Jimi Hendrix

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风格: #硬摇滚　#摇滚　#布鲁斯摇滚　#酸性摇滚　#迷幻摇滚
地区: United States of America 美国

艺人介绍

詹姆斯·马歇尔·“吉米”·亨德里克斯（James Marshall "Jimi" Hendrix，1942年11月27日－1970年9月18日）是一位著名的美国音乐人兼创作歌手，被公认为是流行音乐史中最重要的电吉他演奏者。亨德里克斯的吉他技巧完全是自学，因为是左撇子，他把一把右手吉他的琴弦颠倒安装用来左手演奏。作为一名吉他手，他受到了众多布鲁斯和节奏布鲁斯的吉他前辈的影响，并在这些基础上做出了伟大的革新。

音乐生涯

原名詹姆斯.马歇尔.亨德里克斯(James Marshall Hendrix)，1942年11月27日出生于华盛顿州的西雅图。吉米.亨德里克斯生长于一个贫穷的黑人家庭，他是摇滚历史上最伟大的电吉他天才和60年代末唱片工业摧毁力量的牺牲品。亨德里克斯在上学期间就自学吉他，并热衷于听南方布鲁斯歌手的作品，从罗伯特.约翰逊(Robert Johnson)到B.B.金(B. B. King)。1961年，他在美国伞兵服役期间，在部队俱乐部演奏音乐，并结识了贝司手比利.考克斯(Billy Cox)。在亨德里克斯以后的生涯中，他对亨德里克斯的帮助很大。退役后，亨德里克斯参加了一些音乐家的演出。在他移居纽约之前，他还与小理查德(LittleRichard)、艾克和蒂娜.特纳(Ike and Tina Turner)合作过。当他在纽约的黑人俱乐部里为“艾斯利兄弟"(IsleyBrothers)、金.柯蒂斯(King Curtis)和其他乐队伴奏时，被实业家埃德.查普林发现，并与他签订了录音合同，还使他成了“柯蒂斯骑士”(Curtis Knight)乐队的主音吉他手。同时，亨德里克斯作为一个吉他手的绝顶天赋被前“动物”(Animals)乐队的贝司手蔡斯.钱德勒(Chas Chandler)所赏识，并向他许愿把他培养成顶级歌星。亨德里克斯被他打动了，并于1966年随他到了英国。在伦敦，“吉米.亨德里克斯经验”(Jimi Hendrix xperience)乐队组建，这是一支有魔力的三人乐队，主音吉他兼主唱亨德里克斯，贝司手诺埃尔.雷丁(Noel Rid ding)和鼓手米奇.米切尔(Mitch Mitchell)。该乐队几乎一夜成名，尤其是亨德里克斯引起了英国流行音乐界的极大关注，据报道，那年冬天，埃里克.克拉普顿(Eric Clapton)和皮特.汤森(PeteTownshend)观看了他所有的演出。1967年夏，他成功地进行了英国、德国和斯堪的纳维亚巡回演出，并录制了热门单曲“嘿，乔”(Hey Joe)和“紫雾”(Purple Haze)以及专辑《你经历过吗?》(AreYouExperienced?)在保罗.麦卡特尼(Paul McCartney)的大力推荐下，他参加了蒙特雷音乐节，他的成功使他跻身于世界超一流歌星的行列。作为一名黑人歌星，人们注意到，他的听众几乎都是白人，他是第一位赢得所有白人听众的黑人歌星。1969年，他却面临巨大的政治压力——黑人团结，但他并不懂政治，因此感到不解和紧张。在商业方面，1968年是最成功的一年，《像爱一样勇敢》(Axis: Bold As Love)(1969)和《电子女儿国》(ElectricLadyand)都成为金唱片，他还从音乐会及无可争辩的超级歌星的身份中赚取了大量的金钱。在1968年底，他被认为是其他“激进摇滚”吉他手的鼻祖。他那忧郁而激动人心的独特风格，体现了强烈的布鲁斯音乐的情感。爵士乐大师迈尔斯.戴维斯(Miles Davis)甚至预言他将成为一名伟大的爵士乐吉他手。他的演奏具有很浓的实验色彩，把电吉他的技巧和功效发挥到了不可思议的地步。但当他进一步成功时，麻烦也随之而来了。1968年1月，他因与贝司手诺埃尔.雷丁争吵斗殴而被拘留，这标志着乐队成员之间的关系激剧恶化。一个月之后，在他第二次环美旅行演出中，他放弃了舞台表演中所有花哨和噱头，直接表现他那复杂的音乐。这一举动遭到了观众的反对，亨德里克斯为逃避这种反应，取消了47天中的54场演出，并用大量吸毒的狂乱生活方式麻醉自己。他消瘦了许多，并指责他的经理人对他的钱财管理不当。除了他的魔力在公众中的巨大影响，1969年却是一个不顺之年，他的经理人蔡斯.钱德勒被解雇，“吉米.亨德里克斯经验”乐队解散，一个多伦多的毒品贩子控制了他，整整一年，金钱如流水般地花掉，他的私生活更加无序。同时，他还面临来自黑人听众的巨大政治压力，要求他组建一支全黑人乐队。尽管他在纽波特音乐节上露面，并重新启用米奇.米切尔，还邀请他的朋友比利.考克斯(Billy Cox)任贝司手，他的现场演出还是比以前大大减少了。一个月后，他在伍德斯托克音乐节露面，这是他音乐生涯中的最后高潮，同年12月，他的全黑人乐队(“吉普赛人乐队”(Band of Gypsies)终于组成)，但他对乐队第1张专辑并不满意，不久在纽约麦迪逊广场花园演唱会后“吉普赛人乐队”宣告解散。此时，他还在准备下一个双张套专辑《新升太阳的第一束光》(FirstRays of the New Rising Sun)。此后，亨德里克斯重组“吉普赛人乐队”，乐队由亨德里克斯、考克斯和巴迪.迈尔斯(Buddy Miles)组成，到夏威夷拍电影，开更多的演唱会，在新开的“电子女儿国”录音棚里录音。8月份，他最后一次离开美国，参加怀特岛音乐节。当时舆论认为他那次表演水平并不高，可现在回想起来，那次表演依然十分出色，接下来的欧洲巡回演出被缩短了。亨德里克斯于9月中旬回到英国。

1970年9月18日，他因过量服用安眠药剧烈呕吐窒息而死。当时亨德里克斯心理压力很大，种种迹象表明他并非自杀——他的死只是个悲剧事件。许多人认为亨德里克斯死的时候，灵感已枯竭。摇滚歌星们应该知道在这种职业生涯中该如何保护自己,可惜一个人在青云直上时不会明白，而等他明白时，已经太晚了。亨德里斯从来不知道如何筑起保护墙。我们不能说他在70年代的作品缺乏创造力，不幸的是亨德里克斯的音乐深奥重要之处已被营利目的搞的面目全非——《新太阳的第一束光》这张未完成专辑中的大部分歌曲被收录在亨德里克斯死后最初出版的两张专辑《爱之哭泣》(Cry of Love)和《彩虹桥》(Rainbow Bridge)。

随后，突然之间到处都出版了亨德里克斯拼凑歌曲的专辑，直到1974年制作人艾伦.道格拉斯(Alan Douglas)开始接管他的遗作时，情况才消失，道格拉斯最初出版的两张“新”专辑《紧急着陆》(Crash Landing)和《午夜之光》(Midnight Lightning)全都是把亨德里克斯1969－1970年的录音室原声经过道格拉斯把吉他以外的噪音抹去，再重新加上乐手的伴奏而编辑的，如果说这些专辑毫无生机的话。那么道格拉斯制作的另一张“新”专辑《宇宙的九个》(Nine to the Universe)倒并不太坏，的确是当时亨德里克斯和当时的乐手一起演奏的。现场演出版本的一些专辑，像《音乐会》(Concerts)、《温特兰德现场唱会》(Live at Winterland)以及4CD装的《舞台》(Stages)倒是一些很具历史价值的东西，就像《第一电台》(Radio One)(是“亨德里克斯和经验”乐队1967年在BBC电台做的)，一样都是尽收全文未经改动的真实演唱会版本。

影响力及争议

亨德里克斯的吉他技巧完全是自学，因为是左撇子，他把一把右手吉他的琴弦颠倒安装用来左手演奏。作为一名吉他手，他受到了众多布鲁斯和节奏布鲁斯的吉他前辈的影响，并在这些基础上做出了伟大的革新。影响他的音乐家包括布鲁斯吉他大师B·B·金，Albert King，巴迪·盖伊，T-Bone Walker，Muddy Waters，以及对R&B和灵魂乐做出过卓越贡献的Curtis Mayfield。爵士乐也对亨德里克斯产生了很深的影响，他经常说他个人最喜欢的音乐家是Rahsaan Roland Kirk。

另外，亨德里克斯创造性地发展了传统摇滚吉他的演奏技巧，尽管在他之前的一些艺术家，比如The Kinks，Dave Davies和谁人乐队乐队的Pete Townshend已经把回授（feedback），失真（distorsion）等效果运用于那些急速独奏上，亨德里克斯是第一位把这些效果作为其作品的整体表现手法的吉他手。

作为一个录音室制作人，亨德里克斯是第一位将录音室效果处理作为表现其音乐理念的摇滚乐手。明显的，他是那些最初尝试在录音过程中添加立体声效果的音乐家之一。同时，Hendrix也是一个老练的作曲人，他的作品在其生前和死后被无数的音乐人重新诠释过。最终他作为吉他之神的地位远远超出了同时期的小理查、查克·贝里甚至是他的第一个偶像猫王以及伟大的披头士乐队。

亨德里克斯那争议性的同时也是根源性的自然风格可以用其在《星条旗 (美国国歌)》中用吉他模仿出战争的声音（包括机枪声，轰炸声以及人们的尖叫声）的激情演奏作为概括。他对此曲印象派手法的演绎充分描绘出了当时普遍的反美主义风潮并且成为了60年代动荡时期的美国社会的内心独白。

对美好事物的怪异符号化，自发性的多愁善感成为了亨德里克斯特有的个性。当被问到在Dick Cavett Show上所做的非正统的拥有非洲异教派风格的表演时，亨德里克斯回答说：“我以为那是美丽的。”

吉米·亨德里克斯于1970年组成《吉卜赛人乐队》，在美国及欧洲作巡回演出。1970年9月16日，即他去世前两天，亨德里克斯于朗尼·史葛在伦敦苏豪区经营的朗尼史葛爵士俱乐部与艾力·波顿作即兴表演，成为他的最后一次公开演出。

The Jimi Hendrix Experience专辑

1967 Are You Experienced

1967 Axis: Bold as Love

1968 Electric Ladyland

Jimi Hendrix/Band of Gypsys专辑

Band of Gypsys (1970; Recorded Live)

去世后发行的专辑

1971 The Cry of Love

1971 Rainbow Bridge

1972 War Heroes

1974 Loose Ends

1975 Crash Landing

1975 Midnight Lightning

1980 Nine to the Universe

1988 Radio One

1997 First Rays of the New Rising Sun

1997 South Saturn Delta

2010 Valleys of Neptune

2013 People, Hell and Angels

英文简介（转自 Allmusic）

In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since. Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion. His frequent hurricane blasts of noise and dazzling showmanship -- he could and would play behind his back and with his teeth and set his guitar on fire -- has sometimes obscured his considerable gifts as a songwriter, singer, and master of a gamut of blues, R&B, and rock styles.

When Hendrix became an international superstar in 1967, it seemed as if he'd dropped out of a Martian spaceship, but in fact he'd served his apprenticeship the long, mundane way in numerous R&B acts on the chitlin circuit. During the early and mid-'60s, he worked with such R&B/soul greats as Little Richard, the Isley Brothers, and King Curtis as a backup guitarist. Occasionally he recorded as a session man (the Isley Brothers' 1964 single "Testify" is the only one of these early tracks that offers even a glimpse of his future genius). But the stars didn't appreciate his show-stealing showmanship, and Hendrix was straight-jacketed by sideman roles that didn't allow him to develop as a soloist. The logical step was for Hendrix to go out on his own, which he did in New York in the mid-'60s, playing with various musicians in local clubs, and joining white blues-rock singer John Hammond, Jr.'s band for a while.

Are You Experienced? It was in a New York club that Hendrix was spotted by Animals bassist Chas Chandler. The first lineup of the Animals was about to split, and Chandler, looking to move into management, convinced Hendrix to move to London and record as a solo act in England. There a group was built around Jimi, also featuring Mitch Mitchell on drums and Noel Redding on bass, that was dubbed the Jimi Hendrix Experience. The trio became stars with astonishing speed in the U.K., where "Hey Joe," "Purple Haze," and "The Wind Cries Mary" all made the Top Ten in the first half of 1967. These tracks were also featured on their debut album, Are You Experienced, a psychedelic meisterwerk that became a huge hit in the U.S. after Hendrix created a sensation at the Monterey Pop Festival in June of 1967.

Are You Experienced was an astonishing debut, particularly from a young R&B veteran who had rarely sung, and apparently never written his own material, before the Experience formed. What caught most people's attention at first was his virtuosic guitar playing, which employed an arsenal of devices, including wah-wah pedals, buzzing feedback solos, crunching distorted riffs, and lightning, liquid runs up and down the scales. But Hendrix was also a first-rate songwriter, melding cosmic imagery with some surprisingly pop-savvy hooks and tender sentiments. He was also an excellent blues interpreter and passionate, engaging singer (although his gruff, throaty vocal pipes were not nearly as great assets as his instrumental skills). Are You Experienced was psychedelia at its most eclectic, synthesizing mod pop, soul, R&B, Dylan, and the electric guitar innovations of British pioneers like Jeff Beck, Pete Townshend, and Eric Clapton.

Axis: Bold as Love Amazingly, Hendrix would only record three fully conceived studio albums in his lifetime. Axis: Bold as Love and the double-LP Electric Ladyland were more diffuse and experimental than Are You Experienced On Electric Ladyland in particular, Hendrix pioneered the use of the studio itself as a recording instrument, manipulating electronics and devising overdub techniques (with the help of engineer Eddie Kramer in particular) to plot uncharted sonic territory. Not that these albums were perfect, as impressive as they were; the instrumental breaks could meander, and Hendrix's songwriting was occasionally half-baked, never matching the consistency of Are You Experienced (although he exercised greater creative control over the later albums).

The final two years of Hendrix's life were turbulent ones musically, financially, and personally. He was embroiled in enough complicated management and record company disputes (some dating from ill-advised contracts he'd signed before the Experience formed) to keep the lawyers busy for years. He disbanded the Experience in 1969, forming the Band of Gypsies with drummer Buddy Miles and bassist Billy Cox to pursue funkier directions. He closed Woodstock with a sprawling, shaky set, redeemed by his famous machine-gun interpretation of "The Star Spangled Banner." The rhythm section of Mitchell and Redding were underrated keys to Jimi's best work, and the Band of Gypsies ultimately couldn't measure up to the same standard, although Hendrix did record an erratic live album with them. In early 1970, the Experience re-formed again -- and disbanded again shortly afterward. At the same time, Hendrix felt torn in many directions by various fellow musicians, record-company expectations, and management pressures, all of whom had their own ideas of what Hendrix should be doing. Coming up on two years after Electric Ladyland, a new studio album had yet to appear, although Hendrix was recording constantly during the period.

While outside parties did contribute to bogging down Hendrix's studio work, it also seems likely that Jimi himself was partly responsible for the stalemate, unable to form a permanent lineup of musicians, unable to decide what musical direction to pursue, unable to bring himself to complete another album despite jamming endlessly. A few months into 1970, Mitchell -- Hendrix's most valuable musical collaborator -- came back into the fold, replacing Miles in the drum chair, although Cox stayed in place. It was this trio that toured the world during Hendrix's final months.

First Rays of the New Rising Sun It's extremely difficult to separate the facts of Hendrix's life from rumors and speculation. Everyone who knew him well, or claimed to know him well, has different versions of his state of mind in 1970. Critics have variously mused that he was going to go into jazz, that he was going to get deeper into the blues, that he was going to continue doing what he was doing, or that he was too confused to know what he was doing at all. The same confusion holds true for his death: contradictory versions of his final days have been given by his closest acquaintances of the time. He'd been working intermittently on a new album, tentatively titled First Ray of the New Rising Sun, when he died in London on September 18, 1970, from drug-related complications.

The Cry of LoveHendrix 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. After a lengthy legal dispute, the rights to Hendrix's estate, including all of his recordings, returned to Al Hendrix, the guitarist's father, in July of 1995.

War Heroes 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.

South Saturn Delta Later in 1997, another compilation called South Saturn Delta showed up, collecting more tracks from posthumous LPs like Crash Landing, War Heroes, and Rainbow Bridge (without the terrible '70s overdubs), along with a handful of never-before-heard material that Chas Chandler had withheld from Alan Douglas for all those years.

Radio One More archival material followed; Radio One was basically expanded to the two-disc BBC Sessions (released in 1998), and 1999 saw the release of the full show from Woodstock as well as additional concert recordings from the Band of Gypsies shows entitled Live at the Fillmore East. 2000 saw the release of the Jimi Hendrix Experience four-disc box set, which compiled remaining tracks from In the West, Crash Landing and Rainbow Bridge along with more rarities and alternates from the Chandler cache.

The family also launched Dagger Records, essentially an authorized bootleg label to supply harcore Hendrix fans with material that would be of limited commercial appeal. Dagger Records has released several live concerts (of shows in Oakland, Ottawa and Clark University in Massachusetts) and a collection of studio jams and demos called Morning Symphony Ideas.

Jimi Hendrix　吉米·亨德里克斯

艺人介绍

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最新简评（共725条）

Jimi Hendrix 吉米·亨德里克斯

艺人介绍

热门评论

最新简评（共725条）

Jimi Hendrix　吉米·亨德里克斯