On February 4, 1968 The Jimi Hendrix Experience performed at the Winterland Ballroom in San Francisco. San Francisco 1968 is an album with five songs from show being highlighted, including a two-part 12+ minute cover of Traffic's "Dear Mr. Fantasy" featuring Buddy Miles on drums.

The resurrection of Lonnie Smith continues with this exciting mini-survey of the Jimi Hendrix legacy. This time, the material allows Smith's crackling, tightly knit collaborators, John Abercrombie and Marvin "Smitty" Smith, to run a bit wild - indeed, Abercrombie's tone and attack takes on a Hendrix-like cast on the title track - while Lonnie mostly remains in the same cool soul-jazz frame of mind, an excellent foil. The most ambitious track, "Castles Made of Sand," takes on a military rhythm before breaking out into Smitty's everywhere-at-once drum patterns, cooking at a fine boil through its 23 1/2-minute length before breaking into a suitably chaotic rendition of "The Star Spangled Banner" toward the end. On the latter, Abercrombie has a ball pouring on the sarcasm, and Lonnie bounces around the organ…

Guitarist, composer and producer, Thomas Naïm began playing the guitar at the age of 12. Influenced first by Rock, he then became interested in many musical currents: Funk, Brazilian music, Reggae or electronic music and finally became passionate about Jazz.

On November 13, 2020, Thomas Naïm's new jazz/blues trio opus, "SOUNDS OF JIMI" (Rootless Blues/L'autre Distribution) has been released. This is an important event for Thomas cause it’s an album that pays tribute to a musician that had a great impact on him, the American guitarist Jimi Hendrix. This album also benefits from special guests Hugh Coltman, Erik Truffaz, Célia Kameni and Camille Bazbaz.

In the early '70s, Lonnie Smith's recordings frequently exhibited a debt to Jimi Hendrix's groundbreaking fusions, but he waited until 1994 to release Foxy Lady, a full-fledged tribute to the innovative guitarist. Foxy Lady was so successful that Smith decided to make another Hendrix album, again with John Abercrombie and Marvin "Smitty" Smith. Purple Haze is as entertaining as Foxy Lady - it's truly remarkable to hear how these blues-rockers can open up into soul-jazz numbers tinged with free jazz influences - and confirms not only Hendrix's composing talents, but also Smith's vision.

Good Times - under that name this compilation of early Hendrix's was released on CD in 1993 and later was reissued in Europe on various labels under different names (eg Early Years). The album contains many rare tracks. To obtain the highest possible quality, some tracs have been re-recorded by the original artists or several members of the original group.

In aftermath of their successful American debut at the Monterey Pop Festival on June 18, 1967, San Francisco promoter Bill Graham offered the Experience an extended, five show booking at the Fillmore Auditorium. The gigs were critical to the group, as they had come to Monterey with nothing booked in the U.S. apart from their festival appearance. The Experience initially came on the bill as a support act, along with Gabor Szabo, for the Jefferson Airplane. That arrangement unraveled when the Jefferson Airplane backed out of the gig after one show and let the Experience take over. During the week-long stint in June when the Experience were performing at the Fillmore in San Francisco, co-manager Michael Jeffery had secured a position for the Experience to serve as an opening act for the Monkees on their summer U.S. tour.

Jimi Plays Monterey is a posthumous live album by Jimi Hendrix. The album documents The Jimi Hendrix Experience's performance at the Monterey Pop Festival on June 18, 1967. As well as songs from the band's debut album Are You Experienced, Monterey also includes covers of "Killing Floor" (Howlin' Wolf), "Like a Rolling Stone" (Bob Dylan), "Rock Me Baby" (B. B. King) and "Wild Thing" (Chip Taylor). The version of "Wild Thing" on the album is one of the most notable live performances ever, as, in an iconic moment in rock history, he sets his guitar alight after the song and then smashes it.

Jimi Hendrix's headlining appearance at the Atlanta Pop Festival would be the largest U.S. audience he would ever play to. Most people assume it was Woodstock, which was a larger festival, but by the time Jimi took the stage at around 9 a.m. on Monday morning, the Woodstock crowd was down to about 25,000 stragglers. Estimated between 300,000 and 400,000, the actual crowd at Hendrix's Atlanta Pop performance was hard to pin down due to the fact that many of the festivalgoers turned up after dark, in an effort to stay out of the stifling heat of Atlanta in the summertime. The trio of Jimi, Mitch, and Billy Cox had been touring for about two and a half months solid when July 4 rolled around, and they sound really tight kicking off the show. "Fire" starts the set, and one immediately notices how differently Billy Cox plays it versus Noel Redding. "Spanish Castle Magic" has Jimi trying out some new solo ideas and he really starts feeling it on a very improvisational, extended "Red House." A rare live performance of "Room Full of Mirrors" is followed by an absolutely incredible version of "Hear My Train A Comin'".

Jimi Hendrix's sonic assaults and attacks hypnotized, frightened, and amazed audiences in the late '60s. His studio recordings helped him attain his reputation, but his live works validated it. That's the case on the 13 songs from a 1968 Winterland concert that made their way onto CD in 1987. Whether he was doing short, biting songs like "Fire" or stretching out for sprawling blues statements like "Red House" and "Killing Floor," Jimi Hendrix turned the guitar into a battering ram, forcing everyone to notice and making every solo and note a memorable one.