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Jimi Hendrix


Buddy Miles would’ve been 74 today... It’s warming to see social media filled with heartfelt tributes to one the most criminally underrated musicians of all time.

It’s very difficult to place the “Baddest of the Bad” into a specific genre. Listening to Miles will have you wondering if it’s soul, funk, R&B, jazz, or rock and roll.. Whether it’s Electric Flag, Band of Gypsys, Carlos Santana, California Raisins, or any one of the many variations of his own Express, that distinct style and rhythm is undeniably Buddy Miles and you can feel it. And that’s just the musical gift he left us..

And, as the city of Omaha, Nebraska proclaimed in 2017:

Happy #BuddyMiles Day!!! 🎶❤️🎶


Remembering Buddy Miles (September 5, 1947 – February 26, 2008)
In 1970, Miles hooked up with longtime running partner Hendrix to form the Band of Gypsys with bassist Billy Cox. Hendrix had produced some tracks on “Expressway,” Miles had played on Hendrix’s “Electric Ladyland,” and the two had known each other since the early ‘60s when they’d been on the same R&B; circuit.

The Band of Gypsys played a darker, bluesier, blacker music than the Jimi Hendrix Experience had; it was akin to Muddy Waters on barbiturates and acid, playing through a stack of Marshall amps.
“It was Hendrix’s finest moment,” Miles said, “but you’d never know it to hear the way people talk. A lot of people said Jimi didn’t like the Band of Gypsys, and that’s absolute [nonsense]! The Band of Gypsys gave him a chance to understand what his musical theory really was, what his roots were about.
“Mitch Mitchell [of the Experience] was a great drummer, but he never contributed anything to Jimi. I listened to Jimi at Woodstock just this morning and it sounded so bad and distorted it just blew my mind. With the Band of Gypsys, we never had that problem. I was co-leader, and I’m a perfectionist. A lot of people might not like my attitude, but I get the job done.

May 31, 1997

Photo by Fin Costello

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Timestamps0:00       Introduction0:44 Earth vs. Space Jam15:25  The Things I Used To Do25:11  We Got to Live Together45:...
Jimi Hendrix - Live at Newport Pop Festival. 22 June 1969


0:00 Introduction

0:44 Earth vs. Space Jam

15:25 The Things I Used To Do

25:11 We Got to Live Together

45:31 Feel so Good

1:01:00 Message to Love

1:01:31 The Train Kept A-Rollin

1:03:34 Power of Soul

1:06:59 Earth Blues

1:07:32 Hear My Train A Comin

1:10:35 Voodoo Child (Slight Return)

1:15:53 Fast Jam

1:23:33 Come On (Let the Good Times Roll)

1:26:19 Star Spangled Banner

1:26:48 Jam


Jimi Hendrix - Live at Newport Pop Festival - June 22, 1969I've added all video footage from the concert.Enjoy!


Hendrix at work at his studio Electric Ladyland in New York, 1970. Kicked off by an opening party near summer’s end, Electric Lady Studios was the location of Hendrix’s last-ever studio recording–an instrumental known as “Slow Blues”. Fortunately, this was only the beginning of the studio’s incredible run recording some of the greatest rock, hip hop, and pop albums of the last nearly half-century and only the latest incarnation of one of the Village’s most unusual and storied structures.

The Clash, Lou Reed, Kiss, Led Zeppelin, Blondie, Run DMC, The Roots, Bob Dylan, John Lennon, Nas, Stevie Wonder, Billy Idol, U2, Adele, Frank Ocean and Daft Punk, among many others, have recorded at Electric Lady Studios.

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 myriad colors. It was designed to have a relaxing feel to encourage Jimi's creativity, but at the same time provide a professional recording atmosphere.

Jimi Hendrix with producer/engineer Eddie Kramer (l.) and studio manager Jim Marron in Hendrix’s still under construction Electric Lady Studio, New York, New York, June 17, 1970. © Estate of Fred W. McDarrah


We are rocked to the core to hear of the passing of our dear friend, bandmate and musical genius, Mike Finnigan. He fought his long illness with the same fearlessness and ferocity he brought to every part of his life. Our deepest condolences go out to Candy, Kelly, Bridget and all his family.

Mike was one of the most powerful, virtuosic soul/gospel/blues singers and Hammond B3 players you’ll ever be blessed to hear. Respected and emulated by musicians the world over, his legacy of staggering
performances across his 60+ years career will stand the test of time. He stopped our show nearly every night. There was simply no one like him.

He was whipsmart, incredibly articulate and funny as hell. He was as devoted to his beloved family and friends as he was to helping so many struggling to get and stay sober. He and his wife Candy were instrumental in my own sobriety and I will be forever grateful.

Rest in peace, dear Mike. I know you’ll be shaking that Heavenly Choir to new heights as only you can do.

Here’s a clip from our 2013 Slipstream tour, where he tore up the place every night with Ray Charles’ iconic “I’ve Got News for You.”




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July 26, 1970, Jimi Hendrix played in his home town of Seattle for the last time when he appeared at Sicks Stadium


Jimi Hendrix Woodstock receipt


He was just a thought in heaven while Jimi Hendrix was here with us. Yet, over fifty years later, Jimi is still inspiring others to follow. Here's Philly's own, Greg Sover, singer, songwriter/guitarist.

Thanks Greg and The Greg Sover Management Team for inviting me to be part of the project.~ Billy Cox, The Last Gypsy

JULY 14, 1969 – In preparation for Woodstock, Hendrix rented a house in upstate New York. Located about three miles from...

JULY 14, 1969 – In preparation for Woodstock, Hendrix rented a house in upstate New York. Located about three miles from Woodstock at 75 Traver Hollow Road near Boiceville and Shokan, where he lived for the next three months. Hendrix took residence here intially to find some solitude while he worked on a new album. The Jimi Hendrix Experience’s second album, “Axis: Bold As Love” was released in December 1967 and was another huge commercial success. A third album, “Electric Ladyland”, expanded the group’s sound further and was again hugely successful. However, the stress of constant activity and personal tensions blew the group apart after an appearance at the Denver Pop Festival in June 1969, and he was trying to get material together for a new album and this stone manor (dubbed The Ashokan House by Hendrix fans) became his rehearsal studio for the event. Along the way he signed on to do the Woodstock Music Festival.
Hendrix employed a cook and housekeeper. Cook Claire Moriece recalls in an interview, “I was cooking for a friend of mine at a dinner party in Woodstock, and someone who was a guest at the dinner party said, ‘I didn’t know you were such a good cook,’ and I said, ‘Well, it’s just something I do natural and they said, ‘Well would you consider it as a job?’ and I said ‘Yes, certainly!’ and they said, ‘You know the Woodstock Festival is this summer, there are a lot of famous rock stars coming, would you go to work for somebody, but we can’t tell you who it is until after you get there.’ They wanted to drive me there blind-folded as it was a superstar and they did not want anyone to know where they lived. They said that the previous cook was cooking macrobiotic food, and they needed someone who was tuned into health food but not necessarily macrobiotic. And that’s how I first went in there. And I was living in the house for about three days before Jimi came in, and I had suspected that it might be Jimi but it could have been anybody, and my instant impression was what a sweet, humble, funny guy, he was very funny. I remember Jimi writing ‘Izabella’ up at that house.”
Hendrix invited New York City percussionist Jerry Velez to stay at the house. And at the time Juma Sultan was gigging in Woodstock and invited up to the house to jam. Of course, they would become part of the Gypsy Suns and Rainbows band and appeared with Hendrix at Woodstock on August 18th, and shortly thereafter he left the area.

John McLaughlin:To me, Jimi was a one-man revolution. When I heard him play, I had to find a way to build a bigger amp b...
John McLaughlin Talks Mahavishnu Orchestra, Liberation Time, and More

John McLaughlin:
To me, Jimi was a one-man revolution. When I heard him play, I had to find a way to build a bigger amp because I didn’t want this kind of cool jazz tone anymore. What Jimi did with just an amp, a guitar, and a wah-wah pedal was incredible. I’ll never forget talking to Miles about Jimi. He had never seen him, so I said, “There’s an art film theater downtown that’s playing the Monterey Pop Festival [movie] and Jimi is in it.” I took Miles to the movie and when Jimi came on, Miles was like, “Damn!” He was floored because Jimi was daring. And that’s what we wanted to do.


In this exclusive interview, John McLaughlin recalls the origins of the Mahavishnu Orchestra, and discusses his new album, Liberation Time.

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Jimi Hendrix : “I don’t know, sometimes everything makes me uptight once in a while. What I hate is this thing of society these days trying to put everything and everybody into little tight cellophane compartments. I hate to be in any type of compartment unless I choose it myself. The world is getting to be a drag. I ain’t gonna be any cellophane socialite. They don’t get me in any cellophane cage. Nobody cages me.”—Hit Parader, November 1969


Stone Free

July 5, 55 years ago)
Jimi Hendrix Experience - Hey Joe Live

July 5, 55 years ago)

The Jimi Hendrix Experience playing Hey Joe in 1967 live.James Marshall "Jimi" Hendrix and his band at Europe, considered one of the best guitar player ever....


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I wanna kiss the Sky!!!

Часть I

Джими - музыкант нового типа

Будучи инструменталистом он понимал, что ему не избежать вокализации и выбор его был правильным - его голос стал дополнительным инструментом, а не наоборот, как это было принято. Такая манера могла бы существовать в джазе, но там вокалисты исполняли скэт - так называемая вокальная импровизация. Инструменталисты же ещё не решались петь в джазе (за исключением Луиса Армстронга), кроме блюзмэнов, которых мы не назовём инструменталистами потому, что блюз был особым способом музицирования и имел свои ярковыраженные правила, как и джаз, впрочем, на том этапе. Такая же функциональная вокализация присутствовала у Джими и в гитарном аккомпанементе. Способ заполнения пауз для укрепления функций ритмо-гармоническими репризами, которые всё время варьировались и создавали свои микроструктуры, питавшие ритм-секцию, которая ещё более усложняла контекст. Как композитор, Джими умел сочинять прекрасные солидные рифы для баса. Басист становился продолжением гитары, как, впрочем, и барабанщик. Таким образом, слушатели получили возможность услышать гитару Джими в троекратном изложении - с усиленными низами, опущенными на октаву вниз, и с ритмической окраской всевозможных ударных ухищрений со звонами, мощными бреками и уплотнёнными грувами.

JIMI HENDRIX EXPERIENCE - группа нового типа

Nearby museums


2Late - Polish Rock Band