"Up from the Skies" is a song by English/American psychedelic rock band The Jimi Hendrix Experience, featured on their 1967 second album Axis: Bold as Love. Written by lead vocalist and guitarist Jimi Hendrix, the song details the experience of a specimen of extraterrestrial life returning to Earth and displaying concern with the damage caused by the human beings living there. It was released as the only single from Axis: Bold as Love, in the United States and France only, and reached number 82 on the Billboard Hot 100 singles chart.

"Up From the Skies" was recorded on 29 October 1967, the last day of recording for the album, at Olympic Sound Studios in London. Music website allmusic reviewer Matthew Greenwald described the song as "Musically, [...] a breezy, jazz-based stroll, and it's quite different from anything on his debut album." The musical style of the song was noted in popular Hendrix biography Jimi Hendrix: Electric Gypsy as boasting an "easy triplet jazz feel," bringing attention to the "delicate wah-wah and Mitch [Mitchell, The Jimi Hendrix Experience drummer]'s brush-work."

James Marshall "Jimi" Hendrix (born Johnny Allen Hendrix; November 27, 1942 – September 18, 1970) was an American musician and singer-songwriter. He is widely considered to be the greatest electric guitarist in music history, and one of the most influential musicians of his era despite mainstream exposure limited to just three years. 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.

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,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. In 1966, he stated, "I want to do with my guitar what Little Richard does with his voice".

Michael Landau (1 June 1958, Los Angeles) is a prolific session musician and guitarist who has played on a large number of albums since the early 1980s with artists as varied as Seal, Michael Jackson, James Taylor, Helen Watson, Richard Marx, Steve Perry, Pink Floyd and Miles Davis. Landau, along with fellow session guitarists Dean Parks, Steve Lukather and Dann Huff, played on many of the major label releases recorded in Los Angeles from the 1980s-1990s.

In addition to his session work, Landau has also fronted several bands including Raging Honkies and Burning Water. In the early 1980s, he was also in the band Maxus that featured future Los Angeles session musicians Robbie Buchanan, Jay Gruska, and Doane Perry. Landau was also in competition with high school bandmate Steve Lukather to become the guitarist for Toto in the late 1970s.

His brother Teddy Landau is married to pop singer Michelle Branch.

Rickie Lee Jones (born November 8, 1954) is an American vocalist, musician, songwriter, and producer. Over the course of a five-decade career, Jones has recorded in various musical styles including rock, R&B, blues, pop, soul, and jazz standards. Her songwriting has been characterized as "a blend of bravado and vulnerability [that] wavers on indefinable borders." She is also known for her unique singing style, especially in live performances. One concert reviewer, describing her rendering of "We Belong Together," states she "reached her apex, skating from swells into near screams into breathy whispers, from pontillist stacatto scats into brassy, trumpetlike bursts."

In 1999, Jones was listed at #30 in the VH1 list of 100 greatest women of rock.

Rickie Lee Jones was born on the north side of Chicago to Bettye and Richard Jones. Her paternal grandfather, Frank 'Peg Leg' Jones, and her grandmother, Myrtle Lee, a dancer, were Vaudevillians based in Chicago, Illinois. A singer/dancer/comedian, Peg Leg Jones' routine consisted of playing the ukelele, singing ballads, and telling stories. One of four children, her father was a WW2 veteran. A singer, song writer, painter, and trumpet player, Mr. Jones worked as a waiter. Her mother, Bettye, was raised in orphanages in Ohio with her three brothers until she was old enough to leave. Bettye and Richard met in a drug store coffee shop. Rickie Lee was born the third child of four, in Chicago, 1954.

Gil Evans (13 May 1912, Toronto, Canada – 20 March 1988, Cuernavaca, Mexico) was a jazz pianist, arranger, composer and bandleader, active in the United States. He played an important role in the development of cool jazz, modal jazz, free jazz and jazz fusion, and collaborated extensively with Miles Davis.

Born Ian Ernest Gilmore Green, his name was changed early on to Evans, the name of his stepfather. His family moved to Stockton, California where he spent most of his youth. After 1946, he lived and worked primarily in New York City, living for many years at Westbeth Artists Community.

Between 1941 and 1948, he worked as an arranger for the Claude Thornhill Orchestra. Evans' modest basement apartment behind a New York City Chinese laundry soon became a meeting place for musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those present included the leading bebop performer Charlie Parker himself, as well as Gerry Mulligan and John Carisi. In 1948, Evans, with Miles Davis, Gerry Mulligan, and others, collaborated on a band book for a nonet. These ensembles, larger than the trio-to-quintet "combos", but smaller than the "big bands" which were on the brink of becoming economically unviable, allowed the arrangers to have a larger pallette of colors by using French horns and tuba. Claude Thornhill had employed hornist John Graas in 1942,and composer-arranger Bob Graettinger had scored for horns and tubas with the Stan Kenton orchestra, but the "Kenton sound" was in the context of a dense orchestral wall of sound that Evans avoided.