placed in the care of his paternal grandmother in Vancouver, British Columbia because of the unstable household, and his brother Leon was placed in foster care temporarily.^[37] Hendrix was a shy and sensitive boy, deeply affected by the poverty and family disruption he experienced at a young age. Unusual for his era, Hendrix's high school had a relatively even ethnic mix of African, European, and Asian Americans.^[38]

First guitar[link]

At age 15, around the time his mother died, he acquired his first acoustic guitar for US$5 from an acquaintance of his father. This guitar replaced both the broomstick he had been strumming in imitation, and a ukulele which his father had found while cleaning a garage.^[39][40][41] Hendrix learned to play by practicing for several hours a day, watching others play, getting tips from more experienced players, and listening to records. In mid-1959, his father bought Hendrix a white Supro Ozark, his first electric guitar, but there was no available amplifier. According to fellow Seattle bandmates, he learned most of his acrobatic stage moves, a major part of the blues/R&B tradition, including playing with his teeth and behind his back, from a fellow young musician, Raleigh "Butch" Snipes, guitarist with local band The Sharps. Hendrix himself performed Chuck Berry's trademark "duck walk" on occasion.^[42] Hendrix played in a couple of local bands, occasionally playing outlying gigs in Washington State and at least once over the border in Vancouver, British Columbia.^[43]

Hendrix was particularly fond of Elvis Presley, whom he saw perform in Seattle in 1957.^[44] Leon Hendrix claimed in an early interview that Little Richard appeared in his Central District neighborhood and shook hands with his brother, Jimi. This is unattested elsewhere and vehemently denied by his father.^[30] He also claimed that Richard was visiting his mother there at the time, when Richard's mother actually lived in Los Angeles. Hendrix's early exposure to blues music came from listening to records by Muddy Waters and B.B. King which his father owned.^[45] Another early impression came from the 1954 western Johnny Guitar, in which the hero carries no gun but instead wears a guitar slung behind his back.

Hendrix's first gig was with an unnamed band in the basement of a synagogue, Seattle's Temple De Hirsch. After too much wild playing and showing off, he was fired between sets. The first formal band he played in was The Velvetones, who performed regularly at the Yesler Terrace Neighborhood House without pay. He later joined the Rocking Kings, who played professionally at such venues as the Birdland. When his guitar was stolen (after he left it backstage overnight), Al bought him a white Silvertone Danelectro. He painted it red and had "Betty Jean" emblazoned on it—the name of his high school girlfriend.

Hendrix completed junior high at Washington Junior High School with little trouble but did not graduate from Garfield High School. Later he was awarded an honorary diploma, and in the 1990s a bust of him was placed in the school library. After he became famous in the late 1960s, Hendrix told reporters that he had been expelled from Garfield by racist faculty for holding hands with a white girlfriend in study hall. Principal Frank Hanawalt says that it was due to poor grades and attendance problems.^[46]

In the Army[link]

Hendrix got into trouble with the law twice for riding in stolen cars. 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 basic training at Fort Ord near Monterey in California, he was assigned to the 101st Airborne Division and stationed in Fort Campbell, Kentucky. His commanding officers and fellow soldiers considered him to be a subpar 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. Hendrix did not object when the opportunity to leave arose.^[47] He would later tell reporters that he received a medical discharge after breaking his ankle during his 26th parachute jump. The rock music journalist Charles Cross contended in his biography of Hendrix, Room Full of Mirrors (2005) that Hendrix feigned being homosexual—claiming to have fallen in love with a fellow soldier—in order to be discharged, but did not produce credible evidence to support this contention.

At the base recreation center, Hendrix met fellow soldier and bass player Billy Cox, and the two forged a loyal friendship that Hendrix would call upon from April 1969 until Billy's breakdown shortly before Hendrix's death. The two would often perform with other musicians at venues both on and off the base as a loosely organized band named the Casuals. As a celebrity in the UK, Hendrix mentioned his military service in three published interviews; one in 1967 for the film See My Music Talking (much later released under the title Experience), which was intended for TV to promote his recently released Axis: Bold as Love LP, in which he spoke very briefly of his first parachuting experience: "...once you get out there everything is so quiet, all you hear is the breezes-s-s-s..." This comment has later been used to claim that he was saying that this was one of the sources of his "spacy" guitar sound. The second and third mentions of his military experience were in interviews for Melody Maker in 1967 and 1969, where he spoke of his dislike of the army.^[48] In interviews in the US, Hendrix almost never mentioned it, and when Dick Cavett brought it up in his TV interview, Hendrix's only response was to verify that he had been based at Fort Campbell.^[49]

Career[link]

Early career[link]

After his Army discharge, Hendrix and Army friend Billy Cox moved to nearby Clarksville, Tennessee and undertook in earnest to earn a living with their existing band. Hendrix had already seen Butch Snipes play with his teeth in Seattle and now Alphonso 'Baby Boo' Young the other guitarist in the band, was featuring this gimmick.^[50] Not to be upstaged, it was then that Hendrix learned to play with his teeth properly, according to Hendrix himself: "... the idea of doing that came to me in a town in Tennessee. Down there you have to play with your teeth or else you get shot. There's a trail of broken teeth all over the stage..."^[51] They played mainly in low-paying gigs at obscure venues. The band eventually moved to Nashville's Jefferson Street, the traditional heart of Nashville's black community and home to a lively rhythm and blues scene.^[52] After they moved to Nashville, upon learning there was already an established band by the name "The Casuals", they amended their name to the "King Kasuals".^[53] While in Nashville, according to Cox and Larry Lee—who replaced Alphonso Young on guitar—they were basically the house band at Club del Morocco.^[54] Hendrix and Cox shared a flat above Joyce's House of Glamor.^[55] Hendrix's girlfriend at this time was Joyce Lucas. Bill 'Hoss' Allen's memory of Hendrix's supposed participation in a session with Billy Cox in November 1962, in which he cut Hendrix's contribution due to his over-the-top playing, has now been called into question; a suggestion has been made that he may have confused this with a later 1965 session by Frank Howard and the Commanders in which Hendrix participated.^[56]

In December 1962, Hendrix visited his relatives in Vancouver, Canada, where as a child he had sometimes lived with his grandmother. It has been claimed that while there, he performed with future members of the Motown band Bobby Taylor & the Vancouvers, including Tommy Chong (of later Cheech & Chong fame).^[57] Chong, however, disputes this ever happened and that any such appearance is a product of Taylor's "imagination".^[58] In early 1963, Hendrix returned to the South. For the next two years, Hendrix made a living performing on a circuit of venues throughout the South catering to black audiences. These were venues affiliated with the Theater Owners' Booking Association (TOBA), sarcastically known as "Tough on Black Asses" because the audiences were very demanding. The TOBA circuit was also widely known as the Chitlin' Circuit. In addition to performing in his own band, Hendrix performed with Bob Fisher and the Bonnevilles,^[59] 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 where Hendrix refined his style.

Feeling he had artistically outgrown the circuit and frustrated at following the rules of bandleaders, Hendrix decided to try his luck in New York City and in January 1964 moved into the Hotel Theresa in Harlem,^[60] where he soon befriended Lithofayne Pridgeon (known as "Faye",^[61] who became his girlfriend) and the Allen twins, Arthur and Albert (now known as Taharqa and Tunde-Ra Aleem). The Allen twins became friends and 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 song "Freedom". Pridgeon, a Harlem native with connections throughout the area's music scene, provided Hendrix with shelter, support, and encouragement. In February 1964, Hendrix won first prize in the Apollo Theater amateur contest. Hoping to land a gig, Hendrix made the club circuit and sat in with various bands. Eventually, Hendrix was offered the guitarist position with The Isley Brothers' back-up band and he readily accepted.

First recordings[link]

Hendrix' first studio recording occurred in March 1964, when the Isley Brothers, with Hendrix as a member of the band, recorded the two-part single "Testify". Hendrix then went on tour with the Isley Brothers. "Testify" was released in June 1964, but did not make an impact on the charts. After touring as a member of the Isley Brothers until mid-late 1964,^{[62][63][64][65][66][67]} Hendrix grew dissatisfied and left the band in Nashville. There, he found work with the tour's MC "Gorgeous" George Odell.

On March 1, 1964, Hendrix (then calling himself Maurice James) began recording and performing with Little Richard.^[16] Hendrix would later (1966) say, "I want to do with my guitar what Little Richard does with his voice".^[68] During a stop in Los Angeles while touring with Little Richard in 1965, Hendrix played a session for Rosa Lee Brooks on her single "My Diary". This was his first recorded involvement with Arthur Lee of the band Love.^[69][70] While in L.A., he also played on the session for Little Richard's final single for Vee-Jay, "I Don't Know What You've Got, But It's Got Me".^[71] He later made his first recorded TV appearance on Nashville's Channel 5 Night Train with "The Royal Company" backing up "Buddy and Stacy" on "Shotgun".^[72] Hendrix clashed with Richard, over tardiness, wardrobe, and, above all, Hendrix's stage antics.^[71] On tour they shared billing a couple of times with Ike & Tina Turner. It has been suggested that Hendrix left Richard and played with the Turners briefly before returning to Richard, but there is no firm evidence to support this. Hendrix mentioned playing with them, and Ike Turner shortly before his death claimed that he did, but this is emphatically denied by Tina. Months later, he was either fired or he left after missing the tour bus in Washington, D.C.^[73] He then rejoined the Isley Brothers in the summer of 1965 and recorded a second single with them, "Move Over and Let Me Dance" backed with "Have You Ever Been Disappointed" (1965 Atlantic 45-2303).

Later in 1965, Hendrix joined a New York–based R&B band, Curtis Knight and the Squires, after meeting Knight in the lobby of the Hotel America, off Times Square, where both men were living at the time.^[74] He performed on and off with them for eight months.^[75] In October 1965, Hendrix recorded a single with Curtis Knight, "How Would You Feel" backed with "Welcome Home" (1966 RSVP 1120) and on October 15 he signed a three-year recording contract with entrepreneur Ed Chalpin, receiving 1% royalty. 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 has continued to the present day.^[76] (Several songs (and demos) from the 1965–1966 Curtis Knight recording sessions, deemed not worth releasing at the time, were marketed as "Jimi Hendrix" recordings after he became famous.)^[77] Aside from Curtis Knight and the Squires, Hendrix then toured for two months with Joey Dee and the Starliters.

In between performing with Curtis Knight in 1966, Hendrix toured and recorded with King Curtis. Hendrix recorded the two-part single "Help Me (Get the Feeling)" with Ray Sharpe and the King Curtis Orchestra (1966 Atco 45-6402) (the backing track was subsequently overdubbed by other vocalists with different lyrics and released as new songs).^[78] Later in 1966, Hendrix also recorded with Lonnie Youngblood, a saxophone player who occasionally performed with Curtis Knight. The sessions produced two singles for Youngblood: "Go Go Shoes"/"Go Go Place" (Fairmount F-1002) and "Soul Food (That's What I Like)"/"Goodbye Bessie Mae" (Fairmount F-1022). Additionally, singles for other artists came out of the sessions: The Icemen's "(My Girl) She's a Fox"/ "(I Wonder) What It Takes" (1966 SAMAR S-111) and Jimmy Norman's "You're Only Hurting Yourself"/"That Little Old Groove Maker" (1966 SAMAR S-112). As with the King Curtis recordings, backing tracks and alternate takes for the Youngblood sessions would be overdubbed and otherwise manipulated to create many "new" tracks.^[79] (Many Youngblood tracks without any Hendrix involvement would later be marketed as "Jimi Hendrix" recordings).^[80] Also around this time in 1966, Hendrix got his first composer credits for two instrumentals "Hornets Nest" and "Knock Yourself Out", released as a Curtis Knight and the Squires single (1966 RSVP 1124).^[81]

Hendrix, now going by the name Jimmy James, formed his own band, The Blue Flame, composed of Randy Palmer (bass), Danny Casey (drums), and a 15-year-old guitarist who played slide and rhythm named Randy Wolfe in June 1966.^[82]

Since there were two musicians named "Randy" in the group, Hendrix dubbed Wolfe "Randy California" (as he had recently moved from there to New York City) and Palmer (a Tejano) "Randy Texas". Randy California would later co-found the band Spirit with his stepfather, drummer Ed Cassidy. It was around this time that Hendrix's only daughter Tamika was conceived with Diana Carpenter (also known as Regina Jackson), a teenage runaway and prostitute that he briefly stayed with. Her claim has not been recognized by the US courts where, after death, she may not have a claim on his estate even if she could legally prove he was her father, unless recognized previously as such by him or the courts.^[83]

Hendrix and his new band played at several places in New York, but their primary venue was a residency at the Cafe Wha? on MacDougal Street in Greenwich Village. The street runs along "Washington (Square) Park" which appeared in at least two of Hendrix's songs. Their last concerts were at the Cafe au Go Go, as John Hammond Jr.'s backing group, billed as "The Blue Flame". Singer-guitarist Ellen McIlwaine and guitarist Jeff Baxter also claim to have briefly worked with Hendrix in this period.^[84]

The Jimi Hendrix Experience[link]

Early in 1966 at the Cheetah Club on Broadway at 53rd Street, Linda Keith, the girlfriend of Rolling Stones guitarist Keith Richards, befriended Hendrix and recommended him to Stones' manager Andrew Loog Oldham and later, producer Seymour Stein. Neither man took a liking to Hendrix's music, and they both passed. She then referred Hendrix to Chas Chandler, who was ending his tenure as bassist in The Animals and looking for talent to manage and produce. Chandler liked the song "Hey Joe" and was convinced he could create a hit single with the right artist.

The Jimi Hendrix Experience performing on Dutch television in 1967

Impressed with Hendrix's version, Chandler brought him to London in September 1966 and signed him to a management and production contract with himself and ex-Animals manager Michael Jeffery. It was Chandler who came up with the spelling change of "Jimmy" to "Jimi".^[85] Chandler then helped Hendrix form a new band, The Jimi Hendrix Experience, with guitarist-turned-bassist Noel Redding and drummer Mitch Mitchell, both English musicians.^[86] Shortly before the Experience was formed, Chandler introduced Hendrix to Brian Auger, Eric Burdon, Pete Townshend and to Eric Clapton, who had only recently helped put together Cream. At Chandler's request, Cream let Hendrix join them on stage for a jam. Hendrix performed two songs, one of which was the song "Killing Floor". Hendrix and Clapton remained friends up until Hendrix's death. The first night Hendrix arrived in London, he began a relationship with Kathy Etchingham that lasted until February 1969. She later wrote an autobiographical book about their relationship and the sixties London scene in general.^[87]

Hendrix sometimes had a camp sense of humour, 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". In a few performances, Hendrix humorously used this, deliberately singing "kiss this guy" while pointing to Mitch or Noel, as he did at Monterey.^[88] In the Woodstock DVD he deliberately points to the sky at this point,^[89] to make it clear. A volume of misheard lyrics has been published, using this mondegreen itself as the title, with Hendrix on the cover.

UK success[link]

After his enthusiastically received performance at France's No. 1 venue, the Olympia theatre in Paris on the Johnny Hallyday tour, an on-stage jam with Cream, a showcase gig at the newly opened, pop-celebrity oriented nightclub Bag O'Nails and the all important appearances on the top UK TV pop shows Ready Steady Go! and the BBC's Top of the Pops, word of Hendrix spread throughout the London music community in late 1966. His showmanship and virtuosity made instant fans of reigning guitar heroes Eric Clapton and Jeff Beck, as well as Brian Jones and members of The Beatles and The Who, whose managers signed Hendrix to their new record label, Track Records.

Hendrix's first single was a cover of "Hey Joe", using Tim Rose's slower arrangement of the song including his addition of a female backing chorus. Backing this first 1966 "Experience" single was Hendrix's first songwriting effort, "Stone Free". Further success came in early 1967 with "Purple Haze" which featured the "Hendrix chord" and "The Wind Cries Mary". The three singles were all UK Top 10 hits and were also popular internationally including Europe, Australia, New Zealand and Japan (though failed to sell when released later in the US).

Onstage, Hendrix was also making an impression with sped up renderings of the B.B. King hit "Rock Me Baby" and Howlin' Wolf's hit "Killing Floor".

[edit] Are You Experienced

The first Jimi Hendrix Experience album, Are You Experienced, was released in the United Kingdom on May 12, 1967, and shortly thereafter internationally, outside of the United States and Canada. It contained none of the previously released (outside the United States and Canada) singles or their 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, booked to appear as one of the opening acts on the Walker Brothers farewell tour, he set his guitar on fire at the end of his first performance, as a publicity stunt. This guitar has now been identified as the "Zappa guitar" (previously thought to have been from Miami), which has been partly refurbished.^{[clarification needed]} Later, as part of this press promotion campaign, there were articles about Rank Theatre management warning him to "tone down" his "suggestive" stage act, with Chandler stating that the group would not compromise regardless.^[90] On June 4, 1967, the Experience played their last show in England, at London's Saville Theatre, before heading off to America. The Beatles' Sgt. Pepper album had just been released on June 1 and two Beatles (Paul McCartney and George Harrison) were in attendance, along with a roll call of other UK rock stardom, including: Brian Epstein, Eric Clapton, Spencer Davis, Jack Bruce, and pop singer Lulu. Hendrix opened the show with his own rendering of "Sgt. Pepper's Lonely Hearts Club Band", rehearsed only minutes before taking the stage, much to McCartney's astonishment and delight.^[91]

Hendrix on stage in Stockholm, Sweden, in 1967

While on tour in Sweden in 1967, Hendrix jammed with the duo Hansson & Karlsson, and later opened several concerts with their song "Tax Free", also recording a cover of it during the Electric Ladyland sessions.^[92] He played there frequently throughout his career, and his only son James Daniel Sundquist was born there in 1969 to a Swede, Eva Sundquist, recognized as such by the Swedish courts and paid a settlement by Experience Hendrix LLC.^[93] He wrote a poem to a woman there (probably Sundquist). Sundquist had sent Hendrix roses on each of his opening nights in Stockholm, and began – according to the Swedish courts – a sexual relationship from then until conceiving Daniel with him, after his third visit in January 1969. Hendrix also dedicated songs to the Swedish-based Vietnam deserters organization in 1969.^[94]

Months later, Reprise Records released the US and Canadian 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 single A-sides. Where the (Rest of the World) album kicked off with "Foxy Lady", the US and Canadian one started with "Purple Haze". Both versions offered a startling introduction to the Jimi Hendrix Experience, and the album was a blueprint for what had become possible on an electric guitar, basically recorded on four tracks, mixed into mono and only modified at this point by a "fuzz" pedal, reverb and a small bit of the experimental "Octavia" pedal on "Purple Haze", produced by Roger Mayer in consultation with Hendrix. A remix using the mostly mono backing tracks with the guitar and vocal overdubs separated and occasionally panned to create a stereo mix was also released, only in the US and Canada.

US success[link]

Although very popular in Europe at this time, The Jimi Hendrix Experience had yet to crack the United States.c Their first single there, "Hey Joe" c/w "51st Anniversary" (Reprise 0572, released May 1, 1967), failed to reach the Billboard chart.

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 of the many journalists covering the event who wrote about him. The performances were filmed by D. A. Pennebaker and later shown in some movie theaters around the country in early 1969 as the concert documentary Monterey Pop, which immortalized Hendrix's iconic burning and smashing of his guitar at the finale of his performance.

The opening song was Hendrix's very fast arrangement of Howlin' Wolf's 1965 R&B hit "Killing Floor". He played this frequently from late 1965 through 1968, usually as the opener to his shows. The Monterey performance included an equally lively rendering of B.B. King's 1964 R&B hit "Rock Me Baby", Tim Rose's arrangement of "Hey Joe" and Bob Dylan's 1965 pop hit "Like a Rolling Stone". The set ended with The Troggs' "Wild Thing" and Hendrix repeating the act that had boosted his profile in the UK (and internationally) with him burning his guitar on stage,^[95] then smashing it to bits and tossing pieces out to the audience. This show finally brought Hendrix to the notice of the US public. A large chunk of this guitar was on display at the Experience Music Project in Seattle, along with the other psychedelically painted Stratocaster that Hendrix smashed (but did not burn) at his farewell concert in England before he left for the US and Monterey.

At the time Hendrix was playing sets in the Scene club in NYC in July 1967, he met Frank Zappa, whose Mothers of Invention were playing the adjacent Garrick Theater, and he was reportedly fascinated by Zappa's recently purchased wah-wah pedal.^[96] Hendrix immediately bought one from Manny's and starting using it right away on the sessions for both sides of his new single, and slightly later, on several jams recorded at Ed Chalpin's studio.^[97]

Following the festival, the Experience played a series of concerts at Bill Graham's Fillmore replacing the original headliners Jefferson Airplane at the top of the bill. It was at this time that Hendrix became acquainted with future musical collaborator Stephen Stills, and reacquainted himself with Buddy Miles who introduced Hendrix to his future partner, Devon Wilson. She had a turbulent on/off relationship with him, right up to the night of his death, and was the only one of his partners to record with him. She died only six months after Hendrix under mysterious circumstances, apparently falling from an upper window in the Chelsea Hotel.

Following this very successful West Coast introduction, which also included two open air concerts (one of them a free concert in the "panhandle" of Golden Gate Park) and a concert at the Whisky a Go Go, they were booked as one of the opening acts for pop group The Monkees on their first American tour. The Monkees asked for Hendrix because they were fans,^[98] but their (mostly early teens) audience sometimes did not warm to their act, and he quit the tour after a few dates. Chas Chandler later admitted that being thrown off the Monkees tour was engineered to gain maximum media impact and publicity for Hendrix,^[99] similar to that gained from the manufactured Rank Theatre's indecency dispute on the earlier UK Walker Brothers tour. 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". This report was concocted by a journalist accompanying the tour, the Australian Lillian Roxon.

Meanwhile in Western Europe, where Hendrix was appreciated for his authentic blues as well as his hit singles and recognized for his avant-garde musical ideas, his wild-man image and musical gimmickry (such as playing the guitar with his teeth and behind his back) had faded; but they later plagued him in the US following Monterey. He became frustrated by the US media and audience when they concentrated on his stage tricks and best known songs.

[edit] Axis: Bold as Love

The Jimi Hendrix Experience's second 1967 album, Axis: Bold as Love was his first recording made for stereo release and used panning and other stereo effects. It continued the style established by Are You Experienced. The opening track, "EXP", featured a stereo effect in which a sound emanating from Hendrix's guitar appeared to revolve around the listener, fading out into the distance from the right channel, then returning in on the left. This album marked the first time Hendrix recorded the whole album with his guitar tuned down one half-step, to E♭, which he used exclusively thereafter and was his first to feature the wah-wah pedal. A mishap almost delayed the album's pre-Christmas release: Hendrix lost the master tape of side one of the LP, leaving it in the back seat of a London taxi. With the release deadline looming, Hendrix, Chas Chandler and engineer Eddie Kramer had to remix most of side one in an overnight session, but they could not match the lost mix of "If 6 Was 9". They soon learned that bassist Noel Redding had a tape recording of this mix. The tape had to be smoothed out as it had gotten wrinkled.^[100] Hendrix was disappointed that the album had to be finished so quickly and felt it could have been better, given more time. He was also somewhat disappointed in the album cover art work, which depicts Hendrix and his Experience bandmates as the various forms of Vishnu, incorporating a painting of them by Roger Law (from a photo-portrait by Karl Ferris). Hendrix remarked that it would have been more appropriate if the cover had highlighted his American Indian heritage.^[101]

The album was released in the UK near the end of their first headlining tour there, after which the pace slowed briefly during the Christmas holidays. In January 1968 the group went to Sweden for a short tour, and after the first show Hendrix, reportedly after drinking and according to Hendrix his drink being spiked, went berserk and smashed up his hotel room in a rage, injuring his hand and culminating in his arrest. Then on the 6th in Denmark his famous hat was stolen.^[102] The rest of the tour was uneventful, though Hendrix had to spend some time in Sweden waiting for his trial and eventual large fine.^[103]

[edit] Electric Ladyland

Hendrix's third recording, the double album Electric Ladyland (1968), was a departure from previous efforts. Following his third and penultimate French concert at the Paris Olympia, Hendrix flew to the US to start his first tour there, and after two months returned to his Electric Ladyland project at the newly opened Record Plant Studios with engineers Eddie Kramer and Gary Kellgren and initially Chas Chandler as producer.

As the album's recording progressed, Chas Chandler became so frustrated with Hendrix's perfectionism and with various friends and guests milling about the studio that he decided to sever his professional relationship with 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 involved in the recording sessions. 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 guests.

Chandler also expressed exasperation at the number of times Hendrix would insist on rerecording 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.

Electric Ladyland includes "Voodoo Chile (Slight Return)" as well as Hendrix's rendering of Bob Dylan's "All Along the Watchtower".^[86]

Throughout the four years of his fame, Hendrix often appeared at impromptu jams with various musicians, such as B.B. King.^[104] In March 1968, Jim Morrison of The Doors joined Hendrix onstage at New York's Scene Club. Albums of this Electric Ladyland-era bootleg recording were released under various titles, some falsely claiming the presence of Johnny Winter, who has denied, several times, being a participant at that jam session, and to ever having met Morrison.^[105]

Breakup of Jimi Hendrix Experience[link]

After a year based in the US, Hendrix temporarily moved back to London and into his girlfriend Kathy Etchingham's rented Brook Street flat, next door to the Handel House Museum, in the West End of London. During this time The Jimi Hendrix Experience toured Scandinavia, Germany, and included a final French concert. They later performed two sold-out concerts at London's Royal Albert Hall on February 18 and 24, 1969, which were the last European appearances of this line-up of the Jimi Hendrix Experience. A Gold and Goldstein-produced film titled Experience was also recorded at these two shows, which, according to Experience Hendrix LLC, "Elements of these recordings are sure to be utilized when the official release of this material is finally made".^[106]

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").^{[citation needed]} 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 bass parts on Electric Ladyland.

Fruitless recording sessions at Olympic in London; Olmstead and the Record Plant in New York that ended on April 9, which only produced a remake of "Stone Free" for a possible single release, were the last to feature Redding. Hendrix then flew Billy Cox to New York and started recording and rehearsing with him on April 21 as a replacement for Noel.^[107]

In a recorded interview by Nancy Carter on June 15 at his hotel in Los Angeles, Hendrix announced that he had been recording with Cox and that he would be replacing Noel as bass player in The Jimi Hendrix Experience.^[108]

The last Experience concert took place on June 29, 1969 at Barry Fey's Denver Pop Festival, a three-day event held at Denver's Mile High Stadium that was marked by police firing tear gas into the audience as they played "Voodoo Chile (Slight Return)". The band escaped from the venue in the back of a rental truck which was partly crushed by fans trying to escape the tear gas. The next day, Noel Redding announced that he had quit the Experience.^[109]

Gypsy Sun and Rainbows[link]

After the departure of Noel Redding from the group, Hendrix rented the eight-bedroom 'Ashokan House' in the hamlet of Boiceville^[110] near Woodstock in upstate New York, where he spent some time in mid-1969. Manager Michael Jeffery, who had a house in Woodstock, arranged the stay, with hopes that the respite would produce a new album. To replace Redding as bassist, Hendrix had been rehearsing and recording with Billy Cox, his old and trusted Army buddy, since at least April 21.^[111] Mitchell was unavailable to help fulfill Hendrix's commitments at this time, which include his first appearance on US TV – on the Dick Cavett show – where he was backed by the studio orchestra, and an appearance on The Tonight Show where he appeared with his new bass player Billy Cox, and session drummer Ed Shaughnessy sitting in for Mitchell.^[112]

Woodstock[link]

Jimi Hendrix Woodstock guitar

Hendrix was advertised to play the Woodstock Music Festival, along with many of the other biggest rock groups of the time. It was to take place on rented farmland in Upper State New York from August 15–18, 1969. Although Hendrix's music had been written for a power trio of guitar, bass, and drums, he wanted to expand his sound so he added rhythm guitarist Larry Lee (another old friend from his R&B days), and Juma Sultan and Jerry Velez to play congas. After drummer Mitch Mitchell arrived, this new lineup rehearsed for less than two weeks before the festival and according to Mitchell never really meshed. In addition, although Woodstock would become famous and mythologized through the documentary film of the same name, by the time of his performance, Hendrix had been up for three days, and his band was short on sleep as well, contributing a rawness to their filmed performance.^[113][114]

Before Hendrix even arrived at the festival he started to hear media reports that the crowds of kids showing up for the festival were swelling to biblical proportions, in addition to the emerging logistical problems being reported at the site. This gave Hendrix pause for concern since he did not like performing in front of very large crowds.^[115] Since he was considered an important draw for the festival, and because of his manager's negotiations, Hendrix was getting paid more than the other performers, (US$18,000, plus US$12,000 for rights to film him). As the scheduled time slot of Sunday night at midnight drew closer, Hendrix indicated that he would rather wait and close the show. A substantial rainstorm that day had delayed the schedule of performers, so when Hendrix insisted on being the closing headliner, it pushed back the time when they finally hit the stage – which ended up being 8:30 am Monday morning. The audience which had peaked at an estimated 400,000 people during the festival, was now reduced to about 30–40,000 by that point; many of whom merely waited to catch a glimpse of Hendrix before leaving during his show.^[115] This reflected the reality that by the third day attendees had been sleeping in muddy conditions with limited food.

Hendrix and his band were introduced by the festival MC, Chip Monck, as "The Jimi Hendrix Experience", but once on stage Hendrix clarified saying, "We decided to change the whole thing around and call it 'Gypsy Sun and Rainbows'. For short, it's nothin but a 'Band of Gypsys'"^[116] He then launched into a two hour set, the longest of his career. Hendrix started off with a new song, "Message to Love". (His Woodstock set consisting of new material, along with his well-known hits).

Hendrix's psychedelic rendition of the U.S. national anthem, "The Star-Spangled Banner" occurred about 3/4 into their set (after which he morphed into "Purple Haze"). The song had actually been part of his set for a year and he had already performed it on at least three different occasions. During the number, Hendrix used feedback and sustain on his guitar to recreate the sound of wails and falling rockets. Although pundits quickly branded the song as a political manifesto against the Vietnam War, Hendrix himself never explained its meaning other than to say at a press conference three weeks later, "We're all Americans. . .it was like 'Go America!'. . .We play it the way the air is in America today. The air is slightly static, see".^[117] The song would become "part of the sixties Zeitgeist" as it was captured forever in the Woodstock film;^[118] Hendrix's image performing this number during the day wearing a blue-beaded white leather jacket with fringe and a red head scarf, has since been regarded as a defining moment of the 1960s.^{[115][119][120]}

Hendrix performed "Hey Joe" as the encore to finish off their set which concluded the 3½ day Woodstock Music Festival. Upon leaving the stage, Hendrix collapsed from exhaustion.^[121]

After Woodstock, this particular lineup of the band appeared on only two more occasions. The first was a street benefit in Harlem where, in a scenario similar to the festival, most of the audience had left and only a fraction remained by the time Hendrix took the stage. Within seconds of Hendrix arriving at the site two youths had stolen his guitar from the back seat of his car, although it was later recovered. The band's only other appearance was at the Salvation club in Greenwich Village, New York. After some studio recordings, Hendrix disbanded the group. Some of this band's recordings can be heard on the MCA Records box set The Jimi Hendrix Experience and on South Saturn Delta. Their final work together was a session on September 6.^[122] Hendrix's September 9 appearance on TV's The Dick Cavett Show, backed by Cox, Mitchell and Juma Sultan, was credited as the "Jimi Hendrix Experience".^[123]

Band of Gypsys[link]

In 1967, a contractual dispute arose in relation to an agreement Hendrix had entered into with producer Ed Chalpin in 1965.^[124] The resolution for the dispute included Hendrix having to record an LP of new material for Chalpin company, which would not feature the Experience band, and would not be associated with the Experience band name. In addition, Chalpin was granted 2% of profits from Hendrix's back catalog sold in US. For the agreed upon album, Hendrix chose to record Band of Gypsys, a live album.^[125]

Along with Billy Cox and drummer Buddy Miles (formerly with Wilson Pickett and The Electric Flag) with whom he had been jamming together since September, Hendrix wrote and rehearsed material which they then performed at a series of four concerts over two nights, New Year's Eve and New Year's Day at Fillmore East. The second night produced the material for the Band Of Gypsys LP, which was produced by Hendrix (under the name "Heaven Research").^{[citation needed]}

The Band of Gypsys LP was the only official completely live LP released in Hendrix's lifetime. The band also released a single "Stepping Stone" which failed to sell, and recorded several studio songs slated for Hendrix's future LP. In 1999, the tapes from the four Fillmore concerts were remastered and additional tracks and edits were released as Live at the Fillmore East. Litigation with Chalpin ended in 2007 after the "singularly uncredible witness" was fined nearly US$900,000 for failure to abide by contractual limitations and failure to pay Experience Hendrix L.L.C. its court ordered royalties.

On January 26 and 27, 1970, Mitch Mitchell and Noel Redding flew into New York and signed contracts with Jeffery for the upcoming Jimi Hendrix Experience tour. The next day, a second and final Band of Gypsys appearance occurred at a twelve-act show in Madison Square Garden which was a benefit for the anti-Vietnam War Moratorium Committee, titled the "Winter Festival for Peace". Similar to Woodstock, set delays forced Hendrix to take the stage at an inopportune 3 am, only this time he was obviously in no shape to play. He played "Who Knows" before snapping a vulgar response at a woman who shouted a request for "Foxy Lady". He played a second song, "Earth Blues", he then told the audience: "That's what happens when earth fucks with space—never forget that".^[126] He then sat down on the drum riser for a minute and then walked off stage. Various unverifiable assertions have been proffered 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,^[127] but none of Hendrix's other close associates verifies his statement.

Cry of Love tour[link]

A week after the botched Band of Gypsys show, Hendrix, Mitch Mitchell and Noel Redding gave an interview to Rolling Stone for the upcoming tour dates as a reunited Jimi Hendrix Experience. But Redding never even got to rehearse, as Hendrix just continued to work with Billy Cox. Noel was not told he was not going to be playing until the pretour rehearsals. Fans refer to this final "Jimi Hendrix Experience" lineup as the "Cry of Love" band, named after The Cry of Love Tour to distinguish it from the original. Billy Cox has countered on several occasions that this lineup considered themselves "The Jimi Hendrix Experience" before they even went on tour and that any other title is bogus. All billing, adverts, tickets etc. on the tour used "Jimi Hendrix Experience" or occasionally, as previously, just "Jimi Hendrix".

Two of Hendrix's later recordings were the lead guitar parts on "Old Times Good Times" from Stephen Stills hit eponymous album (1970), and on "The Everlasting First" from Arthur Lee's new incarnation of Love, not so successful and aptly named LP False Start both tracks were recorded with these old friends on a fleeting and unexplained visit to London in March 1970, following Kathy Etchingham's marriage.^[128]

He spent the next four months of 1970 working on his next LP tentatively titled First Rays of the New Rising Sun, recording during the week and playing live on the weekends. The Cry of Love tour, launched that April at the L.A. Forum, was partly undertaken to earn money to repay the Warner Bros. loan for completing his Electric Lady Studios. Performances on this tour featured Hendrix, Cox, and Mitchell playing new material alongside older audience favorites. The American leg of the tour included 30 performances and ended at Honolulu, Hawaii on August 1, 1970. A number of these shows were recorded and produced some of Hendrix's most memorable live performances. At one of them, the Second Atlanta International Pop Festival (1970), on July 4, Hendrix played to the largest American audience of his career.^[129]

Electric Lady Studios[link]

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 Hendrix was constantly in search of a recording environment that suited him. In August 1970, Electric Lady Studios was opened in New York.

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 Hendrix'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 two and a half months recording in Electric Lady, most of which took place while the final phases of construction were still ongoing. Following a recording/dubbing session on August 26, an opening party was held later that day.^[130] He then boarded an Air India flight for London with Billy Cox, joining Mitch Mitchell to perform at the Isle of Wight Festival.

European tour[link]

The group then commenced the European leg of the tour. Longing for his new studio and creative outlets, the tour was a commitment that Hendrix was not eager to perform. In Aarhus, Hendrix abandoned his show after only two songs, remarking: "I've been dead a long time". In the months before Hendrix's death, a British music paper alleged that Hendrix had plans to join the band Emerson, Lake & Palmer.^[131] 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, due to his non-appearance at the end of the previous night's bill (due to the torrential rain and risk of electrocution). Several acts played after he left the stage; later, part of the stage was burnt during the first stage appearance of Ton Steine Scherben. Billy Cox quit the tour and headed home to Memphis, Tennessee, reportedly suffering paranoia after taking LSD or being given it unknowingly, earlier in the tour.^[132] A live recording of the concert was later released as Live at the Isle of Fehmarn.

Hendrix returned to London, where he reportedly spoke to Chas Chandler, Eric Burdon, and others about leaving his manager, Michael Jeffery. Hendrix's last public performance was an informal jam at Ronnie Scott's Jazz Club in Soho with Burdon and his latest band, War. Much of this was recorded on a Sony cassette recorder by Bill Baker, of Shepherds Bush, London, then aged 20, who was present throughout the entire performance. Two Hendrix tracks from this recording, "Mother Earth" and "Tobacco Road", were later included, without permission from Baker, on a bootleg LP, Can You Please Crawl Out Your Window?, produced in the mid-to-late 1970s, and on an audio tape of poor quality that went into circulation some years later. It was not until 2009, however, that the entire recording entered general circulation within the collecting community. This was remastered in California in December 2010 and includes tracks from the same night's performance by Eric Burdon's War. This is the last known recording of Jimi Hendrix, who died approximately 24 hours later.^[133]

Death[link]

The two buildings which composed the Samarkand Hotel. Hendrix died in one of the two basement apartments which were accessed from one of the two exterior steps in front of the buildings

Early on September 18, 1970, Jimi Hendrix died in London. He had spent the latter part of the previous evening at a party and was picked up at close to 3:00 by girlfriend Monika Dannemann and driven to her flat at the Samarkand Hotel, 22 Lansdowne Crescent, Notting Hill. From autopsy data and statements by friends about the evening of September 17, it has been estimated that he died sometime after 3:00, possibly before 4:00, but also possibly later, though no estimate was made at the autopsy, or inquest.^[134]

Dannemann claimed in her original testimony that after they returned to her lodgings the evening before, Hendrix, unknown to her, had taken nine of her prescribed Vesparax sleeping pills. The normal medical dose was a half to one tablet as stated in the literature, but Hendrix was unfamiliar with this very strong Belgian brand. According to surgeon John Bannister, the doctor who initially attended to him, Hendrix had asphyxiated in his own vomit, mainly red wine which had filled his airways.^[135] Bannister's statement was made in January 1992 to Harry Shapiro, co-author of Electric Gypsy, a book which also featured accusations of malpractice by Monika Dannemann in regards to Bannister's not performing a tracheotomy on Hendrix. He appears to have been using the amount of wine in his system as a reason for not performing a tracheotomy. He was reprimanded for two counts of medical malpractice, and struck off the medical register on April 28, 1992 for fraud.^[136] No one else at the time, the other two doctors, the ambulance men, or the police mentioned wine. The only mention of wine was by Monika much earlier, in Electric Gypsy (which Bannister had read), and that Hendrix had drunk some with food earlier that evening and also by Harvey at his, again, much earlier party, which were both several hours prior to death. The autopsy found very little alcohol in his system. The autopsy never mentioned wine, only vomited matter.^[137]

Until her death, Dannemann publicly claimed that she had only discovered that her lover had been sick at 11:00 am, but he was breathing, though unconscious and unresponsive (The ambulance was called at 11:18 and arrived 11:27). And that Hendrix was alive when placed in the back of the ambulance at approximately 11:30, and that she rode with him on the way to the hospital.^[138]

The ambulance crew later denied she was even there; additionally, Dannemann's comments about the timing of some events that morning often differed in places, varying from interview to interview.^[139]

Police and ambulance statements reveal that there was no one but Hendrix in the flat when they arrived at 11:27 am, and not only was he dead when they arrived on the scene, but was fully clothed and had been dead for some time.^[140]

Later, Dannemann claimed that former road managers Gerry Stickels and Eric Barrett had been present before the ambulance was called.^{[citation needed]} and had removed some of Hendrix's possessions, including some of his most recent messages. Lyrics written by Hendrix, which were found in the apartment, led Eric Burdon to make a premature announcement on the BBC-TV program 24 Hours that he believed Hendrix had committed suicide. Burdon often claimed he had been telephoned by Dannemann after she discovered that Hendrix failed to wake up.^[141]

In 1996, Monika Dannemann committed suicide shortly after being found guilty of contempt of court for repeating a libel against Kathy Etchingham, who had been a girlfriend of Hendrix in the 1960s.^[142]

Allegations of murder[link]

A former Animals "roadie", James "Tappy" Wright, published a book in May 2009 claiming Hendrix's manager, Mike Jeffery, admitted to him that he had Hendrix killed because the rock star wanted to end his management contract.^[143] John Bannister, one of the doctors who attended to him in 1970 stated in 2009 that it "sounded plausible".^[144] Bannister was struck off the Medical register in 1992 for fraud.^[144] In 2011 Bob Levine, Wright's long term business associate and Mike Jeffery's assistant manager in N.Y., said he knows that Wright made up these stories to sell his book, that Jeffery didn't have insurance on Hendrix, but that he merely countersigned the Warner Bros. policy that Warner's had taken out as standard practice.^[145]

"There was a freak storm across Mallorca and all the phone lines were down. Somebody told Mike that Jimi had been trying to phone him. The first call that got through was to say Jimi was dead. Mike was terribly upset at the thought of Jimi not being able to get through to him." – Trixie Sullivan, secretary/assistant for Mike Jeffery^[146]

Fashion[link]

A pair of Hendrix's bell-bottoms on display at the Hard Rock Cafe, Hollywood

Hendrix was well known for his unique sense of fashion and wardrobe and his Dylan-esque (c. 1966) hairstyle. A set of hair curlers was one of the few possessions that traveled with him to England when he was first discovered in 1966. When his first advance check arrived, Hendrix immediately took to the streets of London in search of clothing at famous boutiques like I Was Lord Kitchener's Valet and Granny Takes a Trip, both of which specialized in vintage fashion. He purchased at least two army dress uniform jackets including a (possibly antique) jacket styled in imitation of a Hussar's pelisse, adorned with tasseled ropes. A group of policemen once ordered him to remove the other, a Royal Veterinary Corps dress jacket, saying it was an offense to the men who had worn it.^[147]

Many photographs of Hendrix show him wearing various scarves, rings, medallions, and brooches, and in the early days occasionally badges (pins or buttons) that professed his support for the hippie movement or his fascination with Bob Dylan. He initially wore a dark suit and plain silk shirts that progressively became "louder" and more psychedelically patterned. He later favored a bright blue velvet suit, then a bright red one, antique military dress jackets, a very broadly striped suit, psychedelically patterned silk jackets, various exotic waistcoats and brightly colored flared trousers. At Monterey, he wore a hand-painted silk jacket by Chris Jagger (Mick Jagger's brother) and a bright pink feather boa. In late 1967 he started to wear a wide-brimmed Western style hat (brand name "The Westerner").^[148] It was adorned with a narrow purple band and various brooches, as shown in the original Jimi Plays Monterey film. This hat was stolen in 1968, and replaced later with another, crowned variously with a longer purple scarf, a star-like brooch in front and a set of silver bangles, sometimes with an angled feather, though he went hatless for protracted periods after this.

From late 1968 he began tying scarves to one leg and one arm, and in mid-1969 he gave up the hat for bandanas. He started wearing increasingly fantastic custom-made stage costume with long trailing sleeves, culminating in his African-styled "Fire Angel" outfit that he wore throughout most of his final "Cry Of Love" tour, until it began to come apart during the Isle of Wight concert. He appeared in this outfit only once more (in just the jacket) at the disastrous concert in Aarhus, Denmark. His only non-work-related vacation was a two-week trip to Morocco in July 1969 with friends Colette Mimram, Stella Benabou (the then-wife of producer Alan Douglas), and Deering Howe. Upon his return Hendrix decorated his Greenwich Village apartment with Moroccan objets d'art and fabrics. Mimram and Benabou created some of Hendrix's most memorable later attire, the shortened blue kimono-style jacket that he wore in three TV appearances and the white fringed jacket, ornamented with blue glass beads, he wore at the Woodstock Festival.^[149]

Drug use and women[link]

Hendrix is widely known for and associated with the use of psychedelic drugs, most notably lysergic acid diethylamide (LSD), as were many other famous musicians and celebrities of that time. He supposedly had never taken psychedelic drugs until the night he met Linda Keith, but had smoked cannabis and drank alcohol previously. Amphetamines are also recorded as being used by Hendrix during tours. Hendrix was notorious among friends and bandmates for sometimes becoming angry and violent when he drank too much alcohol.^[150] 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 pay phone.^[151] Carmen Borrero, another girlfriend, says she required stitches after he hit her with a bottle after drinking and becoming jealous.^[152] Alcohol was also cited as the cause of Hendrix's 1968 rampage that badly damaged a Stockholm hotel room and led to his arrest. Paul Caruso's friendship with Hendrix ended in 1970 when Hendrix, while under the influence, punched him and accused him of stealing from him.^[153]

On May 3, 1969, while checking through Canadian customs at Toronto Pearson International Airport, Hendrix was arrested when small amounts of heroin and hashish were found in his luggage. After being released on a CAN$10,000 cash bail the same day, only four hours before his show was to begin, (and being required to appear in court at a later date), the Experience were able to play their concert at Maple Leaf Gardens. In his trial defense, Hendrix claimed that the drugs were slipped into his bag by a fan without his knowledge. He was acquitted.^[154]

By all accounts he had casual sex with many women.^[155]

Gravesite[link]

The original gravestone of Jimi Hendrix, incorporated into the granite base of his memorial on which it is intended that a large brass statue will be installed.

The memorial gravesite of Jimi Hendrix in Renton, Washington

Hendrix's body was returned to Seattle and he was interred in Greenwood Memorial Park, Renton, Washington. 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 his father to create an expanded memorial site separate from other burial sites in the park. The memorial was announced in late 1999, but Al Hendrix's deteriorating health led to delays and 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 headstone contains a depiction of a Fender Stratocaster guitar, the instrument he was most famous for using —– although the guitar is shown right-side up, rather than the way Hendrix played it, upside down (left-handed).

The memorial is a granite dome supported by three pillars under which Jimi Hendrix and other family members are interred. Hendrix'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,^[when?] 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. A memorial statue of Jimi playing a Stratocaster stands near the corner of Broadway and Pine Streets in Seattle.

In May 2006, the city of Seattle honored Hendrix with the renaming of a park near Seattle's Colman School in the Central District.^[156]

Recordings[link]

Hendrix's recordings were originally released in North America on Reprise Records (a division of Warner Communications) from 1967 until 1993 and were released internationally (outside of US and Canada) on Polydor Records. (Because it was recorded to settle a legal dispute, the Band of Gypsys album was released on Capitol Records in US and Canada.) British releases of all his albums up to and including The Cry Of Love were first issued on the independent label Track Records, which was originally created by the managers of The Who. The label was later absorbed by Polydor.

In 1994, the Hendrix family prevailed in its long standing legal attempt to gain control of Jimi's music, and subsequently licensed the recordings to MCA Records (later Universal Music) through the family-run company Experience Hendrix. In August 2009, Experience Hendrix announced that it had entered a new licensing agreement with Sony Music Entertainment's Legacy Recordings division which would take effect in 2010.

Unfinished work and posthumous releases[link]

Reports that Hendrix's tapes for a concept album Black Gold had been stolen and lost from the London flat, are incorrect. Hendrix gave those tapes to Mitch Mitchell at the Isle of Wight Festival three weeks prior to his death.^[157] They are now in the possession of Experience Hendrix LLC.

Hendrix's unfinished album was partly released as the 1971 title The Cry of Love. The album was well received and charted in several countries. However, the album's producers, Mitchell and Kramer, would later complain that they were unable to make use of all the tracks they wanted. This was due to some tracks being used for 1971's Rainbow Bridge and 1972's War Heroes for contractual reasons.

Material from The Cry of Love was rereleased in 1997 as First Rays of the New Rising Sun, along with the rest of the tracks that Mitchell and Kramer wanted to include.

Many of Hendrix's personal items, tapes, and many pages of lyrics and poems are now in the hands of private collectors and have attracted considerable sums at the occasional auctions.^[158] These materials surfaced after two employees, under the instructions of Mike Jeffery, removed items from Hendrix's Greenwich Village apartment following his death.

In 2010, Legacy Recordings and Experience Hendrix LLC launched the 2010 Jimi Hendrix Catalog Project, starting with the release of Valleys of Neptune in March.^[159] Legacy has also released deluxe CD/DVD editions of the Hendrix albums Are You Experienced, Axis: Bold As Love, Electric Ladyland and First Rays of the New Rising Sun, as well as the 1968 compilation album Smash Hits.^[159]

Legacy[link]

Musical[link]

Jimi Hendrix statue outside Dimbola Lodge

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 death grouped him with Janis Joplin, Jim Morrison and Brian Jones as one of the 27 Club, a group including iconic 1960s rock stars who suffered drug-related deaths at the age of 27 within a two year period, 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's repertoire, establishing it as a unique sonic source, rather than merely an amplified version of the acoustic guitar. Likewise, his feedback, wah-wah and fuzz-laden soloing moved guitar distortion well beyond mere novelty, incorporating other effects pedals and units specifically designed for him by his sound technician Roger Mayer (such as the Octavia and Uni-Vibe) 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, John Frusciante former member of the Red Hot Chili Peppers and Jesse Johnson of The Time. His influence even extends to many hip hop artists, including Questlove, 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,^[160] and Davis would later want guitarists in his bands to emulate Hendrix.^[161] Hendrix was ranked number 3 on VH1's 100 Greatest Artists of Hard Rock behind Black Sabbath and Led Zeppelin.

Hendrix's guitar style also had significant influence upon ZZ Top guitarist Billy Gibbons,^[162] fellow Texas guitar legend Stevie Ray Vaughan,^[163] and later on Metallica guitarist Kirk Hammett and Pearl Jam's Mike McCready, among others. Hendrix's influence is also evident in the musical styles of many prominent bassists such as Stanley Clarke,^[164] Jaco Pastorius,^[165] Billy Sheehan,^[166] and Les Claypool.^[167]

Hendrix was ranked number 3 on VH1's list of the 100 Greatest Artists of Rock N' Roll, 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. Conversely and with some modesty, Hendrix when asked in a Rolling Stone interview, "How does it feel to be the greatest guitarist in the world?", Hendrix replied, "I don't know, go ask Rory Gallagher."^[168][169]

In 2004, Rolling Stone ranked him number 6 on their list of the 100 greatest artists of all time.

Guitar World's readers voted six of Hendrix's solos among the top "100 Greatest" of all time: "Purple Haze" (70), "The Star-Spangled Banner" (52), "Machine Gun" (32), "Little Wing" (18), "Voodoo Child (Slight Return)" (11) and "All Along the Watchtower" (5).^[170]

In 1992, Hendrix was posthumously awarded the Grammy Lifetime Achievement Award.

Financial and legal[link]

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 Hendrix'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, Al's adopted daughter, was improperly handling the company finances. The suit argued that Janie and a cousin of Jimi Hendrix (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.^[171] 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.

On October 5, 2011 the U.S. Supreme Court heard arguments in a case Golan v. Holder concerning the 1994 U.S. federal law that protected foreign copyrights. At stake in the outcome of this case is whether previously unprotected foreign works could be suddenly copyrighted and withdrawn from public domain. In a hypothetical argument Justice John Roberts asked "what about Jimi Hendrix?" and if Hendrix's rendition of the "Star Spangled Banner" at Woodstock violated copyright protection or was protected under public domain. Solicitor General Donald Verrilli, who defended the 1994 law, stated "maybe Jimi Hendrix could claim fair use".^[172] The music of the "Star Spangled Banner" was composed by an English musician, John Stafford Smith in the mid 1760s. The lyrics of the "Star Spangled Banner" were written by American Francis Scott Key in 1814 and the song became America's National anthem in 1931.^[173]

The Jimi Hendrix Foundation[link]

In 1987, Leon Hendrix commissioned the James (Jimi) Marshall Hendrix Foundation. This foundation is based in Renton, Washington. Though run for some time by Jimi's brother Leon Hendrix, in August 2006 Leon asked a childhood friend of Jimi Hendrix – James (Jimmy) Williams, to take control of the Foundation.^[174]

Guitar[link]

Fender Stratocaster[link]

Hendrix owned and used a variety of guitars during his career. However, his guitar of choice (and the instrument that became most associated with him), was the Fender Stratocaster. He started playing the model in 1966 and thereafter used it prevalently in his stage performances and recordings.

Hendrix bought many Stratocasters and gave some away as gifts. The original sunburst Stratocaster that Hendrix burnt at the Astoria in 1967, and that he kept as a souvenir, was given to Frank Zappa by a Hendrix roadie at the 1968 Miami Pop Festival; Zappa assumed it was the one Hendrix had played there.^[175]

Hendrix used right-handed guitars, turned upside down and restrung for left-hand playing.^[176] This had an important effect on his guitar sound: because of the slant of the Strat's bridge pickup, his lowest string had a bright sound while his highest string had a mellow sound, the opposite of the Stratocaster's intended design.^[177] Heavy use of the tremolo bar necessitated frequent tuning; Hendrix often asked the audience for a "minute to tune up", as heard on many live bootlegs of his performances.

In addition to Stratocasters, Hendrix was also photographed playing Fender Jazzmasters, Duosonics, two different Gibson Flying Vs, a Gibson Les Paul, three Gibson SGs, a Gretsch Corvette he used at the 1967 Curtis Knight sessions and miming with a right-strung Fender Jaguar on the Top of the Pops TV show, as well as several other brands.^[178] Hendrix borrowed a Fender Telecaster from Noel Redding to record "Hey Joe" and "Purple Haze",^[179] used a white Gibson SG Custom for his performances on The Dick Cavett Show in the summer of 1969, and the Isle of Wight film shows him playing his second Gibson Flying V. While Jimi had previously owned a Flying V that he had painted with a psychedelic design, the Flying V used at the Isle of Wight was a unique custom left-handed guitar with gold plated hardware, a bound fingerboard and "split-diamond" fret markers that were not found on other 1960s-era Flying Vs.

On December 4, 2006, one of Hendrix's 1968 Fender Stratocaster guitars with a sunburst design was sold at a Christie's auction for US$168,000.^[180]

Other instruments[link]

Hendrix owned a Coral electric sitar that later wound up in the possession of Peter Frampton, who used it on tour during David Bowie's 1987 world tour.^[181]

Amplifiers and effects[link]

Hendrix was a catalyst in the development of modern guitar effects pedals. His high volume and use of feedback 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 Stratocaster, the Marshall stack and amplifiers were crucial in shaping his heavily overdriven sound, enabling him to master the use of feedback as a musical effect, and he created a "definitive vocabulary for rock guitar".^[182]

While his mainstays were the Arbiter Fuzz Face and a Vox wah-wah pedal,^[182] Hendrix experimented with guitar effects as well. 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 tweaked for Hendrix. The Japanese-made Uni-Vibe, designed to simulate the modulation effects of the rotating Leslie speaker, provided a rich phasing sound with a speed control pedal, and is heard on the Band of Gypsys track "Machine Gun", which highlights use of the Uni-Vibe, Octavia and Fuzz Face.

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 and using his teeth or playing behind his back and between his legs. Hendrix had large hands and characteristically used his thumb to fret bass notes, leaving his fingers free to play melodic lines on top. A clear demonstration of this thumb technique can be witnessed in the Woodstock video; during the song "Red House" there are closeups of Hendrix's fretting hand.

Electric church[link]

"Electric Church" was a quasi-spiritual belief that electric music brings out emotions and creative ideas in people, and encourages spirituality. It was popularized by Jimi Hendrix.

On the Dick Cavett Show in 1969, Hendrix said that he designed his music so that it would be able to go "inside the soul of the person, and awaken some kind of thing inside, because there are so many sleeping people". Promoting his third album Electric Ladyland, Jimi Hendrix said "the influence the psychedelics have on one is truly amazing, and I only wish more people appreciated this belief and genre". When asked why he didn't name the album "Electric Church" instead of "Electric Ladyland", Hendrix said some ladies were "electric too".^[183]

Hendrix made numerous allusions to the concept in his music, most famously in the song "Red House", in which he introduces his band by saying that he is about to present them all to the "Electric Church".

Discography[link]