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Jimi Hendrix: New York
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The three genres Jimi Hendrix helped found -- heavy metal, jazz fusion and funk -- have evolved beyond his contributions. After the millionth time around on classic rock radio, it seems impossible that songs like ''Purple Haze'' could offer anything new. Yet Hendrix, the self-proclaimed voodoo child who never saw 30, remains the most prolific ghost in pop-music history.
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With the help of Jimi's step-sister Janie, Al set up Experience Hendrix to begin to get Jimi's legacy in order. They began by hiring John McDermott and Jimi's original engineer, Eddie Kramer to oversee the remastering process. They were able to find all the original master tapes, which had never been used for previous CD releases, and in April of 1997, Hendrix's first three albums were reissued with drastically improved sound. Accompanying those reissues was a posthumous compilation album (based on Jimi's handwritten track listings) called First Rays of the New Rising Sun, made up of tracks from the Cry of Love, Rainbow Bridge and War Heroes.
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In 1968, Hendrix and Jeffery had invested jointly in the purchase of the Generation Club in Greenwich Village. Their initial plans to reopen the club were scrapped when the pair decided that the investment would serve them much better as a recording studio. The studio fees for the lengthy Electric Ladyland sessions were astronomical, and Jimi was constantly in search of a recording environment that suited him. In August, 1970, Electric Lady Studios was opened in New York. Hendrix was among the first major music artists to own his own recording studio (the Beatles had opened their Apple studios in London in January 1969).
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Hendrix recorded a massive amount of unreleased studio material during his lifetime. Much of this (as well as entire live concerts) was issued posthumously; several of the live concerts were excellent, but the studio tapes have been the focus of enormous controversy for over 20 years. These initially came out in haphazard drabs and drubs (the first, The Cry of Love, was easily the most outstanding of the lot). In the mid-'70s, producer Alan Douglas took control of these projects, posthumously overdubbing many of Hendrix's tapes with additional parts by studio musicians. In the eyes of many Hendrix fans, this was sacrilege, destroying the integrity of the work of a musician known to exercise meticulous care over the final production of his studio recordings. Even as late as 1995, Douglas was having ex-Knack drummer Bruce Gary record new parts for the typically misbegotten compilation Voodoo Soup.
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In July 1970, Hendrix set up a performance in Maui, Hawaii, in an attempt to reach a higher level of New Age spiritual awareness. When he arrived in Hawaii, he consulted an elderly German fortune teller named Clara Schuff and was told that he descended from Egyptian and Tibetan royalty and that his next life would be concerned with the magical systems of Tibet. The performance was called "The Rainbow Bridge Vibratory Color-Sound Experiment." Hendrix was invited to participate in this experiment by a commune called the Rainbow Bridge Occult Research Meditation Center. The Hendrix group gathered on the side of the Olowalu Volcano, revered as a very holy place and called the Crater of the Sun by native Hawaiians. For the occasion Hendrix wore Indian medicine-man clothing and used a medicine-man tent. He and all of the participants were high on LSD, hash, and liquor during the "experiment." (Two months later, he was dead.)
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Hendrix then toured for two months with Joey Dee and the Starliters before rejoining the Squires in New York. On October 15, 1965, Hendrix signed a three-year recording contract with entrepreneur Ed Chalpin, receiving $1 and 1% royalty on records with Curtis Knight. While the relationship with Chalpin was short-lived, his contract remained in force, which caused considerable problems for Hendrix later on in his career. The legal dispute was eventually settled. During a brief excursion to Vancouver in 1965, it was reported that Hendrix played in the (much later in 1968 Motown) band Bobby Taylor & the Vancouvers with Taylor and Tommy Chong (of Cheech and Chong fame). Chong... disputes this ever happened and that any such appearance is a product of Taylor's "imagination."[41]
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